10.17.18

October 17 , 2018 3 WORD ON THE STREET Venezuela

4-6 EGO

EOTW: Savi Joshi, Bui's, Jamal Eilas

7 MUSIC

Marty Balin

Nick Joyner, Editor–in–Chief Remi Lederman, Managing Editor Angela Huang, Audience Engagement Director Annabelle Williams, Assignments Editor Autumn Powell, Media Director Cat Dragoi, Word on the Street Editor Caroline Riise, Ego Editor Jamie Gobreski, Music Editor Colin Lodewick, Senior Features Editor Sabrina Qiao, Special Features Editor Andreas Pavlou, Long–Term Features Editor Naomi Elegant, Developing Features Editor Liz Kim, Style Editor Ana West, Film & TV Editor Sherry Tseng, Arts Editor Eliana Doft, Lastpage Editor Ethan Wu, Photo Editor Morgan Potts, Copy Director Christopher Muracca, Print Director Ego Beats: Sophie Xi, Amanpreet Singh, Michelle Shen, Misty Liao, Katie Bontje Music Beats: Arjun Swaminathan, Sammy Gordon, Sophie Burkholder, Melannie Jay, Aleksei Kuryla, Srinidhi Ramakrishna, Shriya Beesam Features Staff: Angie Lin, Julia Bell, Paige Fishman, Hailey Noh, Chris Schiller, Katrina Janco, Sireesh

Ramesh, Allison Wu Style Beats: Emma Moore, Jen Cullen, Molly Hessel, Valentina Escudero

Schaefer, Eleanor Shemtov, Olivia Fielding, Riley Merkel, Sophia Dai, Sophia Zhu Video Staff: Jean Chapiro, Abdul Sohu

Film & TV Beats: Zovinar Khrimian, Maryanne Koussa, Anna Collins, Samuel Yellowhorse Kesler, Kate Lindenburg, Shannon Zhang

Copy Associates: Kate Poole, Kira Horowitz, Sarah Poss, Serena Miniter, Erin Liebenberg, Lexie Shah, Carmina Hachenburg, Luisa Healey, Agatha Advincula

Arts Beats: Michelle Wan, Christina Lu, Josephine Cheng

Sofia Price, Analytics Editor Marketing Associates: Brittany Levy, Carly Shoulberg, Daniel Bulpitt, Ha Tran, Lauren Donato , McKay Norton, Merry Gu, Lauren Reiss, Kat Ulich, Serena Zhao

Design Editors: Lucy Ferry, Gillian Diebold, Ben Zhao, Christine Lam, Alana Shukovsky, Ian Ong, Ava Cruz, Joy Lee, Jess Tan, Alice Heyeh, Jackie Lou Lastpage Beat: Sami Canaan, Abby Goldstein Staff Writers: Margaret Zhang, Riley Wagner, Calista Lopez, Calais Cronin, Sarah Fingerhood, Katie Hartzell, Anjalee Bhuyan, James Morrison, Christy Qiu, Joseph Squillaro, Jordan Wachsman, Emily Gelb, Karin Hananel, Bebe Hodges, Claire Ochroch, Shunmel Syau, Rania Zakaria, Amanda Xu, Riley Kennedy Illustrators: Anne Chen, Anne Marie Grudem, Brad Hong, Carly Ryan, Catherine Liang, Jake Lem, Reese Berman, Saranya Sampath, Jessi Olarsch, Diane Lin, Christopher Kwok, Cecelia Vieira, Jacqueline Lou

Cover Illustration by Reese Berman & Typography by Jess Tan Contacting 34th Street Magazine: If you have questions, comments, complaints or letters to the editor, email Nick Joyner, Editor–in–Chief, at joyner@34st. com. You can also call us at (215) 422–4640. www.34st.com ©2018 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.

Staff Photographers: Emma Boey, Kaitlin Rowan, Chloe

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Halloween Costumes, Houston Market

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I Feel Bad, Big Mouth, Bad Times At El Royale

LETTER FROM THE EDITOR I

'm done looking forward to things in life. And no I'm not in a state of existential despair. You don't need to text my mom, I'm doing fine thanks.

I want to live in the moment, in the present, and to write navel–gazing Letters from the Editor without fear of ridicule. But mostly, I want to stop viewing each week as a task to be conquered, and weekend as the light at the tunnel that will bring me overflowing happiness and mental fortitude. Sundays still make me feel sad anyways.

Forget Halloween. Thanksgiving? I don't know her.

Winter break? Okay you got me there.

But truly, I think we all do ourselves a disservice when we focus on events on the horizon. I fell into this trap in the weeks leading up to fall break. I pushed friends aside, doubled down on schoolwork and applications,

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and generally didn't care for myself. I spent days at a time stumbling around campus like a zombie with especially heinous bedhead, fumbling through small talk and class discussions on auto–pilot. But dammit, I was leaving Philly soon! And who cares what came to pass between now and then.

It's healthy and normal to have things to look forward to, but I prefer not to treat those moments as benchmarks, or as incentives to make myself unhappy in the intervening time. Especially since our time at Penn is so finite, I think it's necessary that to see each day as a tiny entry into our undergraduate experience. You'll never get it back, y'all. And you're gonna wish you were completely lucid and coiffed in your normal day–to–day.

At least that's my midsemester goal.

So do all those readings for class, get that smoothie (BYO cup, please don't use the styrofoam!), take the long walk home, and be spontaneous. Make last minute dinner plans on a weeknight. Don't always lock yourself up to work in the service of fun things on the horizon.

The sum of Penn's smaller social niceties far outweigh those isolated bursts of release, I promise.

College is best told in these in–betweens, and you can take my word for that.

WORD ON THE STREET

word on the

STREET

THERE'S AN UPRISING IN MY HOME COUNTRY - AND I'M 2000 MILES AWAY When the political climate in Venezuela started getting dangerous, living here became as much of a burden as it was a privilege.

Emiliana Santandreu I have admittedly lied to countless people. When someone asks how long ago I moved from Venezuela, it seems that with every passing year, I deduct two from my time in the United States. It has officially been 12 years as of August 21, and I promise that’s the truth.

But when asked where I’m from, I present myself as singularly Venezuelan—no American interlude. It is my friends who would always find a way to correct my “error” and inform the public that I had, indeed, lived in New York.

Truthfully, this led to where I am today, at an institution that would likely be out of reach had I remained in Venezuela during my years in middle school and high school. New York is an electric city that offered a bounty of new friends and opportunities coupled with an unparalleled education.

When I first moved here, each passing week felt like a blur. As the weeks turned into months and the months into years, each day became a little harder.

Friendships became strained, my previously ever–present family was limited to holidays, and the box filled with Venezuelan snacks was starting to become increasingly barren. But the distance between New York and my home country never bothered me as much as it does now: given the country’s dangerous state, this distance has made me powerless.

The situation in Venezuela has been worsening since 2014. The decline in the price of oil caused the glamour of the dictatorship to fade. The economy took a sharp decline, the rates of crime and malnutrition grew, inflation was growing in an unprecedent-

Carly Ryan | Illustrator

ed manner, the education system was tainted by the hands of the government, the corrupt were voraciously devouring the country’s money, the drug trade was omnipresent, and government– created socialist institutions were unwilling or unable to help.

During the protests that took place in April of 2017, I wanted to contribute. I wanted to be present handing out arepas with my friends and family to the students risking their lives for a better tomorrow. I wanted to visit Ramo Verde, the jail filled to the brim with wrongly incarcerated political prisoners.

My grandmother would visit weekly with care packages for the prisoners and their families.

I wish I could’ve gone with her. I wanted to fight against the state that incarcerated a family member upon privatizing the bank-

ing industry. I hoped to alter the course of my cousin, suffering from Lennox–Gastaut Syndrome, who does not have access to the necessary medicine due to the desolate pharmacies and the government's refusal to allow foreign aid into the country. I sought to change the system that compensates capable and driven individuals with a mere $2 per month.

The truth is, I don’t know what the best course of action is to mitigate the deeply rooted evil that has seeped into the core foundations of my beloved country. There are greater forces at play that further complicate the situation; a power play between the United States and Russia for the contraction, or the expansion of communism in the region; the influences of Hezbollah and other terrorist organiza-

tions through the Vice President, Tareck El Aissami; a decimated economy, and the astounding levels of corruption and drug trade, to name a few.

What I do know is that education is the best course of action for our situation. The education of ourselves as well as others—at all costs. It is a time for all—immigrants, citizens, residents, non–Venezuelans— who wish to support, to come together and discuss. It is not a time to silence or exclude certain points of view, but to allow all perspectives to reach a bountiful conversation that catalyzes the spread of information, personal stories, and plights of our country.

