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November 08, 2017 34st.com

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LETTERFROMTHEEDITOR

2017

LOL

3 HIGHBROW

overheards, date night or networking?

4 WORD ON THE STREET death on campus

5 MUSIC

Tom Petty

8 EGO

eotw: BMOC boys

10 VICE & VIRTUE

bumbles worker bee

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LOL

LOL

12 FEATURE

female drug dealers

There are two pretty big events coming up this week, events that I hope you all try to attend. The first is BMOC (Big Man on Campus). The second is Street's very own Battle of the Bands. The two events represent groups that I am both in and care about very much. BMOC to me will always represent a sense of belonging. I wasn't a very good freshman. I didn't (and honestly, still don't) like going out that much, and I had a hard time breaking out of my little Quad single. My friend Kristen, whose older sister was in what was then AXO, encouraged me to go to BMOC. I don't remember much about the dances, or the people performing, but I do remember such a strong sense of community. I barely knew anyone, I was a tiny freshman with my tiny freshman friend, but god, I had fun. It was an unadulterated, fantastically good time. There was such

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19 ARTS

cultures conserved

students brag

Orly Greenberg, Editor–in–Chief Dani Blum, Managing Editor Chloe Shakin, Audience Engagement Director Teagan Aguirre, Design Director Carissa Zou, Design Director Corey Fader, Photo Director

Nick Castoria, Highrow Beat Paul Litwin, Music Beat Amy Marcus, Music Beat Aliya Chaudhry, Music Beat Noah Kest, Music Beat Michelle Pereira, Music Beat Jess Sandoval, Music Beat Shoshana Sternstein, Lowbrow Beat Dano Major, Lowbrow Beat Lily Zirlin, Lowbrow Beat Cami Potter, Lowbrow Beat Noa Baker, Vice & Virtue Beat Lily Snider, Vice & Virtue Beat Morgan Potts, Vice & Virtue Beat Julia Messick, Vice & Virtue Beat Jillian Karande, Vice & Virtue Beat Molly Hessel, Vice & Virtue Beat Gina Alm, Arts Beat Sherry Tseng, Arts Beat Linda Lin, Arts Beat Michaela Tinkey, Arts Beat

Nick Joyner, Features Editor Julia Bell, Features Editor Angela Huang, Word on the Street Editor Dalton DeStefano, Film & TV Editor Annabelle Williams, Highbrow Editor Haley Weiss, Ego Editor Andreas Pavlou, Vice & Virtue Editor Talia Sterman, Music Editor Colin Lodewick, Arts Editor Claire Schmidt, Lowbrow Editor Catalina Dragoi, Film & TV Beat Michaela Reitano, Film & TV Beat Sabrina Qiao, Ego Beat Maria Riillo, Ego Beat Natalia Sanchez-Nigolian, Ego Beat Lucia Kim, Highbrow Beat Daniel Bulpitt, Highbrow Beat Angela Lin, Highrow Beat 2

night. I guess I like the idea of planning something that lets other people enjoy what you so enjoy. It's so gratifying to be able to share with your friends and peers what you're involved in. I want to watch and support my friends performing at BMOC. I'm so happy to use Street as a means to give performers a venue and an opportunity to do what they love. And that? That was my sales pitch. Hope to see you all there.

SHAKE YO TAIL FEATHERS AT STREET'S BATTLE OF THE BANDS!! TOMORROW, WILLIAM STREET COMMON, 8:30–10:30 P.M. $2 COVER, CASH OR VENMO

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22 LOWBROW LOL

an overwhelming sense of community, of genuine enthusiasm for the clumsy (but more often, surprisingly good) dances being performed. It didn't matter if people were good, or perfectly in sync: they were being watched by people who were rooting for them and were in attendance just to support and encourage. It wasn't even a group I was yet in, but I knew that they were girls that cared about something. They cared about their philanthropy, they cared about their friends, and hell, they even cared enough to choreograph a five–minute dance and do it in front of hundreds of people. That takes commitment. It's the same thing with Street's Battle of the Bands. It's a group of people working on something they love, and giving others the opportunity to do the same. If people come, watch performers and enjoy the music, it'll have been a successful

Staff Writers: Isabella Fertel, Caroline Curran, Kiana Cruz, Clare Kearns, McKay Norton, Chen Chen Zhang, Brookie McIlvaine, Steph Barron, Lauren

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Donato, Frankie Reitmeyer, Jamie Gobreski, Brittany Levy, Jessica Li, Maria Formoso Zack Greenstein, Design Editor Christina Piasecki, Design Editor Katherine Waltman, Design Editor Simcha Stadlan, Design Editor Anjali Berdia, Design Editor Gloria Yuen, Illustrator Anne Marie Grudem, Illustrator Avalon Morell, Photo Editor Autumn Powell, Photo Editor Megan Kyne, Photo Editor Christina Piasecki, Photo Editor Emily Hason, Video Director Daniel Rubin, Video Editor Megan Kyne, Video Editor Lea Eisenstein, Copy Director Sophia Griffith-Gorgati, Copy Editor Nancy Liu, Copy Editor Kimberly Batista, Copy Editor Colleen Campbell, Copy Editor Nadia Goldman, Copy Editor

Catherine de Luna Copy Editor Jennifer Cullen, Copy Editor Riley Wagner, Copy Editor Cole Bauer, Social Media Editor Paige Fishman, Social Media Editor Hanniel Dizon, Social Media Editor Carly Shoulberg, Social Media Editor Julia Klayman, Social Media Editor Merry Gu, Social Media Editor Chae Hahn, Social Media Editor Sarah Poss, Social Media Editor Lily Haber, Social Media Editor Unless otherwise noted, all photos are by Corey Fader, Autumn Powell, Megan Kyne, Christina Piasecki, and Brinda Ramesh. Contacting 34th Street Magazine: If you have questions, comments, complaints or letters to the editor, email Orly Greenberg, Editor–in–Chief, at greenberg@dailypennsylvanian.com. You can also call us at (215) 422-4640. www.34st.com "All I'm gonna say is, my buns didn't leak." ©2017 34th Street Magazine, The Daily Pennsylvanian, Inc. No part may be reproduced in whole or in part without the


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HIGHBROW

Public Domain // CC.0

over heard PENN

NETWORKING

at

ARE THEY OR GOING TO A

SEPTUAGENARIAN: If a guy ever says "you’re so hot," tell him that’s stale language.

