An in-the-works UArts documentary will show what led to the school’s collapse

Amid the thousands of emails that filled his inbox, former University of the Arts professor Kyle Crichton never expected to receive a message like the one delivered at 6:19 p.m. on May 31.

Crichton froze as the news broke — president Kerry Walk said the school was closing in a week. And on June 7, the historic arts college officially shuttered its doors, leaving hundreds of students and educators wondering how and why the university suddenly collapsed.

Administrators blamed declining enrollment and unexpected financial challenges as the source of the dismay, while some UArts employees and union members pointed to alleged mismanagement. The closure sparked days of protests and class-action lawsuits filed by dozens of ex-staffers.

‘I started filming it’

With uncertainty still looming,Crichton grabbed his camera and began capturing student-led protests on the steps of Dorrance Hamilton Hall on June 5. The award-winning filmmaker had another project on the books, but he decided to chronicle the story he was experiencing and watching unfold.

“As it happened, I started filming it,” said Crichton, who received a Mid-Atlantic Regional Emmy for his work on the 2023 documentary Angel Dose. “I was disappointed financially, but I was also disappointed I wasn’t going to be teaching these kids.”

In need of a cinematographer and co-director, Crichton tapped fellow UArts graduatesKatie Supplee and Michelle Rose Goodwin, who agreed to be a part of the project, still in early stages and currently titled “Reckless Education.”

Along with capturing the devastation of the June 7 announcement, the three filmmakers have interviewed UArts students, staff, and faculty about the lasting affects of the shut down over the past four months.

Goodwin, the co-director and producer of the film, is hopeful the documentary will fully capture the frustrations, anger, and heartbreak felt among the UArts community in the days and months after the unforeseen closure.

“The school dissolving in the fashion that it did shook a lot of people’s foundations, took a lot of control from their lives, and made a lot of people feel powerless,” Goodwin said. “And I think this documentary is a way to try to give them that power back.”

Why did UArts close so suddenly?

Goodwin said they aren’t shying away from the school’s missteps, which ultimately led to its dissolution and Chapter 7 bankruptcy filing. But a goal of the documentary is to figure out what happened.

To unveil the full wreckage of UArts, Crichton said it’s a “multi-pronged” approach that requires the voices of city officials.

Crichton, Supplee, and Goodwin are hoping to land interviews with city council members and attorney general Michelle Henry.

“Art is such a good vessel for spreading ideas, and I feel like that’s what we’re doing here,” Supplee said. “We don’t want to just impact the Philly arts scene with the film. We want to speak to the shuttering of educational institutions as a whole.”

Next steps for production

Supplee, whose fiancé worked at UArts before the university closed its doors, said the small production crew is now following “displaced UArts students who were forced to transfer schools to pursue their creative arts career.”

With filming in full swing, Crichton said the team is aiming for a 2026 release. The next step is to add more interview subjects, researchers, and filmmakers to bolster up the production, and score additional funding to piece the self-funded project together.

The three filmmakers are funding the independent venture while balancing their daily work as documentarians and content creators.

Crichton is confident they can produce the film “rag-tag style” for $100,000. And as they bring on more contributors, preferably UArts alums, he believes the nearly two-year process will be worth the wait.

“It feels like we have lightning in a bottle, and we want to continue pursuing it,” Crichton said. “Things will unfold, and we’ve come to the realization that it’s going to be a little bit of time, but we’re prepared for it.”

For more information, visit recklesseducationfilm.com.

– The Philadelphia Inquirer

Eagles super fan sports a 72-inch custom wig in the team’s colors

Lifelong super fan Tina McIntosh, 52, has taken her love of the Eagles to new lengths.

For Monday’s game against the Atlanta Falcons (which the Eagles lost in a late-game rally by Falcons quarterback Kirk Cousins) the Southwest Philly native wore a custom kelly green Eagles shirt, green high-top Nikes, white crew socks with the Eagles logo, and a 72-inch long, team-themed wig to match.

“When the Eagles play, I usually look for a lime green wig, but this time I wanted something different,” said McIntosh, who worked as a cleaner at Veterans Stadium in the early 1990s and is now a home health aide. “I had to think outside the box and that was it right there.”

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The $300 braided wig is almost like a tapestry with a reimagined Eagles logo from the 1960s: a green eagle carrying a football with yellow talons against a white background. The top and bottom is black and green.

McIntosh shared her outfit on Instagram before watching the NFC matchup with her cousin and grandchildren in North Philly, where she now lives. When CBS Philadelphia posted a video of McIntosh in her Eagles regalia, she caused quite a stir.

“I feel like she deserves a walk-on role in Abbott Elementary for this wig alone,” one Instagram user wrote before tagging actor Quinta Brunson.