I pray every day for a change in my country, and from far away continually strive to contribute as much as I can. This

includes simple acts, such as calling my grandmother who is living in a constant state of fear, voting from abroad, or informing those around me about the state of affairs as often as I can.

This also includes partaking in fundraising efforts through Wharton Latino, Despacito LLC, and donating to organizations. I will never stop trying to find ways to share my little grain of sand, never stop trying to educate myself in order to find more ways to give back and continue the conversation.

My story is one of tremendous privilege that I am incredibly lucky to be living. While there have been sacrifices, they do not compare to those that are still there, enduring unimaginable hardships. It’s not the story of the mother who lost her baby to malnutrition, or the political prisoner who has been continually denied access to his constitutionally given right to family visits, or the father who goes from work to wait for four hours in line in order to buy government–rationed necessities, or the grandmother who has felt the pain of losing her grandson to drugs or violent crime. These are the people who keep me up at night; the main characters of my nightmares. What I do might never be enough, and it might never compare to how they—the real heroes—have contributed. But, I'm going to keep trying.

Emiliana is a senior in the College, studying Philosophy, Politics and Economics. She is a member of Venezuelans at Penn, an organization which provides aid to Venezuela through the NGO United Way, to which students can contribute by donating to @ VenezuelaPenn on Venmo.

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3

EGO

EGO OF THE WEEK

By Amanpreet Singh

How has your path changed since you've entered Wharton?

When I first started Penn, I had no idea what I wanted to do.

I just came off of this “I’m going to be a doctor” track and, while I don’t love medicine, I loved the emotional connection you could build with your patients. I think once I recognized that core tenet about myself, I sought out opportunities that would build that.

I want to be with people, I want to help people, and I want to be socially engaged. I know that it'll all work out in the end.

What was your experience like at the Buddhist monastery?

All my life I was raised a Hindu. I never found myself religious per se, but I did find the philosophical components of religion really fascinating. In order to understand why people throw themselves into religion and what the appeal is of going to a

monastery and sacrificing everything, you have to experience it.

I went and I was like, holy shit, this is super tough. I was sad all the time and just wanted to go home. All of a sudden one day, I can't even explain it, I finally understood why the monastery was the monastery. I finally got into the rhythm and the practice, and then I didn't want to leave. I remember going to the airport and I was so overwhelmed because I hadn’t been around so much stimulation in so long.

Honestly nothing in life really changes, but what really changed was my perspective and the way I started approaching life. I think freshman year was super overwhelming. I got scared that I wouldn’t work at a tough job or I wouldn't be a part of the coolest clubs or whatever. Then my mentality changed. The coolest clubs for me are the clubs I become a

part of, because I shape the experience. The coolest job for me is the job that I want to be at, because that is going to be the job where I give my 110%.

How was your experience at culinary school?

I did research during the day and went to culinary school at night. I got a certificate at Le Cordon Bleu in London before I went to the monastery, which was a huge transition itself. Culinary schools are all about making the finest pastries and always appealing to the aesthetic. The monastery was the complete opposite, which was a bit of a culture shock.

Can you talk about your cookbook?

So I'm writing a Hot Cheetos cookbook. I plan on working on it next semester. However, there’s this huge trade–off between this fear of publishing and critiquing,

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and the ability to have your own product and be proud of something that you did. It’s something that I still struggle with and am always looking for support on that. I started my sophomore year and it's actually pretty much ready, I'm just having the psychological barrier of publishing it.

How has your academic experience fit into your passions?

Education is optimized by

putting yourself in new spaces, around new people, with new professors, or by taking risks.

For me, that's been taking classes that I was opposed to and sticking through it. The education platform is an opportunity for discourse on your personal beliefs and the way other people see the world. This is what you're paying for, to have that discourse, so I optimize for classes like that.

LIGHTNING ROUND There are two types of people, who are they?

Those that drink chai and those that drink chai lattes.

What's your coffee order?

Cannolis. If I'm getting coffee—I’m the worst—it's either going to be a latte with whipped cream and chocolate sauce or some crazy raspberry latte.

Why do you say cannolis?

Oh, I try to avoid swearing so I say cannolis instead of bad words. I love cannolis.

What is your favorite item in your closet?

I have this one pair of shorts that's unreasonably comfortable but socially unacceptable to wear outside.

Do you have any weird talents?

I will do the craziest things just for the sake of doing them. One day I was like, “Tomorrow I want to skydive,” so then I went skydiving.

What is the one thing you're going to miss about Penn?

The people. I just love the people I've met at the school for all their quirks and personalities. Fundamentally, we're all nerds, and it's so nice to be around nerds.

EGO

Inside 30 Years of

Bui's Lunch Truck Meet Mrs. Bui, the owner behind the legendary food truck on Walnut.

BY KATIE BONTJE Bui’s Lunch Truck is marking its 30th anniversary as the breakfast and lunch beacon for hungry Penn students. Nestled catty–corner to Wawa, many Penn students pass Bui’s Food truck on a daily basis. But how many people actually know the person behind this famous food truck’s facade?

The person behind the counter is the iconic yet elusive Mrs. Bui. Getting time with Mrs. Bui was no easy task, especially considering she has customers streaming in from the beginning to the end of her day.

Mrs. Bui insisted that the interview be held only a few steps away from the truck, right at 38th and Walnut.

She said she would prefer to stay on her feet; no coffee chats allowed here, not when Mrs. Bui is on the job.

Bui’s Lunch Truck, however, didn’t start with the Mrs. Bui we see today. The truck was started by her parents in 1988, following their emigration from Vietnam to the United States.

“It was a communist country, Vietnam. They wouldn’t let you out, so we kind of, like, escaped,” Mrs. Bui says.

“We didn’t all go together because it wasn’t allowed.”

Mrs. Bui says that it was her mom’s idea to start the food truck as a way for her father to earn income despite not knowing how to speak English. When the truck first opened, it didn’t even have a name.

“It was simple, just a great

truck,” Mrs. Bui says. “People kept asking us what the name of the truck was, so my mom just said “Bui”, which is her maiden name.”

Just like the name of the truck, the menu has not changed and has remained extremely simple for the entirety of the truck’s existence.

“It’s just basic: egg, bacon, cheese, steak,” Mrs. Bui says. “The special we put on later...Number 2, called the 'Mrs. Bui,' it’s got spinach, tomato, and Bui sauce.”

When asked if the “Mrs. Bui” was her favorite, Mrs. Bui laughs. She replies that the name of this dish was also inspired by her parents, but “a lot of people like it.”

Mrs. Bui jokes that, for the most part, she doesn’t know people on a first name basis. However, she said she is starting to recognize some names simply because the truck now accepts Venmo.

Even if Mrs. Bui doesn’t know you, many Penn students certainly know her and remember Bui’s Lunch Truck even beyond their time spent on campus. Some have even gone almost every day from freshman move–in to graduation.

“We had a few come back on their wedding day and take a picture with us and all that,” Mrs. Bui says. “We catered one of my customer’s [weddings] also and actually drove the truck to the venue.”

Does she cater weddings on a regular basis? To that, Mrs. Bui responds: “Only

one. It was a special one and that’s it.”

While keeping calm during the craziness of the lunch rush would appear difficult to most, Mrs. Bui insists, “It’s easy!” She motions me inside the truck to prove that she has the operation down to a science.

It’s a quaint steel structure, one that has remained unchanged since the start of the business. Mrs. Bui in-

sists that I not take a picture because she hadn’t cleaned up for the day. She motions around to the small cashier station, the ingredients in a steel cooler with ice. She explains that this is the old fashioned way to cool ingredients, unlike modern generators.

Mrs. Bui makes it clear

Sophia Zhu | Staff Photographer that she doesn’t need any help running the business.

Given the truck’s successful 30 year history thus far, it will probably be open for 30 more with the exact same menu, name, and woman ready and waiting for any customer who comes her way at the same corner on 38th and Walnut.

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5

EGO

Religious Studies Chair Jamal Elias on Flamenco, 'Pub Bikes,' and Islamic Studies What do flamenco, cycling, and Islamic studies all have in common?

Calais Cronin A quick glance into the office of Jamal Elias, the chair of Penn’s Religious Studies Department, and you'd be hard–pressed to determine the color of the wallpaper.

Shelves teeming with books line the walls. A closer look around the office reveals several representations of inqui-

ry into worlds beyond that of West Philadelphia: a setar, a bicycle, a typewriter, books spanning the history and modernity of Islamic world.

These seemingly disparate items find their intersection here in this office, brought together by Jamal himself. So how did he—and his stuff—

Kaitlin Rowan | Photographer

end up here in Claudia Cohen Hall?

