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Penn's LGBT Social Scene
October 24, 2018 | 34st.com
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Fall Albums You Missed
p.18 Mural Arts Month
October 24 , 2018 3 WORD ON THE STREET LGBT Social Scene
5 EGO
EOTW: Anea Moore, DeCurtis
9 MUSIC
Repo Records, Albums You Missed
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
10 STYLE
Orangetheory, The Bourse, Sleep Aids
LOL
13 FEATURE Int'l Students
LOL 15 FILM & TV
Whisper of the Heart, The Wife, Halloween Film Events
19 ARTS
Mural Arts Month, Berthe Morisot, No Borders, Rare Books
LOL 23 LASTPAGE
Overheards, Airdropped Photos 2
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 Film & TV Beats: Zovinar Khrimian, Maryanne Koussa, Anna Collins, Samuel Yellowhorse Kesler, Kate Lindenburg, Shannon Zhang Arts Beats: Michelle Wan, Christina Lu, Josephine Cheng Design Editors: Lucy Ferry, Gillian Diebold, Ben Zhao, Christine Lam, Alana Shukovsky, Georgia Ray, Jess Tan, Ian Ong, Ava Cruz, Alice Heyeh, Christy Qiu 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 Staff Photographers: Emma Boey, Kaitlin Rowan, Chloe Schaefer, Eleanor Shemtov, Olivia Fielding, Riley Merkel, Sophia Dai, Sophia Zhu
Video Staff: Jean Chapiro, Abdul Sohu Copy Associates: Kate Poole, Kira Horowitz, Sarah Poss, Serena Miniter, Erin Liebenberg, Lexie Shah, Carmina Hachenburg, Luisa Healey, Agatha Advincula 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 Cover Shot by Ethan Wu | Illustrated 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.
This yak is snatched. Am I right?
LETTER FROM THE EDITOR R
eading for pleasure. Taking classes because of intellectual curiosity. What foreign concepts at Penn. Shopping for class options for my last semester at Penn has got me feeling reflective. There's nothing like staring at your course cart on PennInTouch and having a crisis about your intellectual trajectory. I found myself thinking about all the classes I'll never take, all the topics I said I'd study as an incoming freshman that got pushed aside. I'm not some academic saint. There were periods in the middle of my undergraduate career where I was just skidding by. Skimming readings, silently skulking in lecture, writing papers at the latest possible hour. It was sustainable, in a way. I was getting the grades, hitting the marks, and creating academic connections. Though it felt like the bare minimum to me, it wasn't. But I didn't feel intellectually or morally nourished. Much of this was my fault, a result of my misguided priorities and wavering work ethic. In high school, much of my academic work was input—output, study for a test, perform well, and throw the information out of your mind. Much of my studies—a few teachers notwithstanding—was structured like standardized test–taking. Lots didn't stick. I came to Penn in this mode, and had to unlearn it in many ways. In freshman fall, I took classes that allowed me to explore critical theory and study for the hell of it. It made me uncomfortable. It's difficult to have your ideas of meaningful knowledge acquisition shaken to their core. Conversations about preprofessionalism at Penn miss the mark. Much of the conversation rests on confronting how insidious it is to turn yourself into a marketable product
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in relentless pursuit of a job. It's always about OCR and internships. But I think there's an oft–ignored dimension to this conversation, which more accurately gets to the root of the issue. Preprofessionalism also means creating a value system that privileges knowledge that can be turned into tangible sources of value, converted into hard skills or materially applied. Academic tracks that emphasize critical inquiry, perspective– building, and gaining a general understanding of the world are marginalized. They don't offer any immediate benefit. You'll only ever use that information if you become a contestant on Jeopardy! In all my tough times at Penn, I was questioning the utility of my education. I was scared to take courses out of intellectual curiosity, to jump wholeheartedly into conversations that seemed so detached from my day–to–day. But to be frank, I don't think Penn did much in the way of encouraging me to act otherwise. Somewhere midway through my time at Penn, I realized the error of my ways. I deep–dived into the esoteric and specific. I was happy, and I'm happy to be where I am today. If I could talk to freshman baby Nick, I'd tell him to take the classes that he wants to take, the courses whose titles most excite him. I'd tell him to sample as widely as he can in his freshman and sophomore years. I'd tell him that it's cool to participate in class, and to delete the "Relevant Coursework" line from his resumé. He'd have a better appreciation of education then, and also a free line to cram some work history into.
WOTS
word on the
STREET
SEARCHING FOR A QUEER SOCIAL SCENE AT PENN My experience with fostering queer community, before and after PiLam. John Willis
The summer before freshman year, I ended up in Berlin. Traveling alone in Europe, I didn’t really know anything about the city. That night, I went to a classic underground Berlin party called Chantal’s House of Shame—run by the Drag Queen Chantal since 1999—and the young gay boy who grew up going to a private Catholic school in Florida realized what it meant to be queer. I was 18. And I’ll never forget it. Soon, summer came to an end and NSO began. Like most, I was pretty lost in the chaos of exploring the social scene. Hopping frat parties down Spruce, I walked by a big front porch full of people hanging out. “Hey, are you guys freshmen?” one of them shouted as we walked by. They proceeded to ask the usual questions like “what are you studying?”, and when I responded that I was an art history major they demanded that I come inside. I wasn’t exactly sure what the place was; the people outside who invited me in were women. Fraternities were exclusively male organizations. Walls covered with murals, couches in every corner, trays of cigarette butts; everything made it clear that I was in a hub for free expression. Every single person I encountered made me feel welcome, and likewise, I embraced a sense of safety that I hadn’t yet found at Penn. That place was PiLam. From that moment until the end of freshman year, the space— a sort of punk–rock “fraternity” well–known as a music venue— became an important part of my life at Penn. I was officially initiated in the spring of 2018. I don’t mean to represent the PiLam brotherhood through this essay—I can only represent myself. I wasn’t really ever into punk–
rock music, but I found a home in that house. I ended up losing that home I got to know so well in such a short time. Anyone who knows PiLam knows that it was only a fraternity in name. The house was run by women in so many ways, whether they were the ones organizing shows, running meetings, or simply sharing their artistic skills. This was unrecognized by the fraternity structure, in which only male students attending Penn could hold official positions. Students from other Philadelphia universities also played a key role in the space, delimiting membership beyond institutional boundaries. The brotherhood was widely queer, offering a stark contrast to Penn’s often heteronormative Greek scene. As a gay man, this queerness was an essential part of PiLam that helped me escape the heteronormativity I found commonplace at Penn. Some fraternities here have a reputation for being “gay– friendly,” yet are only welcome to gender–normative expressions. There was no other social scene at Penn as queer as PiLam, I noticed. The LGBT center seemed to provide institutional support, but did not offer an alternative queer milieu. I was fazed by not only the lack of a scene, but also hostilities within the Penn gay community. It felt divided and cliquey, lacking any general sense of how to navigate it. In the spring, I joined the board of QSA and began trying to do some queer organizing of my own. Nightlife, parties, and events are an indispensable part of the queer community as a result of its historical origins in the shadows of society. The lack of a party scene should not be taken as a minor issue. It undermines the presence of LGBT student life.
Saranya Sampath | Illustrator
In my search for a new site for the Penn gay community, PiLam presented itself as a venue, a safe– space, and a hub of artistic expression. As I became close with many active brothers, I was permitted to host events in the house for the Penn queer community. The first was a Valentine’s Day party where everyone received a candy necklace upon arrival, an idea which I stole from a gay nightclub in Paris. People’s responses were overwhelmingly grateful, attendance was high, and, in all honesty, people were just having a really good time. I had never seen Penn students act or feel so liberated. Queer people were connecting and intermingling in a manner uncharacteristic to any other social arena here. The rest of the semester became an opportunity for this campus to have a queer space—and I jumped on it. I genuinely believed that what Penn needed was more gay parties. Every now and again, the PiLam basement would transform into a colorful mess of queer partygoers dancing in flashy attire. And a lot of other people agreed with me: seniors would approach me and thank me for putting queer parties back on the map.
I realized that the nonexistence of Penn’s queer scene was widely known, but not much was being done about it. As a freshman, I was unofficially leading Penn’s queer social scene. The goal was simply to provide a space for people who didn’t have a space. It was a small social revolution in a way, especially considering how radically different the parties were from any others at Penn. It finally seemed like, maybe, there was a new permanent queer space on campus. It was a breath of fresh air. Then the news came out. We were losing the house. Too much debt. The loss of PiLam was a loss for Penn. It was a loss for the Penn community as much as the queer community. I can’t imagine my freshman year without PiLam, and I worry when I think about the lack of such an open space for current and incoming freshmen. The PiLam house on 39th and Spruce is now occupied by an all– male Drexel chapter of Pi Lambda Phi. The art that was physically embedded into the house is now lost, along with the memories. Penn’s pioneering, alternative organization disappeared to make
room for another traditional frat. To me, the loss has highlighted the structural difficulties in queer organizing on this campus, such as the lack of venues and events. No space has been found for the annual queer Halloween party this year. Proportionally, a university with such a large LGBT community should have a substantial number of social events. Philadelphia queer nightlife is widely inaccessible to most undergraduate students, such as those who are underage or cannot afford it. This inaccessibility and lack of an on–campus alternative deprives many who critically need a space, but are denied one. It became evident to me that the marginalization of queer social spaces is a phenomenon at Penn. It affects the lives of many students. It affects my life. This summer, I was able to go back to Berlin. I got to meet Chantal this time—she was delightful. Like so many students had thanked me for my queer organizing, I thanked Chantal. I thanked her for putting a queer space out in the world. I’ve seen what a vibrant, active queer community can do. We should bring one back to Penn.