DATE NIGHT

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arly in the evening on a Thursday night, you observe a pair of people walking together down Locust. Both are dressed up semi–formal: somewhere between going to Grandma’s and flying out for a Superday. Their demeanor and gait are confusing. Are they drunk, nervous, or even both? To the untrained eye, it's hard to tell. Here are some surefire ways to tell if your peers are going to a networking event or heading out to a date night. Listen to their convo: Not to be creepy, but this wouldn’t be the first time somebody overheard someone on Locust. Listen for key phrases like “late–stage capitalism” or “but I’m only gonna do i–banking for a few years” for a sure giveaway that they are networking that night. Mentions of “bigs” or “the hot guy in their PC—no not Charlie, Andrew” is a surefire giveaway of a date night.

Caution: Any mention of their big’s summer internship and all bets are off. Note their accessories: The devil (snake?) is in the details. For networking, think “pad”: padded resumes, padfolios, and PADs. Any of them, god forbid all three, and you know they are about to spend the night in a self–hating schmooze frenzy. For date nights, look for vices: a juul, a flask, or the affect of overconfidence are all dead giveaways. Pique their interest. A power move: drop hints and see if they break their neck seeing who it is behind them. Take out your phone and pretend to be on a call. Mention “J.P. Morgan” or “BCG” and see their reactions. If you catch their ear, congrats, you found your snakes. Caution: You could just look like an ass. DANIEL BULPITT

NETWERKIN' NOT WORKING OUT FOR YA? FUCK IT. TREAT YOURSELF. DO SOMETHING FUN, CHILL, RELAXING. CATCH SOME VIBES. GO TO STREET'S BATTLE O' THE BANDS. TMRW, 8:30.

SEMI–PRO STALKER: He’s friends with an interesting group of gays on Facebook. YOUNG LUCILLE BLUTH AT COPA: I love how mean I get when I drink! WRITING PROF MID–CRITIQUE: Why were your boobs out on the beach? It's a legitimate question. GRAMMATICALLY CORRECT FRAT STAR: Is Chouse capitalized? SESAME STREET SNARKER: Kermit the Frog would make fun of her for wearing that outfit. GIRL PLAYING HER LUCK: "You never know what size the dick is, that's the most fun part...It's like dick roulette."

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WORD ON THE STREET

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lcohol is a mystery to me. I have never had a glass of alcohol in my life, and I never will. Soon after transferring into Penn as junior last fall, I went to a club event that involved going to members’ apartments and a frat house, each location assigned its own specific drink. I was concerned by the amount people were drinking, the speed at which they were drinking and the lack of snacks and water. I was careful to open my own bottles of water and soda. I wondered how high everyone’s tolerances were. I wondered if I should hand some water to the girl next to me who had just consumed two drinks in a row within ten minutes of arriving. Nobody in my family drinks and I haven’t had a lot of friends who drink. Most of what I know about alcohol I’ve learned from pop music and that one episode of How I Met Your Mother. I didn’t even know what alcohol was until a fourth grade class on peer pressure. Growing up, I didn’t understand those signs that said “Don’t Drink and Drive” and thought it was because you physically couldn’t see the road while holding up a bottle of water. There are several reasons why I don’t drink, the biggest one being that I’m Muslim, and Islam prohibits consuming alcohol. On top of that, I’m not the legal drinking age, I’m deathly terrified of throwing up, I have a hard enough time remembering what happened in a given week, and I don’t ever want to act in a way that I can’t control or take responsibility for. Not drinking has its perks—it saves money, lowers the risk of alcohol–related health problems, spares you blackouts, and prevents you from having to do homework hungover. But it is a little awkward not having access to an experience which is so prevalent and normalized in our culture. Sure, I know facts here and there, like mimosas are for brunch and Franzia comes in a box. But I know absolutely nothing about the mechanics of drinking—how long it takes people to get drunk, how much water they should drink in between 4

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NO BOOZE ALLOWED ALIYA CHAUDHRY drinks, and when you should stop one of your friends from having another glass. I want to look out for my friends, but I don’t know how. One of my friends went to the hospital twice for alcohol poisoning, and when I found out, I was really scared for her, but I didn’t know what I could have done to help her if I had been there. I don’t know a lot about the positive aspects of drinking, because, through health classes, rumors

How being sober affects my time at Penn.