At his high school in Pakistan, he mostly studied science. During his first year at Stanford, he took a religious studies class as a distribution requirement. “Actually, to be perfectly honest,” Jamal admits, laughing, “I took it

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because I figured my grades weren’t looking that great. I thought it would be a GPA booster because I said, hey, I know all about Islam. Turns out I didn’t”.

Academic study gave his understanding of religion new dimensions. Approaching religion in the classroom setting was "so different from what I thought, from what you learn about religion from your life, from community and society and your neighborhood." Jamal felt "amazed at how kind of rich and complex it was."

From then on, he was hooked. Though he studied both Islam and Buddhism, he felt a connection with Islam in particular. Years later, that connection continues.

He recently published Alef is for Allah, a book about children in the Islamic world, and teaches his own course, Islam in the Modern World. In his classes, he hopes to broaden students’ views of the world and help them recognize that “people can be very different from you and at the same time very very similar.”

He adds, "I think people [at Penn] think that they are very different because the news keeps telling us that the Islam world is very different."

Outside of writing or teaching about the Islamic world, Professor Elias spends his time cycling and in the flamenco scene. He was a competitive equestrian as a child and for a few years at Stanford, until he made the shift to riding bicycles, which he likens to “a mechanical horse."

His eyes light up talking about the several bikes he owns: three racing bikes, a city bike he often rides to class, and a bike for pub crawls that he claims he hasn't used (yet).

Though he says he hasn't ridden seriously in years, he considers starting up again in the spring. He still trains with a high–tech bike at home, where he rides through virtual reality environments alongside friends living in Europe.

Jamal also plays the flamenco guitar. He has spent several months in Granada, Spain, where he loves the presence and appreciation of flamenco in the culture. To his dismay, “Philly doesn’t have a strong flamenco scene, certainly no guitar scene.”

But his beloved setar (a smaller version of the sitar) still sits in his office, across the room from his bicycle and surrounded by rows and rows of books.

MUSIC

Jefferson Airplane and a crash course in Psychedelia Reflecting on Marty Balin's legacy in psychedelia after his recent death.

Aleksei Kuryla

Christopher Kwok | Staff Illustrator Another rock & roll legend has passed. Marty Balin, frontman and founder of Jefferson Airplane and Jefferson Starship, left us on Sept. 27, 2018. He was one of those few artists who managed to carve out a new path for music and culture. He stood at the vanguard, carrying the flag of psychedelia, a sound and philosophy that would come to change the world. Now that he’s gone, we may continue the trend of blaming an artist’s death on the year and making his tragedy our own; or we can take a step back and try to honor him through his legacy. I favor the latter.

From the second half of the 1950s, Beat Generation writers like Jack Kerouac and Allen Ginsberg began writing on and about drugs, raising awareness of stimulants and hallucinogens. This trend continued into the early 1960s, when the idea of an altered consciousness started to really take off. It was during this time that novelist Aldous Huxley wrote his infamous essay "The Doors of Perception," in which he described, in excruciating detail, his experiences with interconnectedness and self–transcendence after taking two–fifths

of a gram of mescaline.

Jefferson Airplane was founded in the context of a budding subculture that revolved around the usage of hallucinogens to expand the reach of the mind. They explored the sounds that best explain and mimic the state of an altered consciousness and, in doing so, they became one of the first bands to play what we now recognize as psychedelic rock and psychedelic folk.

"White Rabbit," their first hit single, portrays some of the characteristics that would come to define the genre.

The song features “exotic” instrumentation in the shape of a Spanish rattle, a drone– like backing rhythm and allusions to Lewis Carroll’s Alice in Wonderland, which served as a medium to convey their surreal experiences on psychedelic drugs, while also bypassing radio censors.

As Jefferson Airplane grew in popularity, the sounds that defined the often misconstrued genre of psychedelia began to solidify in the public’s subconscious. Pink Floyd’s dissociative song structures, Jimi Hendrix’s deconstruction of harmonic conventions, The Doors’ (curiously named after Aldous Huxley’s aforementioned

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tions, The Doors’ (curiously named after Aldous Huxley’s aforementioned essay) Jazz–infused floating synths, and The Beatles and Beach Boys’ usage of modal melodies, surreally whimsical lyrics, guitar feedback, reversed tapes, and “exotic” instrumentation all helped mold the genre into what it is today.

All of these forces in the musical world came together in 1969. That year, Jefferson Airplane would be the headliner in two key historical music festivals, one of which would mark the climax of the psychedelic movement in all its glory, while the other would mark the beginning of its decline. Drug culture and rebellion became one and the same in the second half of the 1960s. The New Left, hippies, and Civil Rights advocates all converged at the Woodstock Festival of 1969, a celebration of peace and opposition, and a massive success for the counterculture. However, in a failed attempt to replicate that same sense of communal coexistence, things turned sour at the Altamont Free Concert in California, where racial tensions, the unfortunate hiring of a biker gang as security, and widespread panic resulted in the death of four innocent lives.

What had previously been a place for interconnectedness between all members of the counterculture became a place of division, and the ideals that held all of its factions together were put into question. This marked the decline of psychedelia as a culture and as a genre.

Nevertheless, the influence of the movement lived on in future generations, mainly in the shape of progressive rock. Many of the bands that started in psych rock moved on to prog, as was the case with Pink Floyd and Jeffer-

son Airplane’s reincarnation in Jefferson Starship. King Crimson’s "21st Century Schizoid Man" best exemplifies the influence of psychedelia in the progressive rock era. One that would reach across borders and lay the groundwork for German krautrock and Brazilian tropicalia.

The influence of psychedelic music also had a great impact on black musical tradition. Jimi Hendrix’s popularity is partially responsible for the creation of two subgenres: psychedelic soul and psychedelic funk, also known as P–Funk.

When it comes to psychedelic soul, it brought with it the rebellious sensibilities of the 1960s counterculture, and bands like Sly and the Family Stone demonstrate how the philosophy of psychedelia lives on in their music, which is layered with social commentary. And when it comes to psychedelic funk, George Clinton is the man that defines the genre. His influence was so powerful that the etymology of the term P–Funk is debated between stemming from psychedelic funk and Clinton’s sister–band collective Parliament–Funkadelic, both of which incorporate the oscillating electric guitar licks that they inherited from Hendrix.

And now, we’re seeing yet another revival of the sound that Marty Balin helped create, in the shape of neo– psychedelia. This psychedelic renaissance has kept the heavy sound distortions and references to tranceinducing experiences typical of the 1960s expressive style.

So, next time you’re listening to The Flaming Lips, Animal Collective, Deerhunter, Tame Impala or even MGMT, know that Marty Balin helped set the stage for their modern classics.

ST YLE

Your Philly Halloween Costume Shop Roundup Feeling behind on the costume game? Check out these stores to ensure You have the best Halloween yet.

Ryan McLaughlin

you just walked off the set of a Hollywood movie. Pierre’s also offers custom costume services, so if you can’t find the perfect costume around town, they’ll sit down with you and help you execute the costume of your wildest fantasies in person and make changes until you are totally satisfied. If you want to stand out from the crowd this Halloween, definitely stop by 211 North 3rd Street and have Pierre’s deck you out.

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the Halloween expo of Philly, dedicating the whole store to the spooky holiday. Spirit has every costume you could possibly imagine: witches, zombies, werewolves, superheroes.

They even have a whole section dedicated to TV, movie, and gaming characters. Want to dress up with your new boo? There’s a whole section dedicated to couple costumes.

Planning to dress up with your floor, but struggling to find some inspiration? Group costumes are a Spirit speciality.

They even have a whole section for pet costumes if you’re looking to take out your house pet as well! So if you’re looking for a spot to start shopping or even just come up with an idea for your first costume, Spirit is the place to check out.

Masquerade Costume Supercenter 1100 S Christopher Columbus Blvd Another large costume store much like Spirit, Masquerade is a great place to put together any sort of last minute costume. With every accessory you could imagine from pirate hats to sections dedicated to each decade, you can put a whole costume together upon

costume shops, many think of large stores with a variety of cheap costumes that allow you to buy and instantly assume a new persona, but Pierre’s isn’t the traditional costume shop.

Staffed with professional seamstresses and college–educated costumers, Pierre’s is here to take the costuming game to the next level. They offer millions of hand–made costumes to buy or rent for this Halloween, from circus ringleaders to astronauts, making it look like

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With Halloween sneaking up on campus, it seems that everyone is already scrambling to figure out the many costumes that they are going to don for the spooky season. While just coming up with ideas is one aspect of the holiday, executing the costume perfectly is the other crucial part of ensuring the perfect Halloween. It can be time–consuming, jumping from store to store, looking for each and every element, and if not taken advantage of soon enough, store shelves can be completely cleared, leaving you with limited options to dress up. However, Philadelphia has you covered this Halloween for any costume that you could possibly imagine with costume stores all over the area, so if you need to find a place to help you with the costume (or costumes) of your dreams, make sure to check out these stores: Spirit Halloween 1218 Chestnut St Located in Center City on Chestnut Street, Spirit Halloween has everything you could possibly need for anything Halloween–related.