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EGO
EGO OF THE WEEK
Between raising her young choral prodigies at the Henry C. Lea Elementary School and writing two senior theses, Anea Moore made time in her busy schedule to tell Street about her hectic yet fulfilling time here at Penn. By Amanpreet Singh 34th Street Magazine: What was it like growing up in Philadelphia? Anea Moore: I grew up in Philly, but the part of Philly that most kids are often pretty wary of. When I was young I went to what most would call not the greatest school, but I don’t really like calling schools good or bad, particularly public schools in the city. But I ended up getting really lucky and got to go to one of the greatest public high schools in the city through some really lucky circumstances, which also happened to be one of the schools that Penn primarily pulls students from, and so here I am. Street: That’s incredible. You’ve clearly worked very hard to get to this point. How has your time here at Penn been these past four years? AM: My senior year of high school my dad died, and during my freshman year at Penn my mom died about halfway through my first semester. Life really sucked at that point, but instead of just sitting down and taking it, I knew I had to pick myself back up because they had always put so much effort into me. I was my dad's only child and my mom had two kids, but my sister is fifteen years older than me so I did have "only child syndrome" a lot of my life because they focused so much of their time on me. So I was like, "I’m gonna pick myself back up." Street: What kind of things have you been involved in at Penn in the past or are currently involved in? AM: I say I’m an education advocate both on– and off–campus. A lot of my on–campus work involves working the first–generation low–income student (FGLI) programs. I was on the Penn First 4
board for the first two years of its conception, which was crazy leading a club that is as big as it is now. I chaired 1vyG during my junior year, the largest FGLI student conference in the world. Now, I’m co–chairing a FGLI student group called Collective Success. Off–campus, I’ve been involved in the Netter Center and right now, I’m chairing their student advisory board. I was actually selected for that position by Netter Center leadership staff because I was already involved in a quite a few things there, including being a choir teacher for the Music and Social Change program at the Netter Center. I also began doing some community and family engagement work at the school and have been heavily involved with that since. Wow. Sounds like you definitely keep yourself occupied! Do you have any favorite memories from working at the Netter Center? AM: So last year, I spent two weeks straight helping the kids prepare for Lea’s first play in decades, which was Charlie and the Chocolate Factory. I’m not gonna lie, at first it was pretty rough. We couldn’t remember our scenes, kids were forgetting their lines. I remember that the Friday night before our first performance, I sat down with this seventh grader at the time who was having trouble remembering some of his lines and we were just yelling his lines back and forth for a while, trying to help him get them down, and usually he’s a pretty stubborn kid but by the end, you could tell he was just really into it and that he was super enthusiastic about it. So once we finished, our performance was in three hours and I told him to go back home, get changed, and get ready for the fi-
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nal performance. And that night, they all performed and the whole thing was flawless. Nobody forgot their lines, everything went perfectly. Then at the end, the drama teacher brought me out, and the kids pulled down the curtain and ran up and just hugged me at the end. The oompa loompas’ wigs were falling apart, confetti was everywhere, and it was just such a special moment. Street: Looking back on everything, what about Penn do you think you will miss most of all once you leave? AM: I fear this every once in a while, but the idea that after I graduate my friends won’t be a walking distance away is sad to think about. Me and two of my friends try to have dinner every Tuesday night, so it really scares me that I won’t have that any more. I think what also scares me as a first–generation low–income student is not having Penn’s backing of financial resources. My aunts and uncles will obviously help me and try to teach me, but when you don’t have a mom and dad to teach you that stuff it is always like, "How am I going to learn this, and how am I going to be a fully functioning financial adult?" So I guess the whole adulting thing is something I’m scared of. Street: Do you have any plans for the future as of now? AM: I have no idea right now. I’m really passionate about a few things that I’ve applied to already, but the chances of getting into them are typically pretty slim. I’m really hoping to go to the UK and pursue a graduate education, which I say very hesitantly, but I want to go there because I want to continue working on family welfare research and the UK is at the forefront of family engagement
ANEA MOORE HOMETOWN | Philadelphia, PA MAJOR | Sociology and Urban Studies MINOR | Africana Studies ACTIVITIES | Penn First Board, Co–Chair of Collective Success, Netter Center, FGLI Advocate
Autumn Powell | Media Director
policy in schools, in particular. If I don’t get any of those, I’m hoping to work either for the government or an organization that is really focused on community economic development or helping low–income families and populations gain access to educational resources. Street: Is there anything else you want me to add or anything else you want readers to know about? AM: I do a lot of the things I do for my parents, because I rec-
ognize that I would not be able to do them without their investment over the first 18 years of my life. I’m really committed towards helping first–generation low–income students both on– and off– campus and around the world because my parents never got the chance to go to college, and they really wanted to. So yeah, I do a lot of my things in their memory, but I think one critical thing I’ve learned to do here at Penn is to do these things for myself, which has also been really great.
LIGHTNING ROUND Something you can’t go anywhere without? My headphones (which I actually just lost two days ago). Go to karaoke song? "Irreplaceable" by Beyonce. Describe your past four years here at Penn in one word? Wild. Favorite spot on campus? One of my friends’ rooms. Favorite place to eat in Philly? Ms. Tootsie’s, Lea, or my aunt’s house. Favorite show ATM? I’m a huge anime fan, so I’m definitely revealing my nerdy side here, but Naruto has always been a favorite of mine. There are two types of people here at Penn.. Those who are sane, and those who are insane. And you are… Probably the insane.
EGO
down Sixth Avenue at that time, fully, think about it, and respond the combined excitement of pop to it,” DeCurtis says. “The worst culture with fundamental writing you would past one newsstand and journalism skills. critics are people who have preafter another and see an entire Bringing back former students row of just your cover promiconceptions about what things are supposed to be. You need to who have gone on to work at nently placed.” he says. Writing listen to the thing itself and then places such as The Atlantic or cover stories for music icons The Washington Post, DeCurtis make a conclusion about it.” ranging from Keith Richards emphasizes the course’s primary DeCurtis emphasizes the of The Rolling Stones to U2, purpose as not only benefiting DeCurtis’s career became the power of a strong writing ethic fulfillment of a lifelong dream to and a foundational knowledge of students in the future, but also providing them with a course meet and write about many art- such in the world of criticism as that is highly applicable to the ists that had served as childhood key to good music journalism. “One of the hardest parts with present. “I am constantly struck inspirations. by how fun and interesting and writing about music is finding Beyond interviewing celebrismart young people are,” he ties for Rolling Stone and even a language to describe the ideas. says.” I find it energizing to be freelancing for The New York The very nature of it is that it's ephemeral; it’s a sound, it around them. Now, when [forTimes, DeCurtis has also found happens, and it goes away. But mer students] come back to visit, the time to publish multiple you have to find a language that it’s profoundly rewarding. I love books, from collections of his everything about what I do.” captures that and conveys it to own works to biographies of Emma Boey | Photographer other artists. He collaborated Determined to make somepeople,” DeCurtis says. with Clive Davis on his autobiAfter meeting David Wallace, thing out of his love for writing a fellow professor in the English and music, DeCurtis’s experiography, which was a New York ences as an author, journalist, department at the University Times Bestseller, and recently and professor have allowed him of Pennsylvania, DeCurtis was published a biography about to share his passions with his stuLou Reed. DeCurtis even won a soon invited to teach his own Learn about the Penn professor who worked for 'Rolling Stone,' Grammy award for his essay on dents. If there is one thing to take writing course titled “The Arts 'The New York Times,' and has even won a Grammy. and Popular Culture.” Continu- away from DeCurtis, it is that Eric Clapton’s Crossroads in the Misty Liao ing to find ways to meld his love the greatest rewards of all come category “Best Album Notes.” from doing what you love. for the arts and for writing into “To write well about music, I Everyone’s a critic, and so is of the blue with an idea I had, no think you just have to listen care- one, DeCurtis’s class embodies Anthony DeCurtis. A longclips or anything, just the letter. standing contributor for Rolling They gave me back an assignStone, a distinguished lecturer for ment of writing a concert review, Penn’s creative writing program, and that was the beginning of and a diehard rock and roll fan, that relationship.” DeCurtis has found a way to Working in the office of Rollfuse his greatest passions into a ing Stone full–time from 1986 to lifetime career. 1995, DeCurtis dealt firsthand “I’d been into rock 'n' roll with the pressing demands of a since I was a kid. I always loved national publisher. “Occasionit, always responded to it,” ally people will ask me what the DeCurtis says. “When I was biggest misconception would be growing up, rock criticism was about working at Rolling Stone, essentially invented. The start of and I would say it would be how Rolling Stone magazine became hard everyone worked,” he says. really important in that regard.” “It was a lot to do, putting out Growing up amid the chaos a big fat magazine every two of New York City, DeCurtis weeks. There were a lot of them, discovered a love for both music they had to be done quickly, and and writing at an early age. After they had to be done well.” receiving his PhD in American But despite the high level of literature at Indiana University, pressure of his journalistic activiDeCurtis began hunting for any ties, Rolling Stone gave DeCurtis job that would take him and the unique opportunity to interlearned to persist through the view some of America’s greatest eminent struggles of becoming a rock 'n' roll legends, from Paul published writer. McCartney to Leonard Cohen. “As far as Rolling Stone is “It was extremely exciting. concerned, I did the thing that I was working in a time when is never supposed to work,” De- magazines were just extremely www.ConstellarCorporation.com | emily@constellarcorporation.com | 215.387.4137 Curtis says. “I wrote a letter out important. If you were walking
Meet Penn's Own Rolling Stone: Anthony DeCurtis
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Records
MUSIC
epo
is Your Staple Music Store
Melannie Jay Vinyl, CDs, cassettes, clothes, and quirky customers abound in this South Street staple. The time has come: you’ve finally decided to get into collecting vinyl. Maybe you want to go off the beaten path and start collecting cassette tapes instead, or maybe now that your entire music collection is streaming online, you need to offload those hundreds of CDs that have been collecting dust for the past few years. A short trip on the Route 40 bus away from University City lies your destination: Repo Records.