while they’re drinking. I remember going to a friend’s birthday party sophomore year of college and being surprised that there was alcohol there. It was a very relaxed and low–key party, and it was a rare chance for me to meet up with a lot of friends I really enjoyed being around and I had a great time. I remember telling my mom about it afterwards and saying it was a good way for me to get used to being around alcohol without feeling nervous. I’ve never felt like I’ve been missing out by not drinking. I’m not judging or criticizing people who drink or drink a lot; I’m as accepting of drinking as I want others to be accepting about the fact that I don’t. I have been around people who weren’t respectful of my choice not to drink. Thankfully, this hasn’t been the case at Penn, but at my previous college and when I studied abroad in England this past summer, many of my friends expressed shock, disbelief and even criticism at the fact I didn’t drink. I often get frustrated with how our culture assumes that everyone drinks, and imposes pressure that alcohol should be a regular part of everyone’s life. We need to move away from standardizing experiences, and from creating social pressures, particularly when it comes to something like drinking. Illustration by Gloria Yuen Penn gets stereotyped as a drinking school, but I don’t think that’s the necessarily the case. My experience has been that there is and the news, I’m constantly reminded of the nega- an active drinking culture, but it’s not everywhere tive consequences. From hearing classmates talk and it’s not everyone. I’ve found a pretty active about how they can’t recollect three hours from non–drinking culture—and I didn’t have to look their weekend, to a friend telling me about how a very hard. close friend got so drunk she was crying, stories I I know it’s only going to get worse as I grow oldhear about the dangers of alcohol stick with me. er. So much career networking and out–of–work And actual experiences often corroborate this, like socializing happens at happy hours and bars, and a high school party where a friend took too many if I’m uncomfortable with alcohol–related social shots right after showing up and friends had to events now, it’s going to be even more difficult watch her and hand her water. I haven’t had enough when I have to deal with alcohol–related work positive experiences around alcohol to balance out events. my negative associations. In the meantime, I’ll try to develop an affinity It took me a while to become comfortable with for sparkling apple cider and feel grateful I’ll never being around alcohol, and being around people know what a hangover feels like.


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MUSIC

REMEMBERING TOM PETTY

A month ago, the music world lost one of the greats. Rock 'n' roll has yet to finish grieving.

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deaths are the fast culmination of fast lives. But what about the depressingly average age of 66? How are we to reconcile a loss then? Tom Petty died on October 2 at 66, and the rock 'n' roll world isn’t sure how to cope. No one can quite piece together a narrative that makes this loss feel okay. He was too old to have died young, but far too young to have died old. Perhaps the most tragic element of Petty’s death is that he was far from finished. Even at 66, Petty was still producing music, still touring, even. He released his last studio album

"HE WAS FAR TOO OLD TO HAVE DIED YOUNG, BUT FAR TOO YOUNG TO HAVE DIED OLD."

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It feels natural when a musician dies at an old age. It’s almost a thing to applaud— living presumably careless lives, musicians seem as if they ought to age faster than the average layperson. Living out to old age, therefore, is a thing to celebrate. Their deaths make us appreciate the content scope of their artistic careers. When Frank Sinatra died at the ripe age of 82, no one seemed particulary shocked. At 82, Sinatra was not still making music. The world was ready to let go. But when a musician dies young, it’s tragedy. It’s a cruel joke that someone so talent-

ed, so full of promise, existed for so little time. But more than that, their untimely ending becomes sensationalized. In their tragedy, they become immortal, beyond the grips of time. They’re remembered just as youthfully and fervently as they day they left this world. We will never imagine Kurt Cobain as an old man. We will never see Whitney Houston as wrinkled or hunched over with age. We will never see Jimi Hendrix, hair turned white, driving his grandkids to soccer practice. For us, these stars will never be ordinary. Instead, their deaths eternalize them as symbols of youth. Their

in 2014, and just wrapped up his 40th anniversary tour with The Heartbreakers. Throughout his career, Petty produced hit after hit. He sold over 80 million records worldwide, making him one of the best–selling artists of all time. And nothing was expected to change. Petty ought to have kept on delivering. He produced through a divorce and through crippling heroin addiction; at the very least, he ought to have made it through his sixties. But he didn’t. And now, the rock world will struggle to fill the gaping hole Petty has left. Many will likely try, but none will succeed. Tom Petty was


MUSIC

one of a kind, and had the kind of sound that is beyond imitation. Tom Petty will be remembered as the quintessential American rockstar. Petty was everybody’s musician—he sang about the everyday, the pedestrian, but in an extraordinary way. His songs were raw, unrefined, peopled by average joes and working– class heroes. He was rhythmic, persistent, and restless. His songs were thoroughly American. But above all, Petty was the champion of the underdog. In Petty’s world, the clueless rebels, innocent girls, and young musicians rose to the top. They succeeded against all odds. But that’s not to say that Petty was an idealist. Quite to the contrary,

Petty’s songs are colored by the harsh, high-contrast light of reality—whether it’s the all consuming depression of “Top of the World,” the renegade protest of “Gunslingers,” or the jaded contempt of “You Don’t Know How it Feels.” And for these characters, victory doesn't come cheap; instead it comes at the price of relentless hustle, hard work, and sometimes even moral compromise. At their heart, Petty’s songs inspired hope. If his characters could do it, why can’t we all? Tom Petty was someone who brought the rock world together. He was someone undisputedly loved. He was a prolific songwriter, and an even better musician. Petty, you’ll be missed. MICHELLE PEREIRA

Photo by Larry Philpot // CC 3.0

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EGO

EGOOF THE WEEK: OAX'S BIG MEN ON CAMPUS Meet the BMO–seniors competing tonight to raise money for victims of domestic violence.

Today’s the day—OAX’s annual BMOC philanthropy event goes down tonight at District N9NE. The pageant’s got choreography for a cause: OAX will donate all proceeds and donations from the event to Women Against Abuse, a local refuge for victims of domestic violence. The personalities tak-

ing the stage for the swimsuit and dance segments this year are bigger than ever—but only one can win. Meet the five seniors who will be stripping down to their Speedos to compete for the title of Big Man on Campus: 34th Street: Let's start

with an icebreaker. Tell me where you’re from and a fun fact about yourself. Connor Wen: I’m from Cupertino, California, and I can sleep anywhere at any time. Justin Haber: I’m from New York City, and I’m a licensed bartender.