From whole costumes to accessories and decorations, Spirit is

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Sofie Praestgaard | Photographer

walking into Masquerade.

While the selection may not be as large as Spirit, the store, located on Christopher Columbus Boulevard, has all the Halloween staples to make sure you’re covered costume–wise. It’s the perfect spot to pick up multiple accessories to help prepare you for the whole Halloweekend.

Pierre’s Costumes and Mascots 211 N 3rd St When you think of Halloween

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We Tried Every Vendor in Houston—Here's What We Think What the $15.15 million renovation tastes like.

This summer, Houston Market went through serious renovations and opened several new vendors, in addition to updating fan–favorites. We tried every station in Houston during the lunch rush. Here’s what we thought of each place based on the quality and healthiness of their food, and whether or not it's a bang for your buck (or dwindling Dining Dollars balance):

Ginger @Spruce!

A Mongolian grill stand that lets you customize

vegetables, base, and protein options, along with sauce and garnishes. Think Honeygrow that you can bursar. While it was a nice addition to be able to watch them build and cook your meal in front of you, it had some drawbacks; it took a long time to get our food, and it wasn’t during a particularly busy time. Definitely should not be your first choice if you are stopping in between classes, but by far the best value meal we tried.

WHAT WE ORDERED: BYO bowl with rice noodles,

seitan (vegan protein), an assortment of veggies, and teriyaki sauce, topped with green onion and sesame seeds.

QUALITY: It’s a build your own stir–fry bar, with several unique protein options and a range of fresh vegetables, which in theory gives you a lot of freedom to customize your meal.

VALUE: Our order came to just over $10, which is less than Honeygrow, and included six vegetable options, compared to Honeygrow’s three. Incredibly filling, I only

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llie S d finished half of oul h ap G ir o the serving, ice l A so definitely By worth the pricing.

HEALTHINESS: Though it sounds like it would be healthy in theory, what with the half dozen vegetables and lean protein options, the dish we were but those in line with us were handed had been cooked in raving about the hummus a substantial amount of oil. grain bowl. The smoothie was Very greasy and heavy, it gave incredible—it wasn’t too sweet us reheated, day–old takeout but also didn’t taste aggresfrom a Chinese place, vibes. sively of vegetables. We may have finished it in under three Ivy Leaf minutes.

This salad bar specialVALUE: The smoothie was izes in made–to–order salads $7, which could have bought and grain bowls, all with a us a full meal at a cheaper Mediterranean twist. Custom- stand, but you’ll be pressed ers can top their salads with to find smoothies for cheaper falafel, hummus, or chicken, elsewhere. and there are also rotating HEALTHINESS: By far soup options. The stand–out the healthiest option in the items on the menu, howplace. The smoothie was made ever, are the made–to–order with fresh fruits and veggies, smoothies from from your not a mix or a concentrate. traditional fruit and veggie Houston Grill combos to dessert drinks like raw chocolate strawberry. We Surrounded by artisan asked, and the most popular flatbreads, gourmet gelato, option is the green apple. and colorful salads, Houston WHAT WE ORDERED: Grill serves food that's more Green Apple Smoothie, made reminiscent of a trip to Comwith spinach and almond mons. But if what you’re cravmilk. ing is a burger and fries, look QUALITY: The salads no further. It specializes in looked a little sad and sparse, fast food, though from looks

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alone, the options leave a bit to be desired. While it will by no means transport you back to your Fourth of July barbecue, it’ll fill your junk food cravings.

WHAT WE ORDERED: Sweet Potato Fries.

QUALITY: Far from the best fries I’ve ever had. They were limp and a little soggy, likely because they’d been sitting under heat lamps for the better part of the lunch rush.

That being said, fries are fries, and we definitely polished off this side order.

VALUE: For only $2, the fries are cheaper than the bottle water served at the same station.

HEALTHINESS: They’re fries. But sometimes you’ve got to treat yourself!

Pi This stand specializes in all things Italian. They have tons of options: various types of pizza, rotating styles of flatbreads that change once a week, and a pasta bar where you can customize your order.

Their generous portions will easily power you through your day's five-hours worth of classes.

WHAT WE ORDERED: Pulled Pork Flatbread QUALITY: This week's ro-

tating flatbread was a pulled pork, cilantro flatbread. The meat was extremely juicy, the barbecue sauce was sweet but not over-powering, and the onions were well-cooked. The flatbread was a little crunchy and hard towards the outer sides but had perfect consistency otherwise. Overall, this was a really yummy and filling choice!

VALUE: At only $4.99 (the same price as the ice cream), this flatbread was extremely large and filling.

HEALTH: Obviously if you’re looking for a healthy option, pulled pork flatbread isn’t the way to go, but sometimes you just need carbs and meat in your life.

34th Street Carvery Hosting all types of sandwiches, made with fresh breads, different meats, and cheeses, these are a great choice for taking to eat outside and picnic on the stairs of Penn Commons. Unfortunately, we were not blown away by the sandwich and the sides that this vendor offers.

Lacking flavor and creativity, this definitely would not be our go-to in Houston.

WHAT WE ORDERED: Caprese Sandwich QUALITY: The sandwich, despite looking appetizing at first

glance, had disappointing flavor. To put it simply, it was bland. The sandwich was also pretty oily, causing the bread to be soggy. We got coleslaw on the side and it also was lacking flavor. All around, not a great choice.

VALUE: This sandwich was $10.99 and not that big, so it is pretty expensive for what it was.

HEALTH: Definitely not the greatest choice among the bread, the pesto, the oil, and the cheese. The side of fruit that you get won't save you here.

disappointed by the gelato — we went with the simple stracciatella (a fancy way to say vanilla ice cream with chocolate chips), which wasn't as creamy as I had hoped and also not a generous enough portion for the price. But the pastry, outsourced from Balthazar, was amazing — perfectly sweet, crispy on top with a dusting of sugar, and full of gooey Nutella.

VALUE: I’m still not over how this ice cream was 5.5 dollars! Definitely not

worth it. The pastry was really small but so delicious that for me, it was worth the price.

HEALTH: It's ice cream and pastries — what do you expect?

Houston Market is open Monday–Thursday from 11 a.m. to 7 p.m., Friday from 11 a.m. to 3 p.m., Saturday from 11 a.m. to 3 p.m., and Sunday from noon to 7 p.m.

All stalls in the Market’s atrium accept Dining Dollars, Penn Cash, and bursar.

The Market Cafe This small cafe definitely looks and feels a little out of place amongst the bustling lunch-and-dinner vendors, especially because it used to be physically located above the rest of the market. However, they have plenty of yummy dessert and coffee options.

Just be prepared to pay a large price for something pretty small.

WHAT WE ORDERED: Gelato and rugelach (a small chocolate, doughy pastry that is originally a Jewish dessert) QUALITY: I was pretty

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The allocation of space—particularly on a campus location like Locust Walk—is inherently a political issue, a story of Penn’s values and history. It’s also an issue of privilege—who is worthy of space, and who controls it.

Not Going Anywhere:

But the fraternity came back to campus, to the building Psi Upsilon still owned, in 1997. Then–president of Penn Sheldon Hackney said that the choice to house a non–fraternity in "The Castle" was a move towards "diversifying the Walk…saying the center of campus is dominated by white, From tax exemptions to prime real estate, how fraternities continue to dominate male fraternities."

Castle returned to its on–campus the heart of campus—and why the topic is so hard to report on. house in the summer of 1998. The program was moved to the 12th floor of a high rise. Penn's OFSL director at the time said “I’m very supportive of allen leaves press themselves into exposed brick as quired parsing Daily Pennsylvanian archives from before World the Community Living and Learning Service Program… but the students rush to class on Locust Walk. In Penn lore, War II to find around 100 total words, poring over land deeds to house was built by Psi U and they've been an institution at Penn Locust is shorthand for everything that’s idyllic and col- find purchase dates and prices, and digging into city property tax for a long time.” legiate about campus—academic buildings, community, coming records. More labor–intensive still was talking to Penn administraFraternities get prime real estate, often at the expense of groups together. But look a little closer and you’ll notice something: the tors, who provided referrals to each other in a loop that at times that cater to the student body writ large. Curie Shim (E’20), the center of campus reads like a litany of Greek letters. seemed infinite and defeating. And even pieced together, all of the Chair of Penn Association for Gender Equity (PAGE), sees fraPhi Delta Theta, Phi Gamma Delta, Delta Phi. Passersby take available information hardly answers any questions. ternity housing as an indicator of the University’s priorities, parphotos bathed in the holiday lights outside of Kappa Sigma. Psi ticularly in comparison to the space allocated to cultural centers: Upsilon is the backdrop of every photo taken in front of the LOVE “When PAACH and La Casa [Latina] and Makuu each have one statue.