Repo exists at the heart of the Philly underground music scene at 506 South Street, only two blocks away from TLA, one of the best concert venues in America. Its distinguishing outside feature is the green brick surrounding the entrance, which leads you inside to new and used vinyl, cassettes, and CDs, as well as used clothing, posters, patches, and other musical paraphernalia for all the diehard and wan-
nabe punks out there. Besides the assortment of music and merch, there’s another big thing that gives Repo its signature charm: the people. South Street has long been known for its grit and its alternative crowd, and the Repo customers are no exception. Employee Jacki Weaver recounts a recent quirky occurrence: “One day I was putting out some new CDs on the floor and suddenly there’s
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a woman holding a little dog standing next to me, whispering in the dog’s ear, ‘Do you like this music, Michael?’” Owner Dan Matherson confirms: “It’s a regular routine of weirdness down here.” Dan started Repo in 1986 in Wayne, Pennsylvania, at a time when record stores were in a state of decline: the few existing shops in the area catered to the popular music of the time, not the punk and new wave that he preferred. There was no place around Wayne to find the types of records Dan wanted, so he would take regular trips up to New York to discover new artists through buying music and attending shows. Inspired by the energy of the New York punk scene, Dan decided to start Repo as “a way of turning people onto this whole music scene” in a pre–internet era. A second shop would open in Bryn Mawr in 1989 before the store moved to South Street in 1997. Dan wasn’t bothered by the move. “Being associated with [South Street] has definitely helped,” he says, although he voiced some concern about the direction the eccentric neighborhood is going. “It’s trying to redefine its identity … when I moved down here, there were eight record stores in a four–block area, and now there’s two.” Outside of the street, Dan does have faith in the state of Philadelphia mu-
sic as a whole. “There’s big up times and down times, and this is a big up time. There’s a lot of great local artists.” One of the contributors to the downturn of physical record stores has been the growing presence of online retailers. Spotify and iTunes allow customers to download and listen to all their favorite songs much faster and for much lower prices than buying a vinyl record, and even buying records has become automated with the rise of Amazon. Dan, however, still believes in the merit of going to a physical record store. “People want to come in here, hold the record, look at it,” he explains. “Not everyone wants to buy stuff online.” While he acknowledges that tools like Spotify help us to discover new music, he isn’t convinced that streaming and downloading are how music was meant to be enjoyed. “When bands put out records, the creativity’s in the artwork too. That’s part of what the album means to them. [People] don’t get what the record’s all about if they don’t see the art, the cover, the stuff in the liner notes.” Many Penn students struggle to leave the campus bubble, and they may be tempted to shop online for the vinyl they desire. To those people, embrace the weirdness and take a trip down to Queen Village to experience record–hunting as it was meant to be.
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MUSIC
Roundup: Best Albums You May Have Missed This Past Month Everyone from Noname to Kurt Vile has dropped a can’t–miss album this month. Between midterms, club meetings, and OCR, it’s easy to forget that life moves on outside of the Penn bubble. And over the past month, that life has been full of some amazing new music. We’ve kept up with all of the best releases, so you don’t have to. Without further ado, here are Street’s picks for the best albums you might have missed in the last month. Noname – Room25 Despite being only about a month old at this point, Noname’s latest work has been analyzed and immensely praised by nearly every established source of music criticism. Coming out of a vibrant, spoken–word community in Chicago, Noname’s verse flows with a cutting pace, pausing just briefly at the end of one point before bouncing off into the next. In words that go back and forth between political commentary and the rapper’s own sexuality, her matter–of– fact poetry flies over the rhythm of every tune, melting into the mind of its listener with a bit-
ing aftertaste. Room25 is a quarter–life crisis with diamonds of Noname’s humble wisdom woven throughout. Particularly in her love–centric songs, she recognizes her own imperfections, but doesn’t let them sink too deeply, trying to keep her life in as free a movement as her verse across this entire album. Release Date: Sept. 14, 2018 Swearin’ – Fall Into the Sun Beginning with what is essentially an anthem to the Philadelphia punk scene that gave birth to Swearin’, Fall Into the Sun is the triumphant return of one of this city’s best bands after speculations that the end had come. Lead singer and frontwoman Allison Crutchfield had broken up with fellow bandmate Kyle Gilbride, leaving the band’s future uncertain. But somehow this tension found a way to manifest itself into some of the most genuine push–and–pull punk this band has ever created. Crutchfield and Gilbride’s respective songs are so obviously about each other and the failed
Sophie Burkholder relationship between the two of them that the album nearly becomes a postmortem of their relationship. There are fading traces of love and pain and anger that complement the twisting frustrations of the guitar and drums behind the words each sings out. The group made a stop in Philly last week, but will be back again for a must–see show at Everybody Hits on December 8. Release Date: Oct.5, 2018 Adrianne Lenker – abysskiss abysskiss is the latest solo work from Adrianne Lenker, who is better known as the lead singer– songwriter for gentle indie–folk group Big Thief (who will play a sold–out show at First Unitarian Church on October 20). The unending cycles of plucked acoustic guitar over her nearly whispered melodies are as soft as the cold fall winds that tug curling leaves from their branches. Sonically, the album feels fragile, channeling the October’s slow and bitter evanescence of summer. But the lyrics tend
toward darkness, alternately mentioning love and warmth against bleeding, screaming, and abstract pain. In these words, Lenker brings us a new level of the intimacy she’s shown with Big Thief. Despite some of the morbid leanings in the album, she still manages to create near– sickeningly sweet love songs like the title track, which rotates about the romantic chorus, “Wilderness / Vast abyss / Will we ever kiss?” Release Date: Oct. 5, 2018 Cat Power – Wanderer Best known for her appearance on the Juno soundtrack with a lilting cover of Phil PhilExp.2/23/12 4/11/12 Exp. lips’s “Sea of Love,” Cat Power’s Chan Marshall is back with For Fast Delivery Call 215-386-1941 her tenth album, Wanderer. As usual, the album’s centerpiece is Marshall’s soft and breathy 4004 chestnut street | (215) 386-1941 voice, backed up by a variety of acoustic rhythms. One of WanExp.2/23/12 4/11/12 Exp. derer’s standout tracks is “Woman,” which features Lana Del For Fast Delivery Call 215-386-1941 Rey and begins with all the dark folksy tone of an old Western showdown. The guitar swings ahead, increasing in volume and speed into a full–bodied song of WITH THIS AD vocal and instrumental harmoVALID UNTIL 10/31/18 nies calling out “Woman, woman, woman.” Another surprise is student discount with I.D. | order online @ newdehliweb.com | closed mondays the stripped–back cover of RiExp.2/23/12 4/11/12 Exp.
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hanna’s “Stay,” with Marshall using a piano to amplify the deep sensitivity and vulnerability of its lyrics. With all the rushing chaos in the world around us, Marshall’s long–awaited return after six years is a grounding force in the mantra that less is more. Release Date: Oct. 5, 2018 Kurt Vile – Bottle It In The sighing twang of Kurt Vile returns with Bottle It In, an album of his usual existential meanderings over a variety of lightly bouncing guitar lines. With three of the thirteen songs standing at ten minutes in length, this collection of music has no attempts at efficiency or clarity. No, the goal is really just to “keep on rollin with the flow,” as Vile repeats in the sixth track. A favorite song of Vile fans so far is one of those ten–minute songs, “Bassackwards,” filled with plenty of “yeahs,” “ums,” and “wells,” over a lilting guitar hum. In it, Vile hints at the purpose of this album—there isn’t one. Instead, these psychedelic folk tunes from a Philadelphia version of the modern hippie are meant “to fill the void until the morn.” Release Date: Oct. 12, 2018
ST YLE
I Tried rangetheory Fitness Before It Hits UCity. Now it'll just be a short walk (or run!) away.