Interested in  creating positive social change, and making the most of your time at Penn?

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Vinesh Arun: I’m from Ann Arbor, Michigan, and LeBron James held me when I was younger. Jake Levison: I’m from Fairfield County, Connecticut, and I was a scarecrow in the fifth grade in The Wizard of Oz. Luka Martinovic: I’m from Long Island, New York, and English is my second language.

HALEY WEISS

inappropriate on TV. Justin: Waving at a video camera while committing the crime of the century—that I'd otherwise have gotten away with. Vinesh: Being a comedic actor and doing stuff like all of the roles that Jonah Hill has had. Jake: I'd be a male porn star. Luka: I'd be a John Stewart/ Street: What has John Oliver/Stephen Colbert– changed the most about type late night host. you since freshman year? Street: What was your Connor: The number of first screen name? times I go to Allegro's in a week. Connor: Mine was just ConJustin: My liver. norwen, I guess there aren't Vinesh: I’m a little bit more that many of me. light–skinned, I was pretty dark Justin: Habes360. then. Vinesh: BrownDynamite. Jake: I’m actually much darkJake: Click2Talk2Jake. er than I used to be. Luka: Soccerboys<333. Luka: My gut. Street: What do you Street: If you were a want to be when you type of cheese, what grow up? would you be? Connor: A high school teachConnor: Provolone. er. Justin: Muenster. Justin: A stay–at–home faVinesh: Pepper Jack. There’s a ther. little kick to me. Vinesh: A baller. Jake: Kosher. Jake: A professional dancer. Luka: Swiss, because I like Luka: A DILF. holes. Street: BMOC is rockStreet: Who is your ing a Woodstock theme celebrity man crush? this year. What's your Connor: Joseph Gordon– favorite oldies hit? Levitt. Connor: "Hotel California" Justin: Ron Jeremy. by The Eagles. Vinesh: Zac Efron. Justin: “Shout” by The Isley Jake: Adam Sandler. Is there a Brothers. better–looking Jewish guy? Vinesh: It’s not from WoodLuka: Hmm...probably Brad stock, but "Thunderstruck" by Pitt. AC/DC. Jake: Wait…is James Franco Jake: "Pinball Wizard" by Jewish? The Who. Luka: "Stayin' Alive" by the Street: If you ever BeeGees. became famous, what would it be for? Street: At least three Connor: Saying something of those weren't written


EGO

until after Woodstock, but that's OK. Next question: Why are you going to win BMOC? Connor: The best coach, Hana Yen. Justin: Charisma and sabotage. Vinesh: Once I take my shirt off, I think that’ll just say it all. Jake: Calf implants. Luka: My hair gel/deodorant combo. It’s unmatched.

Photo: Danny Rubin

Street: BMOC involves a swimsuit portion. How’s your chest hair? Connor: Nonexistent. Justin: It’s there. There’s not that much of it, but it’s there. Vinesh: It’s a work in progress. Jake: Brazilian. Luka: Groomed. Street: Do you have any hidden talents? Connor: I'm double jointed. Justin: I’m phenomenal at cornhole. Vinesh: I can make the booty work. That’s all I’m good at. Jake: Hidden talents? I guess Justin: I think it's thought– you’ll find out at BMOC. provoking and overall outLuka: I can do a really good standing. impression of Herbert the PerJake: It's pretty bad, but in vert from Family Guy. terms of our answers. Vinesh: I’m slightly uncomStreet: Are you worried fortable, but I’m okay with it. about the competition Luka: I’m not. I think it’s from anyone here? awesome. Connor: Yeah, Luka has posted about this in maybe seven– Street: Finish this plus GroupMe’s that I’m in. sentence: There are Justin: No. two types of people at Vinesh: I heard one guy’s Penn... body is a temple, so I’m a little Connor: People who play concerned about that. Blarney Quizzo and people Luka: Yes. Look at Jake’s face. who play Tap Quizzo. Blue eyes, facial hair… Justin: The BMOC and other Jake: Yes. Vinesh is a profes- people. sional dancer. Vinesh: People who like SaxVinesh: Who told you that? bys, and people who are tasteJake: Everyone. less. Jake: People who go to Street: What do you Smokes', and people who go to think about this interBlarney. view? Luka: People who go over Connor: This is tricky, you the bridge when they get out gotta give us these questions of Huntsman, and people who beforehand. walk straight and go to Wawa.

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VICE & VIRTUE

BUMBLE'S WORKER BEE The Life of a Dating App–bassador Nervous to break the ice with your campus crush? There’s an app for that. Bumble has become one of the top–rated dating apps and has grown increasingly popular among college–aged users. Started by a co–founder of Tinder, the app differs in that it only allows women to message first. The company markets itself through a brand ambassador program. Bumble Honeys, female college students who promote the app, are making a buzz right here on Penn's campus. Recruited as some of Penn’s most eligible bachelorettes, Bumble Ambassadors

“They are usually receptive to us coming in, and some are really into it.” During her presentations, she brings along her free swag to hand out afterwards. “Some of my friends are into it, and they all loved the merchandise,” Hallie explains as she shows me a photo of frat guys decked out in iconic yellow Bumble–branded bandanas. "This one will probably end up on my Instagram." In one of her most recent pictures (at right), Hallie asked a male friend to help her with the photoshoot. “My friend said he was down. He was annoyed going around to

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publicize the app both on social media and in person. That’s right, they get paid to post fire Instagram pictures. Bumble contacted Hallie Gu (W '20) in true millennial fashion: through a direct message on Instagram. “During the summer, a girl messaged me saying they were starting a Bumble Ambassador Program. I filled out the application, and two weeks later, I signed the contract.” Hallie and the other ambassadors' responsibilities include sending candy–grams, handing out flyers on Locust Walk, and chalking Bumble's logo on campus. She also presents at fraternities during their weekly chapter meetings.