McIntosh purchased the wig from part-time hairstylist Shana Everson of Braidedbyshana. The Syracuse-based wig maker has made Green Bay Packers and Kansas City Chiefs-themed wigs over the years.

McIntosh had seen Everson’s work on TikTok and went to her website to place her custom Eagles order. After exchanging images and ideas, Everson delivered a “butt length” wig adorned with Eagles colors within a week.

Everson is surprised by the attention the wig has received, but she’s happy for McIntosh who has been lapping it all up. “She’s such an animated character and she really rocked it,” said Everson, a Buffalo Bills fan. “I was satisfied, and I can’t wait to see the reactions when she wears the wig at the game.”

Ahead of the Eagles Sunday matchup against the New Orleans Saints, McIntosh has already mapped out her Eagles day outfit — another custom kelly green top, a pair of Eagles-themed jeans, and, of course, her new wig.

This time, she wants the Eagles to soar to victory.

“We win some, we lose some. I just pray that we win this Sunday,” she said.

– The Philadelphia Inquirer

Wallo267 doesn’t want you to count yourself out

Two decades of incarceration and a lifetime of hardship made Wallace Peeples realize his greatest defense was a loaded mind, not a loaded gun.

Peeples, better known as Wallo267 on social media, is a motivational speaker, podcaster, and influencer. Growing up in Nicetown, he bounced in and out of juvenile centers, before being arrested and convicted for a string of armed robberies and served a total of 20 years in the Pennsylvania prison system. But instead of faltering under the strain of imprisonment, Wallo reprogrammed his mind and vowed to change course. If he didn’t, he knew there would be no breaking away from the continuous cycle of incarceration.

While incarcerated, Wallo learned the inner workings of social media from friends and family who made the two-hour commute to visit him in state correctional institutions across the state. He built a following by posting motivational pictures on a contraband phone.

On Feb. 18, 2017, Wallo walked out of the State Correctional Institution of Coal Township with a renewed sense of purpose and over 50,000 Instagram followers.

Now, he has millions of social media followers and a hit podcast, Million Dollaz Worth of Game, with his cousin Gillie Da King, where he has hosted cultural figures like 50 Cent, Alicia Keys, and Mike Tyson. And this week, his new memoir, Armed with Good Intentions, hits the shelves.

“When you come from the ghetto, sometimes you find yourself trying to steal the American dream, and it’s a lot you have to go through,” he said. “It’s just a journey trying to make it out of the jungle. Most of the homies and the people I grew up with didn’t make it out. They died as teenagers. For me to be 45 years old and still operating within culture and society, that’s major.”

We talked to the social activist and motivational speaker about his evolution from life in incarceration to being a social change-maker, the nostalgia of hot scrapple and grits in the morning, and the power of vulnerability. His memoir, Armed with Good Intentions (Simon & Schuster), releases Sept. 10.

This interview has been edited for length and clarity.

How does it feel to have your life story on bookshelves?

It feels good to open up to people who have supported me for so many years. I think it’s great to see that I’m just like everybody else. I go through ups and downs in life. I cry, I hurt, and I laugh. Some people would think once success happens that you’re not normal like everybody else. This book is about human connection. It’s bringing people into my world, with all the struggles, ups and downs, and just trying to win coming out of the ghetto.

Why did you write the book now?

I put out a motivational book that was self-published [in 2020], but I felt like there was more. As you start to level up, you have to time-stamp some things. When you’re dealing with big-time publishing houses like Simon & Schuster, it’s not always about when you want it. You have to always think like, “Man, I guess it’s meant to happen when it’s meant to happen.” Some things we just can’t control.

What was it like?

I have a lot of stuff going on in my mind based on my journey and my experiences because I’ve been in these streets since birth. And for me to be operating in a different world now, there’s just so much that people don’t know. It will take a lifetime to tell them though. Sometimes you can show somebody something, but you have to go through it in order to feel it. I try to share what I can, but sometimes it’s not that easy.

Was looking back difficult?

I look at my life differently than most people. From the time I was 11 years old, I was never free for more than a year before getting out of prison at 37. Being out this time is the longest of my life. I spent all that time incarcerated, getting out, and then getting arrested at 17 and spending all that amount of time. I’ve only been out seven years, so I’m living that life.

It was an emotional roller coaster. When you’re reminiscing about these moments, you have to live in them sometimes. Nobody remembers your life how you remember your life. You remember how you were feeling, and the emotions that came with the ups and downs. The wins and the falls. It’s really deep and just wild.

You were labeled a kid who lacked ‘self-confidence, accountability, and discipline’ during one of your stints at a juvenile facility. What inspired you to add it to the book?