Here's What I Thought.
—Emma Moore—
“Today is National Burpee Day!” exclaimed Nanci, my Orangetheory instructor for the next hour. “We’ve got a special workout in store!” I smiled weakly. Oh no, what had I signed up for? If you haven’t heard already, Orangetheory Fitness is coming to campus. Their University City studio is slated to open this December at 37th and Lancaster streets. Orangetheory Fitness is a 60–minute full–body circuit workout based on three components: interval training on the treadmill, indoor rowing, and weighted floor exercises. The combination of cardio and strength training is guaranteed to get your heart racing and sweat dripping down your back (trust me on this one). As the fastest growing fitness studio in America with over 1,000 locations around the world, the cult of Orangetheory extends far and wide. This week I went to their Center City location to check out the hype. Friday morning. 7:20 a.m. I stepped into the Orangetheory Center City studio bleary–eyed and apprehensive. As instructed repeatedly via email and phone call, I had dutifully arrived 30 minutes before the start of my first class. As I filled out forms, detailing my age, height, weight, and fitness level, the 6:30 a.m. group walked out, drenched in sweat. The instructor Nanci, a tall pixie– cut blonde, walked out with them and shook my hand firmly. “Welcome to Orangetheory. These stats get inputted to calculate your ideal heart rate and calories burned during the workout,” she said, strapping a heart rate
monitor snugly around my left bicep. She beckoned me inside to show me the machines. Tangerine treadmills and glowing orange lighting made the studio feel like the inside of a chic tanning bed. Large TV screens display your name, the number of calories you burn, and your heart rate, which is color–coded based on level of intensity. Grey means light exertion, at 50–60 percent of your resting heart rate, and red is 90 percent of your maximum heart rate—blue, green, and orange dictate the percentages in–between. The heart rate monitors project your heart rate in real time onto the large screens, scoreboard–style. The goal is to spend 12–20 minutes at 84 percent or higher of your maximum heart rate in the “orange zone” to maximize “excess post–exercise oxygen consumption,” or afterburn. Hitting this afterburn sweet spot means your body torches more calories in the 24–36 hours following an intense workout. You earn points for every minute spent in the orange or red zones—a self–competitive incentive for you to really push yourself. Throughout the workout, I kept craning my neck to stare up at the screen, telling myself to stay orange, stay orange. Half of the class started on the treadmills, the other half on the rowing machines. At Nanci’s recommendation, I began with the rowing machine. We would be alternating rowing with rounds of burpees. “Trust me, just get the burpees out of the way,” she advised. She was right—the burpees were a killer. By the end of the circuit, I had done at least 70 burpees and rowed over 1,500 meters. My arms were about to fall off. Luck-
ily, it was finally time to switch to the treadmill. To preface, I loathe the treadmill. Boring and uncomfortable at best, nothing appeals less than scampering in place like a hamster. But at Orangetheory, I loved it. Every minute, we alternated the speed and incline of our treadmill, tailored to our fitness level, to get the most out of walking, jogging, running, and sprinting. Music blasted over the speakers, and time flew by. Before I knew it, the class was over. Sweaty, breathless, and inexplicably giddy at 9 a.m., I felt ready to conquer the day.
angetheory definitely pushed me out of my comfort zone. Although there’s nothing particularly unique about the workouts—running, rowing, and weights—the class was harder and more interesting than something I would do on my own. The constantly changing pace and exercises kept the class engaging, and I really enjoyed being able to track my heart rate and measure my progress throughout the workout. Everyone is running their own race, from super fit athletes to complete beginners. The instructors ensure to offer modifications to the exercises and walking or jogging is encouraged to obtain your optimal heart rate.
That being said, at $40 for a drop–in, Orangetheory isn’t cheap. At the Center City studio, they offer a student discount for $179 one month unlimited or $119 for eight classes per month. Prices for the University City Studio classes have yet to be released, but will mostly likely be comparable. Furthermore, classes are capped at 24 participants and fill up quickly, so you must to sign up in advance online. You also have to arrive 30 minutes early your first time. I tried to drop in a class Monday night—big mistake. Looking to give it a try? Your first class is free! For a limited time, you can get two free classes at the Center City studio.
Halloween is for isbeer Halloween for beer
Would I go back? Definitely. As a self–described gym rat, Or-
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The soft opening didn't wow me, but I'll be going back when they open for real. Chicken Inihaw from Lalo
Philly's Newest Food Hall Isn't Quite There Yet Karin Hananel The last time I walked into The Bourse was probably around 2010. I was an awkward fourth– grader hanging out with my friend and her mom took us there to eat. From the outside, the historical Old City building seemed beautifully grand. But once I stepped inside, the building reeked of oily food, the seats and tables were sticky, and the food was mediocre at best, kind of like what most mall food courts used to be like before Chipotles and Honeygrows made them more appealing. It was also situated in one of Philly’s largest tourist spots, right next to Independence Hall and the Liberty Bell, so other than a few dining options, it was mostly unoccupied space and touristy gift shops full of cheap tchotchkes.
Eight years later, I walked in to see what the newly–renovated Bourse looks like after months of Instagram DM’s from my overly–excited, foodie mother about the remodeling. While The Bourse has yet to fully open with all of the options they’ve advertised (that’s happening on November 15), many vendors are doing a "soft open" in the meantime. I decided to try some of the new food and see if the trendy, globally–inspired food hall lives up to the hype. Lalo Score: 9/10 The first vendor we tried was Lalo, which defines itself as a “a fast–casual concept focused around Filipino comfort food.” Upon walking into The Bourse, it’s the first one that caught my eye with its bright interiors
and friendly staff. We tried the Chicken Inihaw and loved it. The grilled chicken was cooked and spiced well and the atchara (pickled unripe papaya) was an tangy and flavorful companion to the chicken and garlicky rice. At $13.50 for three skewers, it wasn’t cheap, but for the flavor and quality, the dish was worth it.
TaKorean
Score: 6/10 tertaste, again taking away from
Next up was TaKorean, a Korean taco grill. One create–your– own taco is reasonably priced at $3.50 and there are a variety of meats, toppings, and slaws to put in. The meat (we tried chicken and pork) was succulent and cooked well, but the marinated tofu was slightly too sweet. Overall, there wasn’t much character to the tacos and the flavors of the meat overpowered the slaws and toppings. The tortillas were also slightly soggy and had a weird af-
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As the food coma set in, we went next door to Mighty Melt, which prides itself on its fancy grilled cheese. Again, the visuals were on point and the plethora of options for sandwiches and sides was exciting. We tried the Better Together, which features Amish cheddar and hot honey on sourdough. Immediately upon touching the sandwich, the grease was overpowering and unnecessary. The sandwich itself didn’t have much flavor, as the cheese was bland and the only additional flavor came from the hot honey, which didn’t have much of a kick either. That said, it was reasonably priced at $7.00 and there are several other sandwiches with more complex flavors available to try.
Prescription Chicken
Score: 7/10
By the end of our time at The Bourse, we journeyed over to Prescription Chicken to see if
Tl;dr: The Bourse isn’t fully fleshed out yet, so it’s hard to say whether or not Philly’s newest food hall is worth the hype, but once it’s fully opened I’m definitely making a trip back.
The 'Better Together' Grilled Cheese from Mighty Melt
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this was the godsend that could cure the freshman plague. We tried the Grandma Style, which is chicken soup with your choice of either matzo balls or noodles, we went with matzo balls. While the soup does its job in warming you up and the matzo balls had a nice, fluffy texture, the broth itself was slightly bland and was at times overwhelmed by the taste of pepper. Overall, it won’t compare to your mom’s recipe, but if you have a hankering for a taste of home (or if you’ve been sick since NSO), it does the trick. Overall, The Bourse was clean, well–designed, and had a nice, laid–back ambiance. The peak of our trip was at the beginning with Lalo, which is definitely a must–try if you’re in Old City and looking for a fresh and innovative alternative to the many cheesesteaks and hotdogs in the area.
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the meal. Not exactly worth your time or your tastebuds, but in a pinch, it’s a decent and cheap snack.
Eleanor Shemtov | Photographer
Eleanor Shemtov | Photographer Eleanor Shemtov | Photographer
ST YLE
One Sleep-Deprived Student, Four Sleep Aids, Eight Days I tried four of the natural sleep aids on the market, and here's what happened. Christy Qiu
Jessi Olarsch | Illustrator
To me, sleep is a cheating rascal. I’ve had a one–sided relationship with sleep for as long as I remember. I’ve tried everything from aromatherapy to different breathing techniques. I’ve even tried sleeping to ASMR Youtube videos, which failed terribly. Coming to Penn, I prepared myself as much as possible in my ability: I applied and got single– room housing, and I made sure to bring my silicone noise blockers, my heat therapy eye mask, and my down feather pillow. There was one thing I never tried before: natural sleep aids. I was skeptical, but during a trip to CVS, I was determined to try them and record my results for my fellow sleep–deprived classmates. After spending a life’s fortune on four aids, I set aside eight days for my little experiment. Here are my results. Day 1: Vitafusion Vitafusion’s main ingredient is melatonin, which helps your body know when to sleep and when to wake up. Excited for it to work its powers, I got in bed at around 1 a.m. and happily took the recommended dose of two gummies. They tasted delicious, like Welch’s Fruit Snacks. Maybe I was too expectant of the wondrous effects, because I ended up in my usual cycle of tossing and turning. When I checked the time, and it was already 8 a.m.! After that, I did end up sleeping for a couple hours until 11 a.m. The three hours were clearly not enough, as I had a major headache throughout the day, and started feeling sick.