Politics of Space room and each fraternity has a whole building on campus, what Since Penn transitioned from being mostly a commuter school The allocation of space—particularly on a campus location like does that say about how the university views these groups?” in the late 1800s, fraternities—and their houses—have become a Locust Walk—is inherently a political issue, a story of Penn’s valShe adds, “I can’t think of any other group that has that kind of central part of the physical and cultural landscape of the university. ues and history. It’s also an issue of privilege—who is worthy of priority on campus.”

But that doesn’t mean Penn administrators, or many students, are space, and who controls it. willing to talk about why or how the system works.

From a common–sense perspective, the idea that fraternities The systems in place to protect fraternities are deeply en- have physical preference over campus’ most heavily trafficked The Subsidization Question trenched in bureaucracy and are often difficult to navigate, from walkway, that they can throw parties in their yards by the ComData from the OFSL website says that “there are 32 official frathe politics surrounding fraternity real estate in the center of cam- pass, that their proximity to the center of campus is much closer ternity and sorority chapter houses on the University of Pennsylpus to the circuitous insurance policies that keep liability from fall- than many cultural centers, has an indelible effect on the social and vania's campus, 24 of which are owned and operated by the Uniing on national chapters. cultural climate of campus. versity in conjunction with Campus Apartments, and 8 of which This October, there’s been mostly silence or obfuscation around The Greenfield Intercultural Center—catering to first–genera- are privately owned or leased by their respective organizations.” the issue, from the Vice Provost for University Life (VPUL) the tion, low–income students, Native students, and many other com- Ownership structures get messy for many different reasons, but Office of Fraternity and Sorority Life (OFSL), and Facilities and munities—is relegated blocks off campus at 37th and Chestnut one major issue is taxation.

Real Estate Services (FRES). And individual fraternity members Streets. Makuu, La Casa Latina, and Pan Asian American ComIn 2017, Emily Hoeven (C‘17) published an opinion column have split loyalties: to their friends in their organizations, to the munity House (PAACH) share the bottom floor of the Arch Build- saying, “to occupy the center of campus, you better pay up.” Since school, to the national chapter. Many of them don’t particularly ing. The LGBT center sits far on the west corner of campus. then, the debate around whether Penn fraternities benefit from want to talk. An email to the Inter–Fraternity Council (IFC) came In 1990, members of Psi Upsilon (Castle) reportedly kidnapped financial protections and systems instituted or permitted by the back with a referral to speak to individual members, and Reginal a brother of Delta Psi (St. A’s). Penn subsequently banned Castle school—has been at the forefront of the conversation around fraMurphy (C’19), the IFC president, did not respond to multiple re- from campus. Their house, in a prime location near College Hall, ternities on campus. quests for an interview. was unused. In the years following, the space housed a Penn resiWhat had happened was, in 1926, Penn couldn’t house enough Reporting this story spanned March to October of 2018. It re- dential program focused on community service. students in campus dorms. So the University struck up a deal with

Frats and the Fight for Space on Locust

F

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Jake Lem | Illustrator fraternities: they would allow non–affiliated students to live in their privately owned frat houses. In return, the University would buy the properties at less–than–market value and instituted a buyback clause: should the fraternities not need to house non–affiliated students anymore, the organizations can buy back the property for $1.00.

VPUL says that they are “unaware of any instance where the reversionary right [buyback clause] was triggered or exercised.”

But regardless of whether the right was ever invoked, some public–use spaces on campus were once fraternity houses. The Penn Women’s Center is perhaps the best–known example, as is the Jaffe History of Art Building.

Land deeds from Penn’s project Mapping Penn and the City of Philadelphia allude to parcels of land purchased under the the terms of what was called the “Fraternity Dormitory System.” This system allowed non–affiliated students—up until the 1980s—to live in fraternity housing. Fraternities counted as dormitories to supplement a lack of residence halls in the middle of the 20th century. And in return, Penn bought land titles around the buildings and assumed financial and operational responsibility.

The tax exemption was—and still is—in effect because, as titles belonging to the University, the frat houses constitute “real estate used for educational purposes.”

Though not explicitly stated in the deeds, the system also shunted property taxes for these prime locations onto the University’s balance sheet. To defray the property tax costs, the University lobbied local government to accept a tax exemption, which passed in 1938 after 12 years of debate. Penn–owned fraternities no longer incurred property taxes on their houses in the middle of Locust Walk.

VPUL confirms that, currently, “University–owned fraternity houses are not subject to real estate tax.”

Follow the Money VPUL did not grant an interview in April. They instead provided an information document created last semester for another writer and referrals to other Penn departments.

In these written answers from April 2018, Penn gave an unequivocal “no” to that writer’s questions about subsidies, repeating that “Penn does not subsidize fraternity houses” three times in a three–page document.

To look at what constitutes subsidizing—and how a school can support Greek houses without direct subsidies—it helps to follow the money.

Penn doesn’t pay rent for fraternity brothers, nor do they get a

kickback every semester from the University. The real relationship is more subtle and comes down to institutional support and grandfathered–in clauses that give fraternities, and their houses, priority on campus.

The Executive Vice President’s office explained that “revenue generated by each Greek chapter house are pooled and stays within the collective Greek housing portfolio. This pool includes rent and out–of–house fees.”

But what is the portfolio? Who has access to the money, and is it at all augmented by University funds?

Executive Director of FRES Ed Datz responded to a question about the pooled portfolio by saying that “The 22 [fraternity] houses function as a unit,” and that different departments interact with the fund in different ways. FRES deals with operations and capital improvements, and VPUL/OFSL with programming, “in conjunction with the alumni groups.”

The money comes from dues and rent from individual Greek organization members but is pooled together—if something needs fixing at one Greek house, money from the collective fund can be used to those improvements. As for insurance, Ed says, “that’s more complicated.”

Some fraternities (eight Greek houses in total) have houses that are owned and operated by alumni or independent foundations.

This introduces another stakeholder, the alumni foundations that own these houses and fund their operating budgets. One such house is Delta Psi, more commonly known as Saint Anthony’s Hall, which draws funding from an organization incorporated as a charity. In other words, they're tax–exempt The St. Anthony 1907 Foundation has been tax–deductible since 2003 and is solely dedicated to “to restore and preserve of the historically and architecturally significant structure located at 3637 Locust Walk.”

Their most recent Securities and Exchange commission filing shows contributions of $463,024. Because it’s not owned by the school, Philadelphia property taxes still apply, and the funding comes from charitable donations.

Penn doesn’t own the space, and with that lack of ownership comes a lack of control over a building central to campus.

Fraternity Insurance Another system surrounding fraternity life that's difficult to access information on is insurance.

The former national director of Delta Kappa Epsilon, David K. Easlick, is now an expert witness and lawyer in fraternity hazing and risk management. He’s also one of the few people who knows fraternity insurance clauses inside and out. And much like taxes

and real estate, the system is confusing and purposefully opaque.

In a conversation this spring, he explained that fraternities operate much like big businesses at the national level—many of them are actually incorporated under 501(c)(3) designations. But fraternities only began to comport themselves like businesses after a huge restructuring in the 1980s.

Enter the Fraternity Insurance Purchasing Group. Boring name, but if there’s an inflection point that defined the modern fraternity system, this is likely it. Though the group never purchased any insurance, it did set up a 50–page risk management code that persists to this day. It is “10 basic standards that are,” to David, “utterly unenforceable and totally ridiculous.”

It was after the adoption of this code that one of the biggest technicalities in fraternity history came into play. “The insurance company takes the position that it won’t insure an illegality […] and there is nobody in these fraternities actually performing an act that is going to cause problems that is obeying the law. So, they are uninsured. The only entity that is insured […] is the national.”

In this system, individual undergraduates don’t benefit from the protections of the insurance they purchase—instead, it benefits the national level, the system at large.

It’s emblematic of how fraternities function: codified, constructed for the benefit of the organization at the expense of the individual, and extremely hard for the average observer to understand.

So, What Now? Reporting on fraternities and the many bureaucracies that entrench them in campus life is hard, often defeating work. But it needs to continue as long as these buildings occupy the physical and cultural center of campus. And even after frats leave campus, their influence often remains.