So many people are going to look at this book who have been labeled by society, family, coworkers, or whoever. But it’s important to never count yourself out. The majority of the time, it doesn’t matter what someone says about you. But as much as it doesn’t matter, it can paralyze you for life. Somebody can sit there and judge you, and they don’t even operate in your circumstances. They don’t know anything about you.

You start the book by saying quotes like ‘The road to hell is paved with good intentions’ didn’t mean anything to you when you were young. What does it mean now?

I always had a good heart somewhere, but my environment had me on a different mission because I had to be a part of what was going on.

You grew up eating scrapple and grits. Is that still a go-to?

Nah, that was a long time ago when I was a kid. My grandma used to make it and it was unbelievable. But if you look up scrapple, it’s like a bunch of parts from an animal mixed up. Man, it’s like ear, tongue, and feet. When I was young, it was everything. It tasted good back then.

– The Philadelphia Inquirer

The Philly photographer who spent decades photographing the beauty and majesty of Black cowboys

More than 30 years ago, Pulitzer Prize-winning photographer Ron Tarver began photographing Black cowboys, rodeo queens, and ranchers across the southern plains of east Texas, the low hills of Oklahoma, and the urban pathways of Philadelphia.

On assignment for National Geographic and The Philadelphia Inquirer, Tarver captured generations of cowboys and cowgirls working in their stables, strutting in small-town parades, or cooking breakfast inside their ranch-style homes. After failed attempts to thread the detailed portraits and textured landscapes into a book project, Tarver put away nearly 20,000 pictures in a storage container.

In the years since, Tarver published a book about the experiences of African American war veterans and became an associate art professor at Swarthmore College after a 30-plus-year career in photojournalism.

His new book The Long Ride Home: Black Cowboys in America finally releases on Saturday. A week later, Tarver will be doing a book signing, sponsored by the Print Center, at the 20 / 20 Photo Festival Photo Book Fair at Cherry Street Pier on Sept. 7. The book photos will also be on display at InLiquid Gallery as part of their Brotherly Lens: A Portrait of Philadelphia exhibition, which is also part of the 20 / 20 festival.

“This is one of those projects that wouldn’t leave me alone for the longest time,” said Tarver. “It’s always been on my mind because it’s such an important project to get out into the public.”

Black cowboy culture’s recent renaissance in pop culture may have started with the 2020 North Philadelphia-set western Concrete Cowboy, starring Idris Elba. Musicians from Lil Nas X to Beyoncé have also straddled horses and donned bolo ties for songs honoring the Old West.

For Tarver, the timing is perfect. “It’s out in the zeitgeist now,” he said. His book’s 110 images showcase the deep roots of the country’s Black cowboys and cowgirls.

Tarver’s The Long Ride Home isn’t the act of an outsider looking into Black cowboy culture. He lived it.

Tarver grew up in Fort Gibson, Okla., where he rode horses bareback, attended rodeo shows, and spent his summers working on local farms and his cousin’s ranch.

His grandfather, Thomas Wilson, was a working cowboy in the 1940s. His father, Richard, introduced Tarver to the world of documentary-style photography.

It wasn’t until Tarver, now an Elkins Park resident, moved to Philadelphia in 1983 that he realized how unacquainted people were with the Black West.

“The bottom line was people didn’t think there was such a thing as a Black cowboy. I got all kind of strange feedback [on the book] from people literally saying, ‘I don’t think there’s an audience for this. I don’t think there’s any kind of thing or entity as a Black cowboy.’ So, that’s why I put this thing in a box and just said, ‘Forget about it.’”

According to Smithsonian Magazine, one out of every four cowboys who were “trailblazing, sharpshooting, and horseback-riding” on the American frontier were Black. And with the release of The Long Ride Home, Tarver plans to paint a vivid picture of the culture’s history and grandeur.

Liz Spungen, executive director of the Print Center, said Tarver faced many roadblocks with the book’s release. But she’s thrilled to see the decades-long project come to life, and to have the capacity to showcase his work in a planned exhibition in fall 2026.

“I think there’s probably a more receptive audience for it now … people are now more eager, I hope, to understand the larger contributions of Black Americans in the West. We are more attuned to hearing these stories now, so I’m hoping it will receive a fabulous audience.”

With renewed interest in his Black Western project, Tarver was tasked with cutting down his 20,000-image collection to a book-size number. He focused on the years between 1992 and 1996, and zeroed in on photos of everything from the rodeo shows to the after-hour hangs.

“I wanted to show that this isn’t a fad,” Tarver said. “I wanted to show the broad spectrum of Black Western lifestyle, and its vibrance even as far back as then.”

Tarver narrowed it down to 250 photos, and then tapped longtime friend and former NatGeo magazine photo editor Elizabeth Krist to pare the project down even further.