find better lighting, but he wasn’t opposed.” On maintaining an Instagram presence, she advises to “take a bunch of pictures and one of them will turn out nicely. If something looks good, I can always just make the caption Bumble–related.” Promoting a dating app can come with its difficulties. “Some people just don’t respond to my messages, and then I have to see them out in public," she said. Bumble promoters are also required to post a certain amount of content. “We are supposed to take Snapchat stories of people swiping on Bumble, but sometimes [my friends] don't want to do it. They think it's


VICE & VIRTUE

funny that I’m a Bumble rep," Hallie said. Hallie contends that the culture around dating apps is different here than at other schools. At Penn, swiping through profiles can be a fun way to pass time. While some users do go on dates, it is rarely with fellow students on campus. “Here, it is a different

the app aims to “help clear up the gray areas in networking that often make women feel uncomfortable” by maintaining the model of only allowing women to message first. Promoting Bizz has been Hallie’s most recent task as an ambassador. She has scheduled presentations at Wharton clubs and business fraternities to talk about the pre–profes-

Center forfor the Contemporary China Center theStudy Study of of Contemporary China 2017-2018 Public Lecture 2017-2018Annual Annual Public Lecture China’s Economy, Its Currency, and the State of the China’s Economy, Currency, and the State of the U.S.-ChinaIts Economic Relationship U.S.-China Economic Relationship

Photo courtesy of Hallie Gu

Eswar Eswar Prasad Prasad

Nandlal P. P. Tolani Nandlal Tolani Senior Senior Professor Professor of of Economics Economics and and Trade Trade Policy Policy Cornell University Cornell University Thursday,November November 9, Thursday, 9, 2017 2017 6PM 6PM Annenberg Hall 110 Annenberg Hall 110

school environment. At some schools, Bumble is very popular. It can make more sense for places like NYU where people don’t live on campus.” Bumble has recently launched a networking mode within their app called Bizz. Instead of posting interests and a beach photo on your profile, people post their resume and a professional headshot. According to Bumble,

sional version of Bumble. "It is empowering to women and allows for better connections," Hallie said. Now, as the program is expanding, interested applicants can fill out a form online to join the growing ambassador network. Social (media) butterflies wanted only: linking to your Facebook, Instagram, or Twitter account is an application requirement.

The lecture will cover China’s economic prospects, risks that threaten to undermine the economy, and what it will take to maintain high growth. Drawing on his recent book on the renminbi, Prasad The China’sboth economic risks that threaten to will lecture discuss thewill futurecover of the renminbi, in terms ofprospects, its value and its role as an international currency. The lecture will also review the U.S.-China economic relationship and the undermine the economy, andprospects what itforwill take to maintain high growth. rebalancing of power between the two countries. Eswar Prasad is the Nandlal P. Tolani Senior Drawing on his recent book on the renminbi, Prasad will discuss the Professor of Trade Policy in the SC Johnson College of Business at Cornell University. He is also a future of the renminbi, both in terms its the value itsChair roleinasInternational an internasenior fellow at the Brookings Institution, where heof holds Newand Century Economics, and a research associate atwill the National Bureau of Economic Research. is a former tional currency. The lecture also review prospects for theHe U.S.-China head of the China Division at the International Monetary Fund.

economic relationship and the rebalancing of power between the two His latest book is Gaining Currency: TheNandlal Rise of the P. Renminbi University Press, of 2016). His countries. Eswar Prasad is the Tolani(Oxford Senior Professor Trade previous books include The Dollar Trap: How the Dollar Tightened Its Grip on Global Finance and Policy in Markets: the SC Resilience Johnsonand College of Business at Cornell University. He is Emerging Growth Amid Global Turmoil. also a senior fellow at the Brookings Institution, where he holds the New Century Chair in International Economics, and a research associate at the National Bureau of Economic Research. He is a former head of the China Division at the International Monetary Fund.

His latest book is Gaining Currency: The Rise of the Renminbi (Oxford UniversityPress, 2016). His previous books include The Dollar Trap: How the Dollar Tightened Its Grip on Global Finance and Emerging Markets: Resilience and Growth Amid Global Turmoil.

MOLLY HESSEL N O V E M B E R 8 , 2 017 3 4 T H S T R E E T M A G A Z I N E 1 1


F E AT U R E

GIRLS JUST WANNA SELL DRUGS B

eth* wakes up at 6:30 a.m. every weekday morning. She showers, dresses, then shimmies open her wooden nightstand. It’s her “drug drawer,” she laughs, where she stashes her supply. She shakes a gram of chalky powder onto the scale, then pours it into a plastic earring bag. The drug—coke, ketamine, anything besides weed (it smells too strong) — stays tucked in the pouch of her backpack, while Beth heads to Saxbys and lecture halls and crunches Locust beneath her boots. “I almost literally always have stuff on me,” she says. She’s adamant about delivering to her clients; she doesn’t want them to know where she lives. It’s a safety precaution. Beth has carried drugs to Huntsman, to an off–campus frat house. She’s handed off baggies of coke in Smokes’, then left to go about her night. Beth shakes as she talks, wriggling in an iron chair outside Metropolitan Bakery. But when the conversation turns to empowerment, she adjusts her sunglasses and giggles: “I’m breaking the glass ceiling in my own way.”