Penn’s chapter of Skulls still owns the building where, in 2011, a young man fell at a party and later died. They were later sued by his family for negligence and wrongful death. The chapter was forced off–campus and went underground, leaving an open building at 3539 Locust Walk.

Now, Penn Violence Prevention is headquartered there. To use the space, the director of PVP says that they still pay rent to Skulls.

FRES didn’t reply to an email inquiry.

ANNABELLE WILLIAMS is a junior in the College studying English, from Chester Springs, PA. She is the Assignments Editor for Street.

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BORN THIS WAY: LEGACY ADMISSIONS AT PENN Alumni connections, application advice, and all the other advantages legacy applicants have over their peers.

BY ANDREAS PAVLOU

O

Jess Tan | Design Associate 1 4 3 4 T H S T R E E T M A G A Z I N E O C T O B E R 17 , 2 01 8

f Penn’s Class of 2022 early admission applicants, 25 percent benefitted from preferential admission. These students had better access to Penn’s campus, contact with admissions officers, and a better understanding of the college application process. Their parents and grandparents call Penn their alma mater, and often their siblings do too.

Legacy students in many ways are primed from birth on how to tackle the precipitous hurdle that is elite college admissions. They grow up hearing about Penn from their families, with access to priceless insider information before they even apply.

Oftentimes their parents supply them with faculty connections that lead to pre–university internships, or administrative connections that give them an edge in their applications. On top of everything, being a legacy means that they most likely will grow up in economically secure environments with tutors and college counselors.

Students, parents, and high school guidance counselors are obsessed with figuring out just how much family ties influence admissions. There are theories about tie–breaking arguments, donations, and a specific affinity admissions officers have for families who love Penn. Still, nobody really

knows what goes on behind the doors of the admissions office.

Anika Ranginani (W’19) a non– legacy early admit, says “I didn’t see myself at a particular disadvantage relative to anyone else, but I did know, even at that point, that college admissions are kind of a crapshoot. I wasn’t expecting anything out of it.”

She applied to Penn assuming that she would not get in.

But college admissions practices are anything but a crapshoot. They are historically methodical and prone to controversy, especially within the Ivy League. It’s especially topical today given how the lawsuit against Harvard University has dominated news cycles.

Put simply, Asian American students are alleging that Harvard’s race–conscious admissions policy discriminates against them. While preferential treatment for children of alumni has always been common practice in elite schools, it only began to be controversial with the advent of anti–discriminatory practices in the 1960s.

In an effort to reduce the number of Jewish students, Yale University passed a resolution in 1925 that stated that admissions shall not place a ceiling on the number of admitted legacy students who satisfy all requirements for admission. By 1931, Yale’s freshman

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class went from being 17% legacy in 1925 to 30%.

In the 1960s, however, with the introduction of affirmative action laws Yale began to admit more diverse applicant pools. In 1968, 8% of the freshman class identified as Black, versus 2% of the class in 1964.

However, as one of the first schools to adopt affirmative action policies to admit more Black, Latinx, and Asian applicants, Yale University felt the wrath of alumni who felt that the university had alienated them with these new policies. In 1968, the percentage of legacy applicants accepted at Yale was 44%, lower than both Harvard and Princeton. Then, in 1969 the legacy admission rate dropped to a record low, 36%. Disgruntled alumni spoke with their wallets: between 1967–1969, Yale saw 1,100 fewer donors to the alumni fund.

Today, cracking the code to legacy admissions—and college admissions in general—is on the minds of millions of Ivy League hopefuls. Brian Taylor, the Managing Director of college consulting service Ivy Coach, doesn’t think that decoding legacy admissions at Penn is rocket science. Like what Yale saw in the 1960s, it all boils down to one thing: money.

“By admitting the children and the grandchildren of people who attended that university, it inspires alumni to donate to their alma mater,” Brian explains.

“They donate to their alma mater in many cases for years, and for many cases in large sums and it’s not just that it’s out of the goodness of their heart.”

In many cases, Penn alumni may donate to secure their children and grandchildren one of the few spots—2,518 for the Class of 2022—in Penn’s freshman class. Penn Admissions declined to comment on the matter, but Liz Culliton, a counselor at college consultant InGenious Prep and a former Penn admissions officer, has a more complex explanation.

Photos by Sophia Zhu

DANIEL KRANSLER In Liz’s experience, Penn Admissions and Penn’s Development & Alumni Relations Office do not have access to each other's information, so understanding the relationship between alumni donations and legacy admissions was difficult.

“I think that if you see that correlation, I can’t specifically say it’s a coincidence, but I can’t offer you an explanation that comes from my experience,” Liz says of the link between donations and admissions.

Liz believes that getting into Penn as a legacy is less about your family and more about how they’ve influenced you. If your parents went to Penn and you’ve grown up hearing about it, you probably know more than someone who has only read the admissions brochure.

That means when it comes down to writing your Penn application essay, “a legacy kid just had the chance to think about it for a lot longer,” Liz says.

For many legacy students at Penn, that is very much the case. Alexandra Jackman (C’21) practically jumped out of the womb singing the Red and Blue—her parents, grandfather, aunt, and uncle all went to Penn.

Alexandra says that her parents never pushed her to apply, but hearing positive stories about their college experience, growing up in nearby New Jersey, and doing a summer internship at Penn didn’t hurt when it came to writing her application.

Legacies like Alexandra enter the admissions process armed with information about Penn that is not explicitly secret but may

ANIKA RANGINANI

not be accessible to non–legacy students and students of different backgrounds and cultures. Anika, whose parents immigrated to the US from India, grew up without the plethora of information about Penn that legacy students typically have.

“Even though my parents are both very educated and smart, they grew up in a very test– focused environment and they wouldn’t know that actually pursuing your passions is a way to get into college in the US.” Anika says. “Understanding some of those cultural dynamics would probably help you advise your hypothetical future kids in terms of how to approach the application process or know things you can do to help them get an advantage.”

Concern with legacy admissions also revolves around who doesn’t get in as a consequence. Legacy admissions benefit white students more than others—historically, alumni of elite schools like Penn are disproportionately white, so legacy admissions policies will disproportionately benefit their children, putting first– generation low–income students and Black and Latinx students at a disadvantage. But Brian thinks there is room for legacy admissions policies to benefit underrepresented groups in the long run.

“The interesting thing is, we are all in favor of ending legacy admission. [But] the children of underrepresented minorities who graduated from schools like Penn are coming of age. So to end it just at the time when they can

ALEXANDRA JACKMAN

finally benefit as their Caucasian peers have for decades, well, some might not like that.” Brian says. “Why shouldn’t Black and Latino students get the advantage their Caucasian peers have for decades?”

Unfortunately, future generations of students won’t change the disparities that exist today. If legacy families’ donations are giving certain applicants a leg up in admissions, traditionally underrepresented groups are still at a disadvantage in this regard.

Alexandra is sure that she got into Penn on more than just her family name. “I do think that I worked so hard to be here and I’d like to think that regardless of if my parents went here that I would still be here.” Alexandra says. “I’m so appreciative to be here but I do know that the fact that I have family who went here did help with the application process.”

In Daniel Kransler’s (C’19) case, being a legacy undoubtedly helped him get into Penn. Daniel, whose parents and sister are alumni, applied regular decision and was waitlisted. Considering that just 3 to 8 percent of waitlisted students are expected to gain attendance at Penn, there isn’t usually much reason to be hopeful about it. But Daniel had an in.

“Once I got on the waitlist I sent a nice long email to the recruiter and three days later I got off the waitlist.” Daniel says.

“It was some person in Penn admissions that I only knew because of legacy connections.”

There’s an element of confidence and ease that some

legacy students have, which contrasts sharply with the anxiety many non–legacy high school seniors face when applying to college. These students grow up with the assumption that hard work and good grades will afford you admission to the school you desire. Once they enter the system, they realize that this ideal doesn’t paint the whole picture of admissions.

“I would argue for more transparency surrounding legacy process rather than its utter removal, because right now we just don’t know and I think the fact that we don’t know its just concerning,” says Anika.

At the end of the day, legacy isn’t really going anywhere, and students at Penn know that.

Maintaining alumni relations is important for colleges, not only for prestige, but financially as well. For Alexandra, college admissions is just a game where you have to play your best cards.

“You do what you have to do to get into this school, you use whatever resources you can.”

Alexandra says. “This is definitely not my parents but if someone’s parents were able to donate money and then get into this school, why wouldn’t you use it?”

Occasionally, schools are forced to face the consequences for their less–than–transparent admissions practices. Affirmative action at Harvard is under fire by Asian Americans right now, and maybe legacy is next.

Andreas Pavlou

is a senior in the College from Elmont, New York. He is the longterm features editor for Street.