Through the editing process, Krist was impressed by the stark contrast between Tarver’s detail-rich portraits and “visceral action shots.”

A founding member of the Visual Thinking Collective, Krist is hopeful the book opens people’s eyes to the lived culture of Black cowboys, both then and now. “It’s an ongoing culture. It’s not something you look back and think, ‘OK, that was the 1800 or 1900s.’ This is something that is still going on. I hope people really understand it on a deep level when they see his work.”

Once the final lineup of photos was selected, New Mexico-based designer David Skolkin stepped in. He was in awe of Tarver’s ability to meld his journalistic practices with his creative nuance.

The two men connected on long phone calls and Zoom meetings for months to finalize the layout and photo sequencing for The Long Ride Home. “It was like figuring out a puzzle,” Tarver said.

“The images felt very real to me. I could feel the people, sense their emotions, and could even sense how things smelled in the environment of the photographs. They had a texture that was very accessible to me,” Skolkin said of the final book.

As Tarver prepares for the book’s release, he’s reminded of the people he connected with throughout his career. Many of the children he photographed in the early 1990s have carried on their family’s legacy of farming and cowboy culture.

He hopes to develop another book that’s dedicated to the families he first photographed. He also wants his images to be placed in national museums and global showcases to continue sharing the story of the Black West for people to celebrate its largely undocumented glory.

“We all built this country,” Tarver said, “and to remind people that we were in this culture and have been for a long time is important. I hope this book carries out that idea, as well as the beauty and majesty of it.”

After years of decorating parties with balloons, this artist is now making art with them

North Philly artist Brian Ward grew up in the events industry. His family’s kitchen had three refrigerators and he ate Cheerios every morning with drapes, linen cloth, and other party decor hanging from both ends of the dining room table.

His parents, a baker and an event coordinator, brought him into the family business at age 14. He thought about being a part-time magician, party clown, or face painter to earn extra money for school clothes, but none of them stuck. The only one that did was balloon art.

Ward started out making inflatable hats, swords, and balloon animals at kids’ parties. Then he graduated to shaping archways and columns for prom send-offs, birthday bashes, weddings, and other celebrations.

After working as a balloon artist for a decade, Ward, now 26, is pursuing a different kind of art. Instead of contorting balloons into party-ready pieces, he is crafting sculptures and artwork with them. Only this time, they’d all be deflated.

“I wanted to create something that lasted longer with balloons as my medium,” Ward said. “Balloon decor doesn’t have much life expectancy, and I didn’t want to jump to painting or carpentry. People know me as a balloon artist, so I wanted to merge the two.”

With pencils, markers, paint, glue, and deflated balloons, he has made sculptures of basketballs and small dogs. He has also reimagined one of Evelyne Axell’s paintings, whose work inspired Ward to explore vibrant colors.

It’s a tedious process, Ward said. The materials are a small cost, but a typical art piece can take anywhere between 18 hours to three weeks to complete. But he’s found his rhythm and grown more confident in his artistic pursuits.

He went from selling $300 balloon decor packages to $2,000 art pieces bought by a big-name entertainer. And now he’s ready to show his work to a wider audience.

Ward has been a part of hundreds of events, but on Saturday he is putting on his first art show, for nearly 400 attendees at the Bridge Studio in Philly. The self-funded exhibition, titled “Who is Brian Ward?” will be filled with interactive art pieces and installations, including a play pit full of balloon-made balls.

Kamaya Jackson, a friend who has watched Ward evolve as an artist, said he’s always had the ambition to go big, and she’s happy others will get to see his art and know his story.

“I want [Ward] to feel the love the community has for him,” Jackson said. “I hope he can soak up that moment and see how much of an impact he’s made on that community. Just all the good things that can happen, that’s what I want it to be.”

Ward’s first canvas painting will be a highlight of the show.

His father, Brian Ward Sr., gifted him a canvas in July 2023. Ward used it to craft a balloon-filled collage that was inspired by the last painting his grandfather, John Ward Sr., made before his death in 2013.

Ward gifted the canvas back to his dad, who loved it. His father’s reaction gave Ward the confidence to fully pursue his new artistic journey.

“I knew my dad would be proud,” Ward Sr. said. “He was already proud of his grandkids, but he didn’t get a chance to see Brian do the art that he’s doing now. I know he would be proud to see it, and I think that was reassurance for [Ward].”

While the art world is relatively new ground for Ward, he’s establishing himself as an ascending talent. His first and most notable collector is Grammy-nominated artist Smino, who purchased a balloon-made painting of Mickey Mouse during the 2024 Roots Picnic weekend.