Day 2: Vitafusion This time around, I slept at my usual time of 3 a.m., and had no expectations. After taking the delicious gummies, I fell asleep almost instantly and woke up at 10 a.m., only because I had to pee urgently. Since my first class started at 1 p.m., I hopped back in bed, hoping to sleep some more. But to no avail. Still, I was happy with my seven hours. Day 3: Vicks Zzzquil Like Vitafusion, Vicks Zzzquil uses melatonin, but it also incorporates botanicals like lavender, chamomile, valerian root, and lemon balm. At 2 a.m., I got in my bed, followed the directions and took two gummies. They were much larger than the Vitafusion gummies, and they had the distinct grape medicine taste with a bitter aftertaste. After tossing and turning for what felt like an hour, I fell asleep and slept until around 9 a.m. because, like the night before, I had to pee. I hopped back in bed and slept smoothly until 11 a.m. Day 4: Vicks Zzzquil At my usual sleep time of 3 a.m., I took the two gummies. This time, I slept really easily, but at around 9 a.m., the sound of doors slamming along with my need to pee woke me up. Though I hoped to sleep some more after using the bathroom, I ended up tossing and turning until my alarm sounded at 12 p.m. Day 5: Natrol For Natrol, I was expecting magic. It was marketed as the #1 melatonin brand in America, and I was expecting at least 8 hours of
uninterrupted sleep. I got into bed at 3 a.m., took one tablet, tossed and turned for probably an hour, and woke up at 8 a.m. because I had to pee, like usual. After another restless bout, I finally got started my day at 10:30 a.m. Though I got some sleep, Natrol left me disappointed. Day 6: Natrol Oh my gosh, Natrol certainly upped its game because I had the most amazing sleep on this day. I slept from 3 a.m. until 1 p.m., nonstop. I didn’t even have a restroom break.
Day 7: Nature Made Nature Made is made with a combination of L–theanine, which is a calming element found in black tea, and melatonin. At my usual hour, 3 a.m., I got in bed, took one pill, but tonight, my bladder kept acting up. Every thirty minutes, I would have to use the bathroom. My last bathroom break was around 8 a.m., when my bladder calmed down. I then slept until 12 p.m. The four hours seemed to be enough though as I felt pretty energetic throughout the day. Day 8: Nature Made We finally reach the last day of the experiment. I got to bed at around 2:30 a.m., took one pill, and slept almost immediately.
At 10 a.m., I woke up because, needed to pee. I still was able to fall back asleep until 12 p.m. This sleep felt different from the others, though. It was very comfortable, and I dreamt of swaying in a hammock on a Hawaiian island to the sound of ukulele music. Conclusion: There were many highs and lows these past eight days—the most I slept in a day was ten hours, and the least was three hours. Every night, my sleep came with extremely vivid dreams. Also since taking these sleep aids, I've had to urinate every single morning. Overall, my experience with sleep aids was iffy, and so my one–sided relationship with sleep continues.
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HOW INTERNATIONAL STUDENTS AT PENN NAVIGATE THE JOB SEARCH ALONE BY SHINYOUNG HAILEY NOH
CLAUDIA CHUNG
During finals season, the offices at 3701 Chestnut Street fill with students looking to get their visa documents signed. Without a signature, they will be turned away at the border next semester. When they return to the U.S., they will explain to immigration officers that they are in the country to pursue a degree at the University of Pennsylvania, provide all ten fingerprints, and be waved off. After graduation, things look different for international students compared to their domestic counterparts: with the ticking time–bomb of a visa in their passports, they either need to find a job or leave the country. At Penn, International Student and Scholar Services (ISSS) is in charge of processing immigration documents and endorsing international students for work authorization. Although international students can be endorsed by Penn to work in the U.S., they ultimately have to find an employer that would be willing to sponsor their work visa. Their options in the U.S. are limited to employers that will sponsor, so it’s imperative that they have up–to–date information on companies that are willing to do that. Barbara Hewitt, Executive Director of Career Services, says “international students tend to find resources on Handshake,” but students say those resources are few and far between. “Career Services is not very good at keeping Handshake updated on which companies sponsor,” says Skylar Tang (W ‘19). “There was one firm that was listed as sponsoring on Handshake, so I applied, but I never heard back. It later turned out that they stopped sponsoring this year, but Handshake still said they were sponsoring.” Claudia Chung (C ‘20) doesn’t think that Career Services’ resources for international students are reliable enough. “When I went in asking for help looking for internships in Hong Kong, the advisor showed me a few sites and told me to click around. So I asked her to show me how. When she set a few filters and clicked search, there were zero jobs. There was such an awkward
TIGER HUANG
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silence.” The advisor showed her other resources, like a network of students who had worked in Hong Kong before—but it was inherently limited due to its dependence on self–reporting. She also looked around GoinGlobal, a paid service Penn subscribes to that gives students an overview of visa regulations and job markets around the world. Jamie Grant, Senior Associate Director for SEAS at Career Services, calls it a “hidden gem,” but Claudia says the quantity of data is misleading. “There are a lot of opportunities on it, except they’re not exactly internships that Penn students are looking for. I didn’t apply to an Ivy League school to work in a bakery as a cashier.” When students can’t find up–to–date information on sponsorship, they have to ask the employers directly, which can be awkward, to say the least. “I wasted time at career fairs talking to employers that wouldn’t sponsor,” Skylar says. “At every booth, I would ask at the end if they sponsored and they will always not be sponsoring. But it’s kind of weird for me to have my first question be ‘Do you sponsor?’ It feels like that’s not good small talk.” Claudia opts to ask them straight away, but she has to phrase it carefully: “What opportunities do you have for international students?” Their anxiety doesn’t just set in when they’re looking for a job; it starts before they pick their majors. International students can only be authorized to work in jobs that are directly related to their major. They can be authorized for temporary employment in the U.S. either through Curricular Practical Training (CPT), which allows students to work as part of their major, or through Optional Practical Training (OPT). Both authorizations require proof of direct correlation between their degree program and their job offer. These limitations encourage international students who want to stay in the U.S. to tailor their academic trajectories to specific careers. For example, they may choose to major in STEM fields—which will give them a 24– month extension on their OPT—or in a major related to an industry that is more likely to sponsor their visa. “It definitely feeds into the culture of a lot of international students ending up going into finance or banking or consulting because these industries sponsor,” Skylar says. “Our mantra for most students is your major does not have to be connected to what you’re doing, but it’s different for international students,” Hewitt says. However, Hewitt realizes that international students need to strategize. “I certainly think there are some types of industries that are more likely to sponsor [...] and I think students are probably smart to look at the big picture and think about that.” Legal requirements certainly put a lot of pressure on international students, but there are financial and academic concerns as well. Skylar says there’s definitely more pressure to get a high–paying job because “it took us so much to get here, especially because international students don’t get as much financial aid.” International applicants to Penn are not reviewed on a need–blind basis, which means that they are effectively discouraged from demonstrating
need for financial aid. If they should ever need financial aid while they are at Penn, they cannot apply later: Penn will only review financial aid documents for international students at the time of admission. Then there’s the pressure to be the best—better than domestic candidates who don’t require the extra payout that comes with sponsorship. “Being international was always a huge source of anxiety because you have to be extra good at everything,” says Jonathan D’Rozario (C ‘17), an alum who was formerly pre–med and is now in New York pursuing acting full–time. For many students, being the best is the only option, as certain industries that are focused around the U.S. can leave job–hunters with no other option than to stay. For Jonathan, who is passionate about acting, it was
"CAREER SERVICES SAYS INTERNATIONAL STUDENTS TEND TO FIND RESOURCES ON HANDSHAKE, BUT STUDENTS SAY THOSE RESOURCES ARE FEW AND FAR BETWEEN." imperative that he remain in the U.S. “You can be a doctor anywhere and you can be a lawyer anywhere, but with acting, you need to be in the U.S.” Although students can go back home after graduation, those few years away from home can actually count against them. “Most government jobs in Hong Kong will prefer homegrown students,” Claudia says. While many companies have international offices, meeting a recruiter at Penn is usually just a dead end for someone looking for international opportunities. “Even if a firm here doesn’t sponsor, it would be great if they connected me to their recruiting offices abroad, but they don’t do that,” says Skylar. “So then I would have to blind apply, and that puts me at a disadvantage against people who go to college there. They will have their OCR and I’m filing in random apps.” Tiger Huang (C,W ‘19) thinks that there is really no need for international students to choose between the U.S. and their home country. “Jobs in Asia have quite a lot of benefits, but a lot of Penn students miss that because the culture is so focused on going to New York,” he says. “I really encourage international students to not discount other places. Jobs in Hong Kong and Singapore are taxed much less, and sometimes they provide you with housing and flights.” Though there are forces beyond its control, ISSS does help students sort out confusing legal paperwork. “We cannot help students get a job, but
we want to partner with students so that they are in full understanding of the requirements of their OPT and CPT applications,” says Rodolfo Altamirano, Director of ISSS. Jonathan recounts how he was “really freaked out” trying to file tax returns all by himself and how he visited ISSS so much that he became friends with the people there. “It’s really stressful and s c a r y, but there are definitely people at Penn who can help,” he says. Altamirano understands their struggles. “I was an international student so I know what they’re dealing with. International students come to us because they have nowhere to go. [...] And so our goal is to never turn them away.” But immigration laws are ever changing, especially with the Trump administration. This was always a source of great insecurity for Jonathan. “I never really spoke to my U.S. friends about it because they could never relate to that. For them, there’s no risk of getting removed from the country. Then you hear political rumors about work visas, that they’re offering less, that they’re offering more, and you’re always scared thinking that something’s going to happen that’s directly impacting you.” These issues may have been swept under the rug because international students’ struggles are not always visible. Career Services is content with how international students fare on paper. “I think their outcomes tend to be pretty good in terms of finding jobs and continuing education. Over 80 percent are working in the United States from the Class of 2017,” says Hewitt. According to Claudia, most of these jobs come from personal networks, not channels provided by the University. She says, “Almost all of them get jobs because they know someone. And internal networking is highly exclusive. If you don't know people you can't get into that circle.” These concerns are often swept under the rug as the constrictions placed on international students are overlooked. “People would always ask me if I’m studying abroad, and I’d be like, ‘I am abroad,’” Jonathan says. Their undergraduate years at Penn mean something entirely different from a U.S. student’s semester abroad. “One of the reasons why I think a lot of international students picked schools outside of their own countries is because it's supposed to provide you better career opportunities than going to a local university,” says Claudia. When students seek these opportunities out at Penn, they’re working against the expiration date of their visas—there’s no time for them to be confused about the future.