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'I'I Feel Feel Bad' Bad' is is better better than than itit seems seems

My favorite thing about Emet is that she isn’t mean. The title suggests the guilt that so many women feel in their day– to–day lives, as wives, as mothers, as daughters. She loves her husband and has to balance that with caring for herself; she adores her children and has to figure out when she needs to be harsher. The tricky balancing act is the focus of the second episode (“I Get Sick of Being Needed”), and the truisms within it shocked me upon first watching. Here is a working woman who is struggling to keep her life in balance, but that is not the butt of the joke: it is the premise for which the details of Emet’s character, as well as the constant struggle of women, are shown without being heavy–handed as a social commentary.

In fact, none of the show feels heavy–handed. Many recent comedies focusing on the lives of working women often come off this way (see: The Bold Type) but I cannot roll my

eyes at I Feel Bad because it is so utterly realistic. Emet does not react to the casual sexism of the workplace with loud indignation or with quiet acceptance, but rather, she makes a comment and moves on. She reacts to things the way many women do.

This is not to say that feminism is entirely ignored. It seems to be a given that Emet is a feminist, to which other men (particularly those in her workplace) try to shoehorn themselves into. “It was pretty anti–feminist to refuse Lily to the dignity of her choice of dance. Talk about keeping women locked in a hegemonic power structure,” says Norman (one of three colleagues who is shown as catalysts for Emet’s unfortunate plans). It is funny because it is a man lecturing a woman, somewhat casually, on feminism. Emet shrugs him off, saying that she’d love to discuss the matter at another time, but she’s a little tied up in something right now.

What makes Emet most different from various sitcom mothers is that she is multidimensional, rather than seen only as a mother. She exists outside of her husband and outside of being a mother. In her workplace, she is still both of those things, but she is not defined by them.

It is clearly a reflection on how women (particularly women of color) engage with the world of white men, shown in Emet’s interactions with her colleagues, and also how women engage with themselves.

But this is not the whole point.

I call it a reflection for a reason.

The point is that we are seeing the story of a woman, a wire stretched thin, who indulges in herself sometimes and feels guilty for it, but the message is always that she shouldn’t. I Feel Bad tells us that we shouldn’t feel bad for being ourselves and for putting ourselves before others: we should simply accept it and carry on.

NBC's newest offering has the premise of a bad sitcom, but it shines through it.

ANNA COLLINS I Feel Bad, on paper, looks like it should be a bad show.

Perhaps I’m a pessimist, but when I see the phrase “hard– working mom juggling her work with her home life” or “modern feminist take,” I recoil with distrust. There are implications that have been ingrained in me at a young age: I imagine white women with their blonde hair pulled into a messy bun, ordering their children around without any semblance of positive parenting techniques. This woman’s power is in her meanness, which is a narrative not just pushed onto mothers, but white women in general. She is not nice, organized, or caring. She is a Powerful Woman who has Control of Her Life, or, perhaps, she does not have Control of Her Life, but she

has no control in a Sexy–Depressed Way. I Feel Bad is none of that. It is hard to explain the premise of the show without making it seem like many other miserable sitcoms out there: Emet (Sarayu Blue) is, in fact, a hard– working mom juggling her work with her home life, and the show, indeed, is a “modern feminist take.” The differences are in the details: she works as a video game designer surrounded by men (instead of the vague executive job these Powerful Women are always given) and does not parent her children by means of bullying them. She is Indian–American, and neither she nor her parents are some outdated stereotype.

She cares about many, many things deeply, but struggles to balance her priorities.

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FILM & TV

‘Big Mouth’ Season 2 Reaches Greater Depths Without Losing its Edge Zovinar Khrimian In its second season, the Netflix original comedy has more to offer than just shock value.

Delivering a healthy dose of reality in unexpected ways is what good comedy does. It takes the truth, reimagines it along the lines of a joke, a situation, or a story, and, if timed just right, results in uncontrollable fits of laughter. Sometimes, it also makes us think, and in the case of Netflix’s Big Mouth, it makes us remember.

In its second season, this animated and irreverent exploration of puberty employs absurdity to tackle real–world issues, the pain and perils of growing up, and all that

adolescence can teach us about the world. What was already a successful piece of television for its sheer ability to walk a fine line of tolerable vulgarity and ridiculousness has become a lens for reflection on life’s messiness.

Big Mouth is a tough show to define. It seems to fit the criteria for most contemporary “adult cartoons,” but is centered around junior high students. Who is it for, really? Why does John Mulaney seem to voice every supporting character? Why should I, a col-

Courtesy of Netflix

lege student attempting to claw my way out of adolescence alive, care to reflect on the very painful beginning of the end of my childhood? The effectiveness of Big Mouth needs to be seen to be believed.

At the most fundamental level, Big Mouth is a shameless, inventive second look at puberty through the lens of an absurd animated comedy. The main

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characters, Nick (Nick Kroll) and Andrew (John Mulaney) each struggle with a unique set of issues regarding their coming–of–age, relationships with their families, and their school lives. Their storylines weave in and out of those of the extended community of their classmates and beyond. It is from an ordinary premise that blossoms a truly strange, but ultimately rewarding, piece of television. The bizarre mechanics of the imaginary Westchester County, where the lives of middle schoolers are tormented by hormone monsters and the Shame Wizard, are the driving force of the show’s comedic thrust, which is up to par with its ability to capture the timelessness of adolescence.

The first season of Big Mouth intended to be uncompromisingly disgusting. There is a certain underlying shock value of the show’s no–stone–left–unturned approach that propped up its comedic jaunts. Big Mouth was, and still is, a risky show because its storylines stem from the gray area between childhood and sexual maturity. Does it ever go too far? That really depends on one’s personal sensibilities towards the coming–of–age genre. In the world of the internet, it doesn’t seem realistic to assume young teenagers exist in a sterile, censored world. Furthermore, season two justifies its approach in the material that the show tackles. It has significance beyond the scope

of adolescence and resonates with the challenges of adult life.

The show’s absurdist tendencies, uncensored, in–your–face vulgarity, and offbeat musical numbers need a little getting used to. But between all the bumbling ridiculousness, Big Mouth is a thoughtful, well–written take on how a universal experience fits into the framework of modern society. In its second season, Big Mouth expands beyond the physical changes that make puberty the awkward, challenging phase of life that it is, covering the vast array of social and cultural implications of growing up. There are in–depth reflections on the feelings of loneliness and shame that infiltrate adolescent life, story arcs that address objectification, slut–shaming, and the isolation felt by those in the LGBT community, as well as wider–reaching reflections on friendship and identity.

For fans of Big Mouth’s first season, there is plenty of nonsense involving sex with pillows and elaborate dick jokes to enjoy in the ten new episodes. However, beyond all that sophomoric, gut–busting fluff, Big Mouth has an eye on something truly meaningful about change and its tremendous ability to influence self–image and self–acceptance. In Big Mouth, reflecting on puberty is both a tool for comedy and for us to remember what it means to stay true to ourselves as we power through life’s great transitions.

FILM & TV

The new movie, released October 12, is more than just Chris Hemsworth's shimmying abs.

rected by Drew Goddard, the film resonates with the cleverness of his other works, such as The Martian, World War Z, and The Good Place. Just when you think you’ve figured out what’s going to happen next, Goddard twists the plot and keeps you at the edge of your seat. Multiple times, I fell victim to jumpscares, and the film successfully tugged my heartstrings. However, the movie’s pace is uneven throughout its long length of almost two and a half hours, and by the halfway point, my sense of excitement started to fluctuate.

Expect acting that’s no less than superb from each member of the star–studded cast. Bridges effectively portrays Father Flynn as a determined, yet pitiful aging man with one last duty to fulfill.

2206 Washington ave, Philadelphia (215) 546-7301 Hemsworth’s ridiculous portrayal of Billy Lee has him shimmying shirtless and spouting nonsensical speeches, providing the film with a psychotic undertone.

WE DELIVER However, the scene stealer—the of 27th and South St. (215) 546-7301 soul of the movie—has to Corner be DIRECTIONS: East on Chestnut, newcomer Cynthia Erivo, who springfieldbeer.net right on 23rd, right on Lombard had previously starred in and F F E E BY won a Tony Award for the BroadO C way revival of The Color Purple.

Erivo’s Darlene Sweet is a ferocious heroine. Disillusioned by the controlling men in her life, she perseveres, unwaveringly, and sings her truths in spectacular musical numbers.

When the movie ended, I sat through the credits, listening to Erivo sing her last song. This film is not your typical murder mystery; it’s an intense reflection on society, a revisit to the not–so “good ole days” of the '60s, and an homage to the timeless cult classics. Inventive, delicate, and inquisitive, Bad Times at the El 37th & Spruce • 215-222-7713 Royale delivers a good time at the The Perelman Center @ Penn Med • 215-386-1350 movie theatre.