The transaction, Ward said, was nothing short of motivational. “[Smino] was like, ‘I’ll Zelle you the money right now. Just ship to L.A.,’ and I’m like, ‘Bro, I’ll carry this jawn on my back and bring it to you.’ I was on my cloud nine after that.”

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His new venture hasn’t been without its detractors. Longtime friend Alissa Smith said Ward has encountered naysayers throughout his artistic journey. But the entrepreneurial spirit his parents embedded in him continues to push him forward.

“People didn’t believe in his vision,” Smith said. “He overcame doubt and slower [business] seasons as a balloon artist. People told him it’s not really a normal job. But I think he took that adversity and used it as motivation. He’s created so many different connections, and I’ve seen him push past people not believing in him or trying to slow him down.”

While Ward is still developing his artistic style, he has never questioned whether he had a story to tell. The Strawberry Mansion resident said his upbringing is one of the pillars of his creativity, and he’s driven to inspire others to create their own art — whatever medium they may choose.

“I always tell people I’m inspired by life,” he said. “Some people may say that’s cliché, but I’m inspired by the possibilities of the things that you can do. And I’m just continuing to write my story.”

– The Philadelphia Inquirer

Lisa Ann Walter wants some Philly restaurant recommendations

After decades of acting in theater, film, and TV, Lisa Ann Walter is settling into stardom.

That’s thanks to Melissa Schemmenti, the hilarious and ever-resourceful second grade teacher she plays on the ABC hit Abbott Elementary. Now, with her star on the rise — she’s appearing in the new reboot of Who Wants to be a Millionaire, which launched earlier this month — Walter is recording her comedy show in Philly.

Starting Thursday, Walter will be in Philly for a three-night stint at Helium Comedy Club with a gift in mind. After a decade of headlining live shows, the actor will record her debut comedy special at the Center City venue. Her Abbott Elementary costar and “work-wife” Sheryl Lee Ralph will coproduce and codirect the project with Walter.

“I think anyone who’s been to a Philly sports event knows that Philadelphians don’t hold back,” said Walter, who slipped in and out of Schemmenti’s South Philly accent during a Zoom interview. That passion, she says, makes Philly the ideal spot to record. “[People in the audience] are loud, but they’re not trying to heckle. They love being at the show, they love being enthusiastic, and they’re smart. That is the perfect combination for a great comedy audience, and Philly has really embraced me.”

Ahead of her shows, we talked to Walter about her disco dancing, the weeks she spent studying Bradley Cooper’s Philly accent, and her love of Dalessandro’s Steaks.

This interview has been lightly edited for length and clarity.

Is Philly your favorite city to do comedy?

I did a show last year, and I never felt more at home in a place that wasn’t where I grew up. One person came up to me and said, “You know, we didn’t even want to like you.” They were very conscious of the fact I was coming to the city as a newbie. But they said, “You’re one of us.” People hugged me, kissed me, and gave me food everywhere I went. If you do those things, then I’m home.

You’re from Maryland. How did you master the South Philly accent?

When Bradley Cooper did an Abbott Elementary episode, I told him I studied his videos. When he was first coming up, he went on talk shows and they would make him do the accent — almost like it was a circus trick or something. But he was so good at it that I would find those interviews and study them. I can’t tell you the number of hours, days, and weeks I spent making sure the accent was perfect. I tell people from Philly all the time, “Let me know if I can do it better. Hook a girl up.”

You brought a flask to the 30th SAG Awards. How much more Philly can you get?

My favorite part of that was how they had me hand the flask to Sheryl Lee Ralph, and she didn’t know it was coming. And the look on her face was so pure. Like, “If you don’t put that away … we are in public.” It was so Sheryl, but also [her Abbott Elementary character] Barbara.

The chemistry you and Sheryl Lee Ralph have is incredible. No wonder you’re working on this special together.

We’ve all heard stories about TV actors who played lovers for over 10 years, but it turned out they hated each other. Like, “Oh, he had bad breath or body odor and wooden teeth.” Right? But I think it’s very hard to act the kind of chemistry she and I have.

We fell in love as “workwives” on day one because we had so much in common. We were single moms raising our kids in Los Angeles. All the ways we connected were so pure, and we loved hanging out. We immediately started going shopping together because there were so many events we had to go to. We were outside a Zara dressing room while she threw clothes at me for like three hours. She dressed me for the next five events. We truly are that close. I adore her.

If you ever meet someone like her, you have to keep them in your life. She’s blessed from the moment she gets up in the morning.

What is it about stand-up that keeps you coming back on stage?

I think it’s connecting with people. It gives me immediate gratification, and it’s exactly what I intended to do when I was on stage as an actress in high school and I started doing dinner theater.

In my first professional show at 16, I made the audience laugh and cry. And I said, “I always want to do this.” Then I started doing stand-up and connecting with different audiences. That kind of experience in one room has chemistry. Comics know this, which is why I didn’t want to do the special in a big theater. I want to do it the way I came up in comedy. On a small stage at the level of the front tables, watching as the laughter travels from the front to the back of a room. It’s the closest thing to me knowing why God put me here on Earth.

You were also a disco dance instructor, right?

When I was coming up in D.C. as a kid, disco was huge. In D.C., they invented the hustle, and all my high school friends could dance. One of my best girlfriends was Colombian and she had four sisters, and they all had guys that could dance. I learned how to dance and they would yell at me “gringa,” and I learned how to move my hips. I started competing in disco competitions and I would win them. My mom, a crazy Sicilian, would drive me downtown to these clubs while I did these competitions. And then I got a job at 16 at Arthur Murray teaching old businessmen how to do the hustle, which is really just the salsa. I taught them the cha-cha, the waltz, and all these ballroom dances. And my grandfather, the old Italian, he taught me all those. And then when I turned 17, people wanted me to go to disco competitions in Rio de Janeiro, and my mom was like, “No, you are not.” So I had to quit Arthur Murray.

In the past, you’ve talked about the L.A. dating scene. How’s your dating life now?

Listen, I could always find a fella — and they found me. I’ve always had young guys slide into my DMs. Always. But you don’t want to date people because you’re famous. You want to be with people who are down with you for who you are. Having said that, every relationship is transactional.

My first husband [Sam Braun] is my buddy, and I have a joke on stage about him. He was a lovely Jewish man, but turns out we had too much in common — we both like men. The second husband was a cheater, and while cheating is not technically a religion, he practiced it like it was. But my first husband, I adore. We spend every Sunday night together watching our favorite show, 90 Day Fiancé.

I’ve already had my babies and I’m making money. What dating app am I going on?

Have you had a Philly cheesesteak?

People have sent me to some really good places. In fact, I want to go back to a couple of them. Cheesesteaks and hoagies aren’t the only good things that Philly has to offer. I know you got water ice and everything else, but what else do I need to know? I have a list of a few places.

The last time I asked on [social media], people were being very lovely and helpful at first. But then it took a hard left turn. Someone was like, “If you don’t go to Dalessandro’s, then you’re a dick.” OK, I guess I better go. I went and it was worth the trip. You should have seen my hotel room — it was disgusting. I had half-eaten cheesesteaks and hoagies all over the place.

– The Philadelphia Inquirer

Artists, advocates, and family members rush to save artworks inside UArts

Legendary Philly artist Sam Maitin built a life and career at the University of the Arts. A nearly 50-year-old painting of his still adorns the northside stairwell of the former Gershman Y building, owned by UArts since 2000. The three-panel painting — with a 16-foot-long central piece and two 8-by-4-foot flanking paintings — bursts with vibrant colors.

After the sudden announcement of UArts’ closure, Maitin’s daughter, Ani, made a trip to the arts college to ensure her father’s work would be saved. She covered the triptych with sticky notes with her email and phone number. She left another Post-it with a more urgent message: “Anyone told to remove these artworks please contact me in advance. They require special handling.”

Former staff member Elisa Seeherman understood the urgency.

“It’s not just about the monetary value of these pieces, it’s about the historical value of them,” said Seeherman, who was the school’s director of career services. “He was a Philadelphia icon.”

Ani Maitin talked to Seeherman, UArts Board members, and a representative from the company handling the closing of UArts, and was told she could take custody of the paintings. Still, much like the fate of the students, faculty and staff of UArts, the future of Maitin’s work — and that of many other pieces in the UArts system — remains up in the air.

Seeherman said it would take a crew to remove Maitin’s painting from the building, most recently home to the UArts’ Student Center and Lightbox Film Center. The biggest issue, she said, is finding a place that will properly restore and house the slightly abraded artwork.

“These pieces are huge and won’t fit into most homes,” Seeherman said. “It’s complicated. And that’s probably why the former Gershman Y people left them in the building after they left.”

Sam Maitin: Mayor of the Arts

Sam Maitin was born in 1928 above a grocery store run by his Russian Jewish immigrant parents in North Philadelphia.

After graduating from Simon Gratz High School at age 16, he won a citywide art scholarship to the Philadelphia Museum School of Industrial Arts, now known as UArts. He simultaneously attended the University of Pennsylvania, and would later go on to teach at both schools and the Moore College of Art and Fleisher Art Memorial. He died in 2004.