Estimating the scope of Penn’s drug world is tough. But identifying the gender breakdown is easy: the drug–dealing industry is male–dominated. Campus dealers and users grasp at the reason for this. “The frats?” Beth guesses. “The

1 2 3 4 T H S T R E E T M A G A Z I N E N O V E M B E R 8 , 2 017

danger?” shrugs a girl at a party, before taking a hit and exhaling curls of fog. Female dealers face a unique set of challenges. The “industry” (many of the dealers interviewed for this piece snickered at the term) is a bubble, and it has its own language: texts and winks and furtive exchanges, the scrunch of plastic bags in sweating fists. And so the stories and struggles of women who sell drugs are also hidden.

Google “drug dealer.” The search garners pages and pages of men: in beanies and hoodies, huddling behind fences, fanning themselves with hundred dollar bills. It takes hundreds of images for a woman’s face to crop up. The first result is a dirt–smeared woman, hair crinkled with grease. Penn’s female dealers look much different. They operate in plain sight, liberated because nobody suspects them. Beth has been using drugs since she was 14, but she’s never had a female dealer. She buys her supplies in bulk during her “Drugs, Brain, and Mind” lecture. It’s “just ironic,” she smirks. She hops onto the dark web and purchases molly, acid, shrooms. It takes her a solid two minutes to describe the steps she takes to disguise her online presence: the VPN, the encryptions, the transaction over Bitcoin. Most drugs arrive at her off–campus apartment, bundled in packaging (although over the summer,

F E AT U R E

she sent them to the security guard at her internship office). The drugs are disguised as jewelery or junk mail. Once, a shipment came in an envelope with a generic energy company stamped on it, a flattened bag of cocaine tucked into a carved–out square. “When I got it, I just started laughing,” she says. Like Beth, they slide easily under the radar, unnoticed.

“I love smoking weed,” coos Marissa* over the phone. “I definitely think of smoking weed as a guy’s kind of thing.” Marissa’s familiar with several fraternities on campus. When she thinks of their chapter houses, she pictures people “sitting around in their rooms smoking.” “Which is not saying me and my girl roommates don’t also do that,” she says, “but I think it’s more rare for a house of girls to just be sitting around ripping the bong.” Marissa thinks the major source of this divide stems from frat houses: dingier “more drug–conducive” environments, with fewer restrictions from national organizations and no oversight from a Panhellenic council that won’t even allow

SHE'S BEEN USING DRUGS SINCE SHE WAS FOURTEEN, BUT SHE HAS NEVER HAD A FEMALE DEALER. alcohol in sorority houses. It has to do with “politeness,” she thinks, or maybe “girls are just more motivated.” She laughs. “I don’t know, man.” When Marissa started buying and dealing drugs at Penn, she wasn’t sure how to go about it. She texted an ex–boyfriend asking how to pur-

chase weed. “I don’t know the demeanor,” she says. “Because the other people I know who are doing this are all guys.” Marissa sells her extra Adderall. Her business is low–profit: a few friends, a flutter of texts, a palm of blue pills for the occasional $20. But she finds it empowering to deal. Marissa laughs. “I kinda felt like I was being a tough guy.”

Beth gets high most nights. After finishing up her homework, she curls up with a group of friends to take puffs out of a pink glass bubbler. On weekends she scrapes coke into trim lines on bathroom sinks, on the mirrors in frat laundry rooms. She’s sold molly, acid, shrooms, ketamine, Xanax. Beth knows drugs. “But if you’re a girl and you tell someone you smoke or something,” she says, “they’re like, ‘That’s weird, you’re a stoner?’” Beth has ten regular customers; all of them are male. Sometimes they question her knowledge of the drugs she sells: Did you weigh it? They’ll ask her. She keeps a steel pocket scale on her desk. Oh, do you do this a lot? A boy will say while she slips him a plastic bag of coke in Huntsman. Beth orders a new shipment every other week. “People assume I’m an idiot about this stuff,” she says. “I pay a lot of attention to not getting fucked over.” She sighs. “People assume that it’s easy to fuck me over.”

Texts from fraternity brothers sputtered onto Lily’s* phone: What do you mean, you can’t be available? I know your name. I know where you live. I could ruin your whole business. They were from brothers in the same fraternity. Lily had sold to them before. They had an arrangement: the frat would pick up Ziplocs of weed from her Harnwell apartment and Venmo her afterwards. They later stole an ounce from her, grabbing $240 worth of marijuana without paying her back. Today, Lily lives in a house 15 minutes from campus, with walls stuccoed with glittering duct– taped stickers and the palpable smell of pot. One of her female roommates sells Xanax. She’s also had trouble with members of the same fraternity:

threatening texts, accusations, demands for refunds of pills she’d warned weren’t as strong as the last batch. Lily answers the door for her clients in PJs in

"PEOPLE ASSUME THAT IT'S EASY TO FUCK ME OVER."

between physics problems. She deals to a predominantly male clientele (75%, she estimates), mostly to save up for med school. She’ll have the Ziploc bag stuffed and ready for them, or she’ll lead them up the grime–kissed wooden stairs to her room where a bong sits on the table, a bright pink lighter next to coarse buds of pot. She shovels a Solo cup into a bag of weed and weighs the amount on a scale. The customer’s out within a matter of minutes. They feel comfortable with her, she says. She credits some of that to her gender. “I’m not the threatening asshole type,” she says, cradling a plastic jug of macadamia nuts. She gets her stash from a few different sources. There was the grower in California who tried to take her out for drinks when she visited him a year ago (she declined; “I think it’s weird to involve sex into a kinda business relationship”). There’s the supplier in Philadelphia who calls her “babe” and makes “that’s what she said” jokes, even when Lily makes a point to talk about his girlfriend. Lily flops across her bed, stomach to the ceiling, flicking the edge of her striped sock against her ankle. “Freshman and sophomore year, I felt that there was some shit happening just because I’m a girl,” she says. “Customers would come up to me and be dicks, and the way they talked to me and stuff—I don’t know if they would ever talk to their drug dealer like this if it was a guy.”