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Bad Times at the El Royale is a haunted carnival ride that speeds with excitement in the beginning, slows down in the middle, yet doesn’t disappoint in the end.

With its quirkiness, mystery, and thrill, it’s like Wes Anderson, Agatha Christie, and Quentin Tarantino mingled and produced a brilliant problem child.

The movie takes place in the 1960s and starts with a cameo from Nick Offerman entering a hotel room and hiding a stash of money. Fast forward ten years, Father Daniel Flynn (Jeff Bridges) and singer Darlene Sweet (Cynthia Erivo) enter the El Royale and meet salesman Laramie (Jon Hamm).

With a '50s diner aesthetic, El Royale stradles Nevada and California and features rooms specifically styled for each state.

But, the El Royale is not what it seems. The impatient Emily (Dakota Johnson) enters, and the characters go their separate ways.

Lamarie starts finding listening devices all over his room, Darlene begins to sing an eerie, yet melodious song, Father Flynn extracts the floor, and Emily drags in her sister Rose (Cailee Spaeny), a devout follower of cult leader Billy Lee (Chris Hemsworth). Cue the start of the “bad times.”

Organized to focus on one character at a time, the movie thoroughly explores their backgrounds and depicts their development with care. Each character, on the surface, seems comparable to a character archetype of the 1960s, whether it’s a hippie, a soldier, or a soul singer, but as they develop throughout the film, layers of their personality are revealed. The complexity of each character provides a unique take on morality and society.

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ARTS

Alum Artist Isabel Kim Makes Art from Words Photo Courtesy of Claudia Li

She creates online games using words as the form of art.

Xinyi Wan Just one year out of college, Isabel Kim (C ‘18, L ‘21) is back at Penn—this time, at Penn Law. Armed with degrees in English and fine arts, it seems as if her interest in interpreting the written word and language traces back to a long history. Yet, she’s somehow managed to combine even this with her interest in the arts, imbuing the concepts of word and text into her own art. In this way, she’s become a digital–interdisciplinary artist, among the few who explore the boundary between text and art.

The intertwinement between the two is maybe best explained

by her artworks. Take her Infinite Art Generator, arguably an online game. In this, she generates texts that typically function as introductions of work into artworks themselves. A click of the button refreshes a blurb about some unidentified art piece.

One reads: “Untitled, 2017 antebellum structures, linseed oil, polaroid photographs from the artists collection. This work is a destructive, erotic kaleidoscopic grid consisting of a hybrid space which is reminiscent of identity, loss, mortality, and love. The work deploys synthesized, hybrid organisms as a way to question

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who can enter and leave the country freely.”

In this, the words, taken holistically, are the art. The idea originated from her frustration with artworks’ labels. To her, some labels were confusing, even bombastic. As a response to this, she made Infinite Art Generator, what she calls an “iterated commentary,” a comment on something through making a thing about itself.

“The language is opaque, and at a certain point of time it stops to mean anything,” Isabel said.

“The original input was a text that talks about how artworks

can only exist in description; you only need a description of an artwork to write about it. Then I start wondering if I can create meaning out of noise, create something that can be conceptualized in mind without actually existing.”

This is how Isabel’s creative process usually starts: she substantializes her observations and thoughts on the world around her into a concept and then pushes the concepts to their logical extreme. In her game Repeatacycle, Isabel again plays with the concept of words as art, this time to convey her thoughts on temporality. Essentially, it’s a conversation with your “futurepastself,” forming “a text game with no end,” where each click is a simple choice. With each choice comes a whole other set of choices, forming a journey much like going through a parallel universe.

In this temporal experience, even though players are moving through in a linear timely fashion, the game creates a sense that they move through multiple portals of time and space because of the infinite loops of choices. This creates a sense of the infinite self, each self presented with text– wise similar yet context–wise different options as one proceeds in the game.

The game is a testament to the general idea that the choices one makes are not static. By adding in universal emotions through her text, whether it’s love, change, or being annoyed at one’s future self, the game is made more relatable. “You don’t play as one character; you are given basically the perception of yourself as a player

character that crosses multiple worlds,” Isabel added.

In yet another piece, “Digital Intimacy: Yeah I wrote this on the internet for public consumption also people asked me things i guess,” Isabel again made a meta–commentary, this time built around her experience as a popular blogger on Tumblr.

The piece physically consists of a television screen and a videotape of her microexpressions as she scrolled through the social media site, posting or answering questions online. “I’d like people to reflect on the fake intimacy that you have when you talk to a stranger online, and the unbalanced power dynamic that exists between a named digital entity and an anonymous public in what gets asked and what gets answered,” she said.

Though her law books today leave little time for art, Isabel doesn’t seem to be in a hurry.

“It would be nice if it happens,” she described, on her attitude towards an art career. “I usually have an idea of where I’m going but around the halfway point it always gets messed up. A lot of products don’t really create what I set out to make, but it creates something interesting, and I’m okay with it,” she said. “Sometimes you just make a thing and it exists.”

There’s no doubt that her dabbling in English and the fine arts has shaped her approach to the written word. Language, to Isabel, is not merely a means to an end; it’s an end in itself. And it is with this idea that she crafts her own art.

ARTS

Upgrade Your Dorm with These Art Outlets Get some unique artwork that'll last well after your college years.

Jordan Wachsman

Hey you, yes you! Take a look around your dorm. See that empty white wall? That’s about to change—hear me out. Your dorm is your home–away–from– home, and it should feel like one.

Utilizing the space as a means for artistic expression and style is the perfect way to make a dorm room feel like your own. Unique, affordable art pieces can spice up your room and take it from basic to sophisticated with minimal effort. Here are the best outlets for dorm art: THE ART SHOP AT MOORE COLLEGE OF ART AND DESIGN Less than ten minutes away from campus (1916 Race St.) is the Art Shop at Moore College of Art and Design, where you can find original art pieces and prints starting at just $5. Stop by Monday through Saturday from 10 a.m. to 6 p.m., and take a look at some of the unique and limited edition pieces that art students are creating. Purchasing dorm art from this shop is a great way to add some style to your room while supporting up– and–coming local art students.

Who knows, maybe a piece you buy will become worth a pretty penny someday.

ZATISTA Type in zatista.com in your browser—I promise you won’t regret it. Zatista sells photographs, prints, and unique pieces in a wide range of styles starting at $30. Whether you’re looking for colorful paintings or black– and–white scenic photos, Zatista has something for every aesthetic.

KIDS DID IT Want art that reminds you of your younger sibling, but can’t convince them to create something cute and nice looking? Kids Did It has the solution. Buy affordable art from kids aged three to 14 to give your room that nostalgic homey feeling. Take a look and you might be surprised because some of these kids are seriously talented.

NICE THINGS HANDMADE This Philly craft shop not far from campus (1731 E Passyunk Ave.) sells all things artsy and homemade. Nice Things HandMade frequently features local artists’ photos, prints, and paintings. Pick out some art for your dorm here, and grab a cute handmade card while you’re at it! Supporting local artists is a great way to connect to the Philly creative community.

LUMAS Starting at $34, Lumas has art ranging from landscapes to portraits to nude pieces and more.

Warning: go to this website and you’ll be sure to get sucked into the plethora of eye–catching art for much longer than you planned.

20 X 200 With a motto like, “it’s art for everyone,” it’s no surprise that 20 x 200 offers pieces that cater to all styles and price ranges—pieces start at $24. Browse prints, photos, and other art pieces that you can be sure none of your friends will have on this great site.

INLIQUID If you’re looking to splurge on some higher quality pieces, Inliquid is a great source in Philadelphia (400 N American St., #314). They sell quality art starting at $75. A nonprofit that prides itself on being a “virtual hub for the visual arts in Philadelphia,” Inliquid “present[s] dynamic, enriching exhibitions and programs in a variety of flexible public venues.” Support this venture by purchasing a piece that will last you well beyond your college years.

Diane Lin | Illustrator

ARTSTAR Last but not least is Artstar, a gallery–like shop less than ten minutes away from campus (623 N 2nd St). Whether you order online or shop in store, one thing’s for sure; you won’t be disappointed with Artstar’s selection. With a plethora of art starting at just $20, you’re sure to find pieces to fill that empty white wall. Sign up for crafting workshops while you browse one–of–a–kind pieces and prints!

If you’re looking for a way to give your dorm more of a personal touch, adding art is a great way to customize your space. Having art in your room also inspires creative thinking, relaxation, conversation, and sets the mood with personal style. Use the space you have to turn your plain wall into a gallery wall, and your room may become a hotspot for creative Penn students turned art critics in no time.

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