“His work is an important piece of Philadelphia. But whether or not people loved his work, he was recognized as an endlessly generous person who did so much for other people and organizations,” Ani Maitin said. “It’s an incredible gift to manage his work. ”

The “Mayor of the Arts” — as Maitin was often called — was connected to the Gershman Y through his involvement with the center’s Y Arts Council. He was the in-house designer during the 1960s, working with figures like Joan Kron, Audrey Sabol, and others to promote the Arts Council’s visual, literary, and performing arts programs.

He was commissioned to create a set of paintings for the building’s lobby, and the result was the vibrant three-panel painting adorned with a Hebrew message that represented the mission he and the culture center shared.

The Hebrew phrase “Al tafrosh min hatzibur” translates to “Do not separate yourself from the community.” The painting also contains “Simcha” and “Sasson,” which translates to “joy” and “happiness.”

“I think the message still translates today,” said Craig Stover, Maitin’s former studio assistant and longtime friend. “If UArts made it their mission, their closure may not have happened.”

When the painting was unveiled in the early 1970s, Ani Maitin was only in preschool. But she remembers how it enlivened the Jewish family center, even as the building took on other iterations. “It felt very much like home to me when I was a kid,” she said.

An uncertain future

On Monday, Ani Maitin received a phone call from Alvarez & Marsal, the company tasked with managing and liquidating UArts properties after its closure. Though the consulting firm didn’t respond to The Inquirer’s queries, it informed Maitin that she or anyone from her family could come take Sam Maitin’s artwork from the building.

“Given the circumstances, I’m now feeling more reassured that the company is making efforts to handle things thoughtfully,” she said. “It’s all definitely an unexpected and time-consuming part of caring for my dad’s work and legacy.”

Ani Maitin said she’s scouting for nearby preservation sites and hopes to find a place to house the paintings soon. Her trip to UArts, however, opened her eyes to another glaring problem: No one knows what’s happening to other artists’ works displayed on campus.

“It was clear to me it wasn’t just about my dad’s artwork,” she said. “I felt like I was channeling my dad because he was such an activist. He taught me when you do something, you do it to uplift others too. Don’t just do things to support yourself.”

Based on their phone call, Ani Maitin said Alvarez & Marsal intends “to take their time to deaccession” the other works on UArts campus. This process involves the removal of artwork from an institution’s collection in order to sell or dispose of it. But no further details were provided, she said.

UArts faculty and staff can submit access requests to retrieve their personal items from university buildings, but it’s unclear whether the families of artists are given the same courtesy — or what will happen to artworks that don’t have family advocates like Ani Maitin.

An art piece has slipped through the cracks before, Seeherman said.

In June 2022, Seeherman said, she held a meeting to express concern for a sculpture named A Woman of Courage by Gladys Barry, a donation that had been in the Gershman Hall foyer since 1979.

With a new lobby construction set to begin, she was worried the sculpture would get damaged or misplaced. And when the construction project was completed in 2023, her fears were proven right — the sculpture was missing.

Seeherman is hopeful that outcome can be avoided this time around, citing the work of Ani Maitin and what others are doing to advocate for artists’ work on UArts campus.

“I wish [the art] could find a home where it can be appreciated for the art it is. Whether it’s in a museum, a private collection, or goes back to any of the families connected to it,” she said.

“UArts may have closed, but we’re still a community.”

– The Philadelphia Inquirer

A stolen musket from the Revolutionary War returns to Philly

An 18th-century musket that’s linked to the Revolutionary War was stolen in 1968 from Valley Forge Park, leading to years of investigation. When the cherry wood and brass-made firearm, once a part of the Valley Forge Historical Society Museum collection, went missing, it left many historians and investigators in limbo for decades.

But with help from Upper Merion Township detectives and the FBI’s Art Crime Team, the prized relic was returned to the Museum of the American Revolution on Monday.

The .78-caliber musket was displayed on a blue cloth-covered table, just under the dramatic painting, Siege of Yorktown in Virginia. Museum president and CEO Scott Stephenson held the antique in his hands, noting how the details etched in the gun’s 45-inch barrel and engraved butt plate noted its historic origins.

“There were no machines cranking these parts out,” Stephenson said. “This is literally hammer in hand, steel, iron, brass, and wood carefully pinning these pieces together.”

The retrieval of the 250-year-old firearm was a battle on its own. Until recent months, there was no trace of the musket for 56 years.

In 2009, Kevin Steele of the Montgomery County District Attorney’s Office reopened a cold case on the theft of antique firearms from the Valley Forge Historical Society Museum and several law enforcement agencies joined the effort to retrieve them. Among these firearms was the New England musket.

On the local level, Upper Merion Township Detectives Brendan Dougherty and Andrew Rathfon were tasked with retrieving the musket, as well as other Revolutionary War antiquities. Between 2016-2022, they were joined by the FBI Art Crime Team, the U.S. Attorney’s Office, and others on the investigation.