SKYLAR TANG
SHINYOUNG HAILEY NOH IS A SOPHOMORE IN THE COLLEGE FROM SEOUL, SOUTH KOREA. SHE IS A FEATURES WRITER FOR STREET. O C T O B E R 24 , 2 01 8 3 4 T H S T R E E T M A G A Z I N E 1 3
FILM & TV
Coming of Age with ‘Whisper of the Heart’ Why this lesser–known Ghibli movie still speaks to me year after year.
After writing about Ghibli Fest, I was reminded of the genius of Hayao Miyazaki's movies and the influence they have had on my life, specifically how one movie has shaped me. Whisper of the Heart is my all–time favorite movie. As I have grown up, it has been a constant source of inspiration and support—so much so that twenty–three years after its initial release, during my first semester at Penn, I find myself watching it once more in search of a warm sense of home. Its protagonist is cheerful girl in junior high school, Shizuku Tsukishima, who spends her summer freely, reading novels, translating songs, and wondering about the mysterious boy who seems to be checking out all the books in the library before she does. She’s free and happy. That is, until she meets the mysterious boy of the library cards, Seiji Amasawa, and is awed by his passion for crafting violins. After a brief friendship and confession of mutual love with Seiji, Seiji departs for Italy in the pursuit of turning his passion into a lifelong career. Fueled by inspiration and a fear of falling behind Seiji, Shizuku embarks on her own journey in the form of writing a novel. Shizuku faces self–doubt and slipping grades as she writes, but eventually produces a full–length piece of work that is, although unpolished, a heartfelt product of her adolescent growth. I first watched Whisper of the Heart in middle school, a period of mass confusion and low self–confidence. My
Saranya Sampath | Illustrator
Shannon Zhang
problems at the time revolved around reducing the redness of the stretch marks on my thighs and impressing my non–Chinese peers with how well I could blend in with them, compounded in eighth grade with the looming stress of testing into the prestigious local magnet high school. I watched Whisper of the Heart in the midst of all of this, while skipping lunches and trying not to fall asleep at late–night cram school. I watched Shizuku, a bright, young girl, laugh with her friends and push herself through a self–imposed test of talent to emerge physically no different, but emotionally confident and sure of her decision to go to high school. Even though I had been discouraged, at the completion of Whisper of the Heart, I developed a yearning for the unique education promised to me if I were to go to this revered high school and defined “acceptance” own my own terms, as my own test of
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growth. I rewatched Whisper of the Heart during the college application process. This time, I noticed a scene in the movie I had forgotten about. When Shizuku visits an antique shop she finds early on in the movie for the second time, it is closed. Shizuku then sits outside of the shop with a cat and says, “Why do we change, I wonder? Like me...Even though I was always such a meek, gentle girl. Reading books, too... I don't get excited like I used to. Right away, you know, something inside says, 'It's not likely things would work out this well. Not very sweet.'” My high school years were the most formative years of my life up to that point. I became more outgoing in my new circle of friends yet more reserved around strangers. I learned how to drive and dented the front bumper of my parents’ car. And I took up a two–year creative writing course and put down personal
memories and emotions I had never expressed before onto Google Docs. All the while, I worked my hardest to maintain straight A’s, sacrificing my sleep, my time with family and friends, and my health. For a long time, my daily routine started at 7 a.m., getting ready for school, and ended at 2 or 3 a.m., studying for a test. By the time my schoolwork began letting up in my last year of high school and I had free time once again to do anything I liked, I didn’t know what I liked anymore. Watching Shizuku's monologue to the cat was like watching an animated expression of the confusion and change I was muddled in. Seeing Shizuku struggle with inner change herself made her facing her own trials relatable and inspiring; despite having grown so apart from who I was four years prior, I still found a piece of who I was and what I wanted within Shizuku. I watched Whisper of the
Heart one more time during my first few nights of NSO. My high of being in a new state, in a new school, and in a new environment away from my family and everything I had ever known was wearing off, and I felt very alone. I was tired of introducing myself to different faces and using Google Maps to get around, and all I wanted was the comfort of a conversation with my best friend and the familiar feeling of driving down the North Jersey highways. This time, rather than seeing Shizuku flounder through her adolescent development, I saw her relish in new experiences. My favorite scene in the movie is when Shizuku watches Seiji work at his workbench in the basement of the antique shop. After some banter, Seiji begins playing the violin and urges Shizuku to sing along to John Denver’s “Take Me Home, Country Roads;” in the middle of the song, Seiji’s grandfather and grandfather’s friends join in. Although Shizuku is unconfident in her voice, unfamiliar with the shop, and doesn’t yet know Seiji’s name, she sings and claps along with the music, ending the song with a fit of laughter. I find comfort in Whisper of the Heart. When I put it on, I was looking for a bit of familiarity in my overwhelming surroundings. I got that familiarity, but I also unexpectedly got a push from Shizuku to keep finding joy in the new. Whisper of the Heart has been integral to my childhood, and I know I will continue to find new value in it with every additional viewing.
FILM & TV
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uccessfully translating literature for the screen rests in capturing the details of the written word without wearing out the audience. In the case of Swedish director Björn Runge’s adaptation of the 2003 novel The Wife by Meg Wolitzer, the writer and the power of the word are at the epicenter of this simmering relationship drama. The ramifications of literary genius become the narrative thrust of the film, where the pacing is determined by the conditions of the characters’ inner lives. The result is a film that moves slowly, but deliberately, with every look, gesture, and word building to a blazing crescendo. Meticulous attention to detail is how The Wife makes a not particularly innovative but worthwhile story burn slowly into an intelligent reflection on the dynamics of image, recognition, gender, and talent in the life of a writer. The Wife follows Joan (Glenn Close) and Joe Castleman (Jonathan Pryce) as they journey to Sweden to attend the Nobel Prize ceremony after Joe receives word that he has won the glittering title in literature. The
news initially prompts the happy couple’s celebration of one of the greatest honors in any writer’s career, but as the film progresses, the cracks in the foundation of their seemingly harmonious existence become evident. This precisely calculated narrative unfolding is enhanced by Close’s subtle but affecting performance, which pierces through every flight of clever dialogue and quiet moment of reflection. As Joan’s husband’s award ceremony approaches, she is unendingly reminded of what it means to be the wife of a so– called genius. The suffocating, patronizing world Joan finds herself in breaks her air of control and diplomacy with a pain that sits in waiting just below her composed surface. The Wife embodies the effectiveness of a slow burning narrative with a surprisingly satisfying payoff. It unfolds elegantly like a great novel, held together by performances that are at times quiet and others explosive. The film moves methodically through a trying time in the lives of Joan and Joe, exposing a dynamic between the two that manages
‘The Wife’ is a Slow-Burning Reflection on Gender & Genius
to capture the layers of a forty– year marriage in a 100 minute runtime. The pacing of the film gives it a heightened realness, and every scene is filled to the brim with tactility and humanity. This is the kind of film that deserves a second viewing for the acting alone. There is so much to be experienced when it comes to Close’s impeccable performance. Her ability to capture both the internal and external struggles of her character through the unassuming gestures of a mild–mannered woman is remarkable. Every movement, word, and subtle change of expression is a deliberate calculation with immense payoff. Although Joan is a generally shy and humble woman, through Close, she becomes a commanding presence. We need only keep our eyes fixated
A showstopping performance from Glenn Close elevates this dynamic relationship drama. on her face to feel every bit of discomfort, drop of regret, and pang of agony that stirs inside her as she accompanies her husband through the exhausting swirl of names, faces, and congratulations in the lead up to his Nobel Prize recipi-
Zovinar Khrimian ent speech. Pryce delivers an excellent performance as Joe Castleman, the gregarious, fiery foil to Close’s reserved Joan. His role as the classic figure of perceived male genius features the combination of narcissism, unrelenting charm, impromptu oration, and infidelity, all of which are crucial in building the gender politics that drive the film. The Wife’s success as a film is all in the details, for at the narrative level it doesn’t exactly reimagine the form the way that Joe Castleman’s novels do in the world of the movie. Ultimately, it is a richly–layered, brilliantly–acted reflection on the politics of gender, visibility, and recognizable genius. It succeeds in animating the stuffy world of erudite highbrows through the probing of a complex marriage, and takes its time in developing an elegant guide to reflection on our conception of the male genius.