“Women are more risk averse,” Beth types over text. It’s two weeks since our interview, and we’re still stuck on the question: why do women deal less frequently than men? “I think that I picture the stereotypical male as having more hubris than me but idk if that’s true,” she writes. “My guy at home literally drives through the streets hotboxing his car and dealing,” she adds. “But he just might be an idiot.” Beth has heard girls at Penn claim they don’t need to buy their own drugs. “They’re like, ‘Boys give them to me for free,’” she says, waving her hands. “I’m like, okay, great, but you gotta be self–sufficient.” Kate*, who would only agree to an interview over text, sells weed out of her on–campus dorm room. She thinks the reason why there aren’t many female drug dealers is the same reason why there aren’t as many female construction workers or miners: because “the nature of it is perceived as rather brute or cruel and is traditionally male– dominated.” But there’s also the element of reputation: what men can “get away with,” she says, “and still have friends.” “Guys have always gotten away with being sketchy,” she types. “In that sense, it’s sexist as fuck.” * Indicates names have been changed

DANI BLUM IS A SENIOR FROM RIDGEFIELD, CONNECTICUT STUDYING ENGLISH AND POLITICAL SCIENCE. SHE IS THE MANAGING EDITOR OF 34TH STREET MAGAZINE.

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Undergraduate

Research Fellows

• One fellow will be selected from each House to receive $1,500 for research. • College House Faculty and Staff, as well as current Research Fellows, can help with information, assistance and guidance in writing a proposal. • See www.collegehouses.upenn.edu/research for more information or scan the code on the right.

Eligibility

APPLICATIONS

OPEN NOW See your House Fellows for application deadlines and all the details.

Current first-year, sophomore, and junior College House residents are invited to submit a research proposal in any academic field. Selections will be announced by Friday, January 12, 2018.

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DEPARTMENT OF MUSIC


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FILM & TV

CONTENDING WITH POST-WEINSTEIN

HOLLYWOOD

It’s been a particularly sobering month for people invested in the entertainment industry. Allegations of sexual assault against Harvey Weinstein, Kevin Spacey, and many others have shocked movie lovers and prompted them to examine the power politics that exist in casting meetings, press tours, and movie sets around the world. We are no longer able to blindly consume movies and television without considering what exactly goes on beneath Tinseltown’s glittery exterior—and, more importantly, how we can work to change it. As someone who pores over Academy Awards predictions for the better part of each winter, I viewed Harvey Weinstein as one of the most fascinating forces in Hollywood. His notoriously aggressive awards campaigns landed his company a Best Picture nomination nearly every year for the past decade. Some of my favorite films— Carol, Chicago, and Kill Bill, to name a few—were distributed and produced by Weinstein himself. To see a man whose career I venerated, even hoped to emulate one day, be revealed for the monster that he is, was terrifying. The responses from women in Hollywood were even more concerning. Dozens of the biggest stars in the world—Reese Witherspoon, Angelina Jolie, Gwyneth Paltrow, Jane Fonda—all revealed stories of sexual harassment or assault. They seemed shocked at our own amazement, as if to say, "Oh, you guys weren’t aware that this happens all the time?" Currently, The Hollywood Reporter’s online homepage is saturated with allegations of

sexual misconduct from producers, actors, and directors all throughout Hollywood; it seems as though a forum has finally been opened to expose and punish these men who exploit their industry power in disgusting ways. But this media firestorm forced me to take a step back and think about the world of movies and TV that I love so dearly. How could I still appreciate, and even pursue a career in, an industry where this reprehensible behavior doesn’t simply exist—it appears to be the name of the game? How can I parse my love of movies with this new awareness of the reprehensible activities that can go on behind the scenes? The news about Kevin Spacey poses an especially complex issue. With a producer like Weinstein, it's easier to watch his movies without really thinking of the man behind the film. Out of sight, out of mind. Spacey, though, has a titanic screen presence and has acted in dozens of critically–acclaimed movies and television shows throughout the past few decades. Since Spacey is front and center for us all to see, it becomes a bit more difficult to appreciate his work without conflating it with his life off– screen. When you stare at the face of an alleged assailant for 90 minutes straight, it's tough to separate his talent from his past. Similarly, some of the best directors of all time, such as Woody Allen and Roman Polanski, have been accused (and in Polanski’s case, convicted) of sexual abuse. It can feel almost irresponsible to watch and enjoy Allen or Polanski’s

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FILM & TV

Woody Allen's controversies. The Academy Awards can’t rescind Kevin Spacey’s two acting Oscars. The Wizard of Oz will always remain an iconic piece of old Hollywood filmmaking.

his work in American Beauty or Se7en any less nuanced and impressive. The way a film or acting performance makes you feel is a completely private experience that no one can alter

Hall from every “Best Films of The problem is, once an artist the 1970s” list solely because of releases their work, it no longer belongs to them. A piece of art takes on a life of its own and retains an individual relationship with each viewer. UnfortunateLive music • Film • Dance • Theater Art ly, Woody Allen’s transgressions don’t make his writing any less Education • Community witty or insightful. Kevin Spacey’s deplorable behavior (and— Theatre of the Oppressed Workshop: might I add—an extremely Unpacking Race offensive apology, which essenNov 7 2017 @ 6:30 PM tially conflated homosexuality with pedophilia) doesn’t make

or take away—it’s one of the most beautiful properties of the medium. It feels unfair to every other person who worked on the film—the sound designers, costume designers, cinematographers—to completely discount a movie because of one person’s actions. Perhaps it's best to view a film as a snapshot in time: a singular creation that transcends its own creators and becomes more than just a series

work, knowing full well that the vision for these films come straight from the minds of morally–depraved individuals. This phenomenon goes way beyond the past few decades. Judy Garland was notoriously abused on the set of The Wizard of Oz; she stuck to a diet of coffee, chicken soup, cigarettes, barbiturates, and amphetamines to deal with the shooting schedule. Shelley Duvall, the protagonist in The Shining, has said that director Stanley Kubrick was so aggressive and unrelenting during the 13–month shoot that she cried every night from horrific stress, which made her mentally and psychically ill. Does a classic

movie hold less value when we know the psychological harm it has caused its actors, or when we know that its director has done horrible things? No, we can’t just wipe Annie