The collective effort resulted in the arrest of two people and the recovery of 50-60 historic items that were returned to 25 different museums along the East Coast. But dozens of artifacts were still missing, including the treasured musket.

In March, Massachusetts-based arms appraiser Joel Bohy spotted an early 1770s firearm during an antique gun show in Baltimore, which ended up being the one stolen from Valley Forge Park.

Bohy knew it was Rhode Island-made. The engraved butt plate signals its New England origins. But he didn’t know the significance of the artifact until he saw a press release from Upper Merion Township detectives.

“When I first saw the gun at the show, I was pretty excited about it because it’s a really rare gun,” Bohy said. “It was even more exciting when three weeks later, Upper Merion Township police sent me a press release with the missing things retrieved from the cases they worked on before. As as soon as I saw [the musket], I clicked on the images and went, ‘Oh my God, I saw this gun weeks ago.’”

Bohy reached out to Dougherty and Rathfon, who he had worked with on cases before. The next day, the FBI team interviewed Bohy, and the two parties were able to track down the musket and deliver it to the insurance solutions company, Chubb.

Chubb paid the insurance claim for the missing relic back in 1969, which meant that it was now its official owner. Since the Museum of the American Revolution acquired the collection of the Valley Forge Historical Society back in 2003, the organization decided to gift the musket to the museum.

“We’ve obviously devoted many years to this investigation and we’re still going. But it’s special because it was stolen from our home,” Dougherty said. “And to know after 56 years it’s home is nice because it’s such a local historic item.”

With the firearm now in the hands of Stephenson and the museum’s curators just days before July Fourth, Chubb executive Maria Thackston said it’s a “poetic” story of repatriation.

“We’re thrilled to give it back to them, allow them to continue to study it, and make it available for the public to enjoy it,” she said. “It’s our privilege.”

While there are no current plans to exhibit the rare firearm, the museum will continue to study the artifact until plans for display unfold at a later date.

Staff writer Raymond Ragland contributed to this article.

– The Philadelphia Inquirer

The song that has moved Philadelphians closer to the world for decades

The 6abc Action News theme is a sound that’s as Philly as it gets. Like the sizzle of a cheesesteak rib eye, cheers for an Eagles touchdown, and the quiet crumple of a soft pretzel wrapper.

Even 52 years later, the funky groove of the 1970s theme remains iconic for longtime Philly residents, who grew up watching the legendary Jim Gardner and other anchors relay the evening news into their living rooms.

Philly comedian Chip Chantry is one such viewer. While others may stand for the American flag, Chantry regards the Action News opener “Move Closer to Your World” with the same patriotism. “If you’re in my home, you better stand for the Action News theme song,” Chantry said in the viral clip from a Helium Club routine in April, which has amassed over 500,000 views since June 7.

Growing up near Norristown, Chantry said the theme brought the excitement of the city into his childhood home. “When I hear Action News, I think dinner time,” said Chantry, whose forthcoming special is called “Move Closer” in honor of the classic theme. “It’s such an iconic theme, and it’s almost like a sports theme for people who don’t like sports. This is like the Rocky theme in your house.”

The theme is reminiscent of an era where broadcast news was the next big thing in journalism, helping usher in a new crop of star news anchors and generations of local news junkies. The widely popular song has been covered extensively — from high school bands to bands like The Roots.

The idea for “Move Closer to Your World” came from former 6abc promotions manager Walter Liss, who wanted a theme similar to a popular Coca-Cola commercial that featured the jingle, “I’d Like to Teach the World to Sing (In Perfect Harmony).”

That song was recorded by the American folk group the Hillside Singers, an ensemble created by the advertising agency McCann Erickson just to sing in the Coke ad. Liss reached out to Hillside Singers producer Al Ham to create something similar for Action News. Ham wrote the music and Liss wrote the lyrics in 1970. Two years later, the song debuted on what was then called WPVI-TV and has been in rotation ever since.

“To people in Philadelphia, things that are ours matter to us. And hearing that music every day, it makes people feel like they’re home,” said Mike Monsell, 6abc’s vice president of marketing. “Nothing can encapsulate that more than [Chantry’s video]. That pretty much sums up the way people feel around here.”

In the middle of office building renovations in 2012, Monsell found original handwritten notes from Liss and Ham, and a photocopy of the theme’s sheet music inside his desk drawer. Those now hang on the TV station’s history wall.

After a decade on display, the ink on the sheet music and handwritten notes began to fade and Monsell was tasked with finding a place that could restore the artifacts.

In September 2022, he reached out to the Conservation Center for Art & Historic Artifacts, where senior paper conservator Heather