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Halloween Film Events to Catch in P hila d el ph ia T h i s O c to b e r
Zovinar Khrimian
Celebrate spooky season across the city with your favorite horror flicks.
Sweaters, falling leaves, pumpkin–flavored everything—you know Halloween is just around the corner when you can smell the autumn in the air. For film lovers, the change in season means an explosion of Halloween–themed film events in every corner of the city. Here are some of Street’s picks:
Halloween Movie Marathon at the Piazza
There is nothing like the chilly October air (and hopefully a cup of cocoa) to set the mood for an outdoor movie screening. Catch spooky fair from classics like Ghostbusters (October 28) and Night of the Living Dead (October 29) to more recent favorites like last year’s It (October 30) at the Piazza at Schmidt's Commons in Northern Liberties. Other showings include Hereditary (October 25), Hocus Pocus (October 27) and Halloween (October 31). Be sure to bring a blanket or chair and be ready for some free popcorn in this expansive outdoor venue. Date: October 11–31; screenings begin at 7 p.m. Location: 1001 N 2nd St. #21 Cost: Free
Lightbox Film Center Exhumed Films 24-Hour Horror-Thon
If you’re up for it, University City’s own Lightbox Film Center hosts a 24–hour horror movie marathon that runs noon to noon the weekend before Halloween. The lineup isn’t revealed before attendance, but is poised to feature a diverse mix of modern horror classics and rare finds. At a price point of $60 for non–members, this spooky extravaganza is catered to the most dedicated Halloween and/or horror enthusiasts but promises to be an unforgettable experience for all those brave enough to attend. Date: October 26–27; screenings begin at noon on Saturday Location: 3701 Chestnut St. Cost: $60 for non–members, $50 for members of Lightbox Film Center
ing the 1982 sci–fi classic The Thing. For those who want a cozy spot to enjoy a spooky specimen of '80s horror, the Ritz is the place. Date: October 30 at 7 p.m. Location: 214 Walnut St. Cost: $10.50
'Häxan: Witchcraft Through the Ages' at the Mütter Museum
A truly bizarre but wonderfully original way you could spend your
Halloween evening is with a screening of the 1922 Swedish horror–documentary Häxan: Witchcraft Through the Ages. This special Halloween night screening is preceded by an introductory lecture and complementary pretzels. The best part: costumes are highly encouraged. Date: October 31 at 6:30 p.m. Location: 19 South 22nd St. Cost: $20 General Admission; $15 for members
'Night of the Living Dead' Screening at The Prince Theater
This remarkable 1968 horror classic is worth a watch for anyone interested in the development of the now ubiquitous zombie film genre. This special Halloween night showing of Night of the Living Dead will feature an updated score performed live at the theater. Date: October 31 at 7:30 p.m. Location: 1412 Chestnut St. Cost: $15
'The Thing' at Ritz Five
For Penn’s film lovers, the SEPTA ride out to Old City’s Ritz Five is not an infrequent crosstown journey. In celebration of the Halloween season, the charming theater is show-
O C T O B E R 24 , 2 01 8 3 4 T H S T R E E T M A G A Z I N E 17
ARTS
Mural MuralArts Arts Month Monthis is Coming Comingto to Town Town From multicolored African tapestries to giant inflatable letters, look no further for your next outdoor art outing. Christina Lu Get off of campus soon, because October is Mural Arts Month at Mural Arts Philadelphia, the largest program dedicated to collaborative public art projects in the entire nation. Each year, the celebratory month features free exhibitions, symposiums, mural dedications, and more, providing a rare chance for
Emma Boey | Photographer
students to lose themselves in the art and culture of the wider Philadelphia community. From now until November 3, here is a glimpse of what’s
in store:
You Are Magic
Designed to combat societal divides, Alicia Eggert’s You Are
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Magic is a massive interactive mural with a heart–rending message. The mural takes an unconventional form—a blow–up sculpture—and is composed of a conductive platform and half–inflated colorful mass. When multiple people join hands on the platform, creating a circuit, the sculpture fully inflates into emphatic pink, yellow, and blue letters: “YOU ARE MAGIC,” proclaiming the importance of connectivity. Come out to Aviator Park on Oct. 26 or Paine’s Park on Oct. 27 to see the installation in action.
Portraits of Justice
The Portraits of Justice initiative is a collection of artwork and performances that explore restorative justice, especially relating to the lifelong impact of the criminal justice and juvenile justice systems on young adults, returning citizens, and incarcerated individuals. This month, the lineup of events includes a storytelling workshop titled When and Where We Re–enter, a simulation experience on Overcoming Bar-
riers to Reentry, an audiovisual narrative about discrimination and family reunification titled Labels, and a day–long symposium that will engage audiences in visualizing a brighter criminal justice system that will center around art, advocacy, and reform.
Water Gives Life
Water Gives Life, a mural by artists Eurhi Jones and David McShane, features vibrantly colored flora and fauna suspended above a birds–eye view of Philadelphia. The design, which resembles Japanese woodblock prints and draws inspiration from Ruth Asawa’s hanging wire sculptures, portrays Philly’s multiplex of water pipelines that deliver clean water from the Schuylkill River to the Delaware River, and anywhere in between. The mural dedication will take place on Oct. 23.
Legacy
Over the course of this year, Walé Oyéjidé, creative director of Ikiré Jones and Black Panther scarf designer, has taken students in the Mural
ARTS
dimension of the African diaspora. Show up at the Blackwell Library on Oct. 20 for the mural dedication (and a last chance to try Federal Donuts’ Berries & Cream Mural Arts Month donut).
5th Street Tunnels
While street art can serve many contentious purposes, from cultural expression to social commentary to territory marking, the 5th Street Tunnels project is simply meant to celebrate the hard work of behind–the–scenes bridge workers and entertain those
Emma Boey | Photographer
Arts’s Artrepreneurs program on a quest to explore how the clothing and tapestries of the African diaspora shape lasting
identities. The culmination of this project is a large mural on the Lucien E. Blackwell Library facade titled Legacy,
which comprises three colorful panels with patterned borders based on traditional tapestries, each featuring a cultural
just passing by. Artists Brad Carney, Melissa Mandel and Mat Tomezsko were commissioned in partnership with the Delaware River Port Authority to completely revamp the tunnels of 5th Street with original art. Carney and Mandel graced the pedestrian tunnel with a series of semi–abstract, semi–photo realistic renditions of classic Philadelphia sights, while Tomezsko lets loose in the vehicular tunnel with blazing cross patterns and bright swatches of color. The mural dedication will wrap up the month’s events on Nov. 3.
Live music • Film • Dance • Theater Art Education • Community
Julian Priester on trombone and David Haney on piano
Oct 24 2018 @ 8:00 PM Admission is FREE! Don't miss this rare chance to see Julian Priester in this intimate setting! Laura Woodwalker, The Quantum Erasure Experiment and Ombient Presented by Event Horizon Series
Oct 27 2018 @ 8:00 PM
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Laura Woodswalker's compositions are rhythmic, melodic, sometimes a bit mystical. The Quantum Erasure Experiment aka Dan Hamilton plays under this persona. He eliminated all predefined genre rules and instead plays completely improvisation and reacts to what he is hearing. Ombient is the moniker under which Mike Hunter performs his ambient/drone/experimental music. His music is representative of the feeling of the moment in which it is performed and the subtle feedback between the audience and the performer! JAWN of the DEAD 2 - Rad VEGAN Monster Party
Oct 28 2018 @ 2:00 PM JAWN of the DEAD 2 is NOW the official family-friendly event! It's going to be ghoulishly vegan & amazing! Fun + crafts + shopping + more!