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of images and performances. To be frank, whether or not we still want to watch someone’s movies isn’t the real issue. Real lives were irrevocably damaged by the actions of these men, and perhaps most terrifying is the fact that many more cases like this certainly exist in Hollywood. It's no coincidence that once one story popped up, a couple more followed, then dozens more after that. Hundreds of people are contending with experiences of mistreatment and abuse in Hollywood, and it’s only a matter of time before even more are exposed. Hollywood is supposed to be a place where people congregate to follow their passions and create beautiful, thought–provoking, awe–inspiring pieces. From here, our job is to provide spaces where people can speak up, so that we can make the industry as safe, collaborative, and positive as I know it can be. DALTON DESTEFANO

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CULTURES CONSERVED

ARTS

Behind the scenes with the Penn Museum Artifact Preservation Team CLARE KEARNS

By the time they graduate, most Penn students will have read The Iliad during their academic career, or at least excerpts from it. The history of Homer’s time is threatened, though. A trip to the Penn Museum’s current exhibition Cultures in the Crossfire takes visitors past a series of screen monitors that show the mass destruction of objects from the Ancient world in areas of Northern Iraq and Syria; The Baghdad Museum once held 50% of the objects uncovered at Ur through a joint effort by the Iraqi government, the British Museum, and our Penn Museum; when Baghdad fell in 2003, the U.S. troops did little to nothing to protect those objects, leaving them vulnerable to looting for sale on the black market. Historical preservation has been endowed with a renewed urgency, and that is why a trip to the Penn Museum is in order. The museum is doing breathtaking conservation work— glimpses of which are visible to the public now in their special exhibition The Artifact Lab: Conservation in Action. The exhibition, essentially a glass viewing window surrounding a

"THE HISTORY WAS HERE, IT WAS REAL." group of conservationists working on artifacts and available to answer questions, showcases the work the museum is doing to ensure Helen and Menelaus live on. The Penn Museum’s head conservator is a woman named Lynn Grant. She showed me around The Artifact Lab, and informed me that the conservators were mostly working on objects from Syria, due to the Crossfire exhibit and their threatened status (but I was told I could rest assured that there were still many mummies being worked on). Lynn first took me to the photo lab where, among other machines bridging the scientific and the artistic, there sat a crimescope—a forensic–grade light source of the type used to detect body fluids at crime scenes—used to detect prior preservation efforts. We then walked to the X–Ray Lab, and I was informed that before they were able to purchase their x–ray, the conservationists used to carry objects over to Penn Med to get x–rays of them. Lynn then brought me to the main attraction: the lab where the conservationists were deconstructing and reconstructing the actual artifacts. I walked in to see a 4,400 year old metal bull, the oldest existing free-standing metal structure and a conservator piecing together a damaged Islamic

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ARTS

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vase. However, my eye immediately shot to the right corner of the room, in which a woman was working on a massive Greek amphora. On it was an image of a man emblazoned with the word Menelaus. The history was here, it was real, and it was being preserved a mere two blocks away from the classroom in which I first read The Iliad. I then sat with Lynn in her office, where she explained the relevancy of their Cultures in the Crossfire exhibition: “There’s just so much loss—we are doing anything we can do to raise awareness about that.” The screens in the Crossfire exhibition do not lie: the mass destruction of history is harrowing and deeply upsetting. The Penn Museum is doing all it can to preserve the history that has taught us so much about ourselves and will continue to shape the world we live in.

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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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For For For every every every girl girl with girl with with daddy’s daddy’s daddy’s ery ery semester. ery semester. semester. services services services provided provided provided by by Netfl by Netfl Netfl ix and ix ixand and ters like the proud reader 20 South 36th Street AmEx, AmEx, AmEx, window window window browsing browsing browsing on on on But But But how how how about about about the the other the other other stestesteRedbox? Redbox? Redbox? he is. Out of the corner Fifth Fifth Avenue Avenue Avenue hashas been hasbeen been replaced replaced replacedreotype, reotype, reotype, thethe one theone one that that that says says says all all colallcolcol- While While While 75% 75% 75% of of usofus watch uswatch watch movmovmovof his eye, Rick noticedFifth with with with online online online shopping. shopping. shopping. And And And lege lege lege students students students are are poor? are poor? poor? 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He Flexible Leasing • and Double Rooms • toSingle learn how torelease make allyally ally been been been rendered rendered rendered useless useless useless (pun (pun (punpossible possible possible byToday by the bythe interweb theinterweb interweb makes makes makes new new new release release onon iTunes oniTunes iTunes —— is— hysisishyshys- 3.1% Marie Grudem 3.1% 3.1% glanced over, full of pity, Individual Leases • All Amenities and Utilities Included intended) intended) intended) with with with thethe the existence existence existence of ofof terical, terical, butbut is butisis The Axis your home away terical, with a look that said, Whose Whose recommendations recommendations recommendations do do you doyou take? youtake? take? thethe multifarious themultifarious multifarious iTunes iTunes iTunes store. store. store. 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