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ARTS
Berthe Morisot Arrives at the Barnes Foundation as a "Woman” Impressionist An otherwise successful retrospective of an important female artist loses power in the exhibition title. Sophie Burkholder She looked to me like the swirling sea creature of Edvard Munch’s “Mermaid,” reminding me immediately of that heartbreaking final stanza of Prufrock. Her eyes, gazing back half–open at the viewer, communicated all of the beauty and strength and sadness that exist in all young women. She was Berthe Morisot’s daughter, Julie, the subject of the artist’s 1894 painting, “Portrait of Miss J.M. (Julie Dreaming),” the concluding work of the Barnes Foundation’s most recent exhibition, Berthe Morisot: Woman Impres-
sionist. Having opened this past Sunday at the Barnes, this new touring exhibition premiered at the Musée national des beaux–arts de Québec last June, and will continue on to the Dallas Museum of Art and the renowned Musée d’Orsay in 2019. Comprised of nearly 70 paintings from public and private collections, Berthe Morisot: Woman Impressionist seeks to highlight the role and influence of Morisot in late nineteenth century art, which the curators of the exhibition argue have perhaps
Photo Courtesy of Barnes Foundation
been diminished by past scholars because she was a woman. At the Barnes Foundation, in particular, which is home to a surplus of works from heavyweights like Renoir and Cézanne, this special exhibition is meant to demonstrate by direct comparison that Morisot’s innovation was equally as impressive as her male contemporaries, if not more so. Split into seven categories that roughly follow the chronology of
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Morisot’s career, the exhibition highlights both her advancement of techniques in plein air painting and her more nuanced depiction of female household servants. Beyond experimenting with the depiction of women in art, she also pushed the boundaries of the foundation of Impressionism itself, questioning what it means to try and capture an immediate reaction to a singular moment. This is obvious in paintings like “The Lesson in the Garden,” which blends the outlines of two seated figures into the greenery around them in a revolutionary overlap of brushstrokes. One section of the exhibition highlights more works where much of the canvas is left untouched. Another focuses on her study of liminal spaces, masking the tangibility of the border between private and public life with a blurred brushstroke. Each theme of the exhibition demonstrates the way that Morisot pioneered the impressionist movement, despite her name being filtered out of textbooks in place of men like Manet or Gauguin. In fact, the exhibition’s focus on how Morisot’s female perspective gave a refreshing depth to her work over that of those other artists would be perfect if not for one majorly ear–grating blunder: the title. Yes, the first time I read the words “woman Impressionist” in the exhibition title, I was a bit
puzzled. Did that mean because she was a woman, she could not be in the same genre as what we call mere “Impressionists,” and why not? When asked about it, the two female curators, Sylvie Patrie and Nicole Myers, responded that Morisot’s name might not immediately be recognizable as that of a woman, and so the modifier in the title was meant to eliminate potential confusion. But to be frank, regardless of intention, this choice of a title is far more marginalizing than it is empowering for Morisot, and for any female artist. It assumes that they cannot exist in the same realm of art as the men who may be creating work in a similar style to them. It says that they will always be different, and that they should be studied separately. And in this case, it undermines nearly every progressive attempt at overturning the patriarchy of Impressionism that works in this exhibition. In that final room, I looked back into the dreaming eyes of teenage Julie in that sickly green painting “Portrait of Miss J.M.,” feeling her melancholic ennui in myself as I wondered if the institutions of this world would ever learn to accept and respect work from diverse backgrounds and perspectives without the use of modifiers to discuss them. The exhibit will be on display until January 19, 2019. Student tickets are $5.
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'No Borders' is The Silent T T Protest T You Are Not Hearing
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34TH STREET Magazine December 1, 2011 34TH STREET Magazine December 1, 2011 34TH STREET Magazine December 1, 2011
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"It's Wall Street movement in 2011, paid paid paid services service servi a hipster gentrified area" is what I and eventually her work as an art inging ing interrupt interru inter received in return. I went, arrived, journalist for news outlet Vice, for buffering buffering buffering and a strolled through. Hipster gentri- which she was sent to report on immunity immunity immunity to fied indeed. The uneven patched– Guantanamo Bay and the trial of and and and most most most imp im over sidewalks spoke of tougher 9/11 mastermind Khalid Sheikh inging ing to towait towai w times, but all I could see now were Mohammed via detailed sketches. watching watching watching 7272 m coffee shops and antique furniHer life, one of raising eyeonon Megavideo onMegavid Megav ture stores, high–end beauty sa- brows and turning heads, is reNot Not Not to to me tom price price price to to pay topapw lons and quaint restaurants, with flected in her art. As an inherently Dine-In, Dine-In, Dine-In, Catering Catering Catering &&Delivery &Delivery Delivery thethe big thebig picture bigpict pic the occasional old house sticking populist creator, she has explored savings savings savings of of the of out like a sore thumb, awaiting issues such as the 2014 refugee Happy Happy Happy Hour: Hour: Hour: Mon-Fri Mon-Fri Mon-Fri 5-7 5-7 5-7 students students students who wh wp demolishment or reconstruction. crisis and followed the 2016 presiservices services services rather rath ra Residential areas were single two– dential election. Molly Crabapple Lunch Lunch Lunch Special: Special: Special: Mon-Fri Mon-Fri Mon-Fri $8.95 $8.95 $8.95 movie movie movie theater thea the or three–storied buildings, many has trekked through ISIS plagued tween tween tween $196,1 $196 $19 with flower boxes in front of win- territory to report on Syrian refuEarly Early Early Bird: Bird: Bird: Sun-Thur Sun-Thur Sun-Thur $10.95 $10.95 $10.95 depending depending dependin on dows and pastel–painted wood. It gees, recorded the suffering of Netfl Netfl Netfl ix ix orixor iT or was beautiful, nice on the eyes, su- immigrants in Abu Dhabi's labor Moral Moral Moral of of the ofth perficial. Behind every chic apart- camps, and protested the victimjudge judge judge if you if ifyou yo ju ment or glass fronted store was a ization of sex workers through her displaced family and a torn down artwork. She has speed–sketched • 215.387.8533 • •215.387.8533 *A*A*A simple simp sim PattayaRestaurant.com PattayaRestaurant.com PattayaRestaurant.com 215.387.8533 home. the story of a Chinese immigrant, of of 100 of 100 100 Penn Pen P • • • 4006 4006 4006 Chestnut Chestnut Chestnut Street Street Street University University University City City City Here, I think, is where the art- who despite having lived in Amersurveyed surveyed surveyed to to c ist's handiwork hits home. Jen- ica and having built a family of 8 his 88 their their their film film fivie lmv O C T O B E R 24 , 2 01 8 3 4 T H S T R E E T M A G A Z I N E 2 1
ARTS
WHAT'S
IN
THE
FISHER
FINE
ARTS
Rare Books Library? With materials dating from the late 15th century up until yesterday, it's well worth a visit.
Penn began offering an architecture program in 1868, but its collections of architectural publishings originated back in 1490s. Only if we take a peek at the Rare
Books Library can we come in touch with several of these publishings. A little, ordinary room near the circulation desk in the Fisher Fine Arts Library, the Rare
Books Library stores some of the oldest text materials at Penn, focusing on subjects from urban planning to Japanese contemporary photography.
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Founded by Holmes Perkins, an architect, urban planner, and Dean of the School of Fine Arts at Penn from 1951– 1971, the Rare Books Library was a haven for Perkins to house an ongoing collection of architectural designs and publications. As the university library began to expand its collection in the sixties, Perkins realized that Penn lacked many of the earlier monuments of architectural publishing he had found during his time teaching at Harvard. He began to devote considerable time and energy to the collection of select publishings in the history of architecture, which later culminated in the Rare Books Library. “What was important to Holmes Perkins through this collection was for the students to see the evolution of architectural thinking with primary materials,” said Hannah Bennett, Director of Fine Arts & Museum Libraries. One of the foremost works in this collection are those from the Renaissance detailing Vitruvius. A Roman architect and engineer of the 1st century BCE, Vitruvius is known almost exclusively through his famous ten volume work On Architecture. At Penn, the collection holds several editions of his works as interpreted by five Renaissance figures: Alberti, Scamozzi, Serlio, Vignola, and Palladio. It was the basis for many of the architectural monuments seen today, from Sofflot’s Pantheon in Paris to James Stuart’s Doric Portico in England to Jefferson’s designs for Monticello and the Virginia State Capitol. In addition to books on architectural principles and practice, the collection also includes clusters
Kaitlin Rowan | Photographer
XINYI WAN
of publications on subjects such as landscape architecture, bridge engineering, and the development of urban planning. Today, the Rare Books Library has extended its boundary beyond architectural publishings to new areas; it is not intended to be comprehensive but it does aim to gather key publications in subjects including prints, maps, design, and photography, for which the overall collections of the Fisher Fine Arts Library provide complementary material. “Our oldest material was from late 15th century, and our most contemporary material was from like yesterday,” Bennett said. “Concurrent to Perkins’s works to the collection, we as librarians started buying materials that would suit not only his commitment to a more holistic art experience, but also our fine arts and art history curriculum. So today you see not just the core—the architecture and city planning—but also contemporary photography, artists’ books, and interactive maps.” The collection is a wonderful study in history of not only architecture, but also publication and art materials. Housed in a room of modest size in the Fisher Fine Arts Library, the Perkins Rare Books Library stands as one of the university’s treasures, serving hundreds of thousands of users each year, from professors to students, and from visiting scholars to book artists. And it’s still growing.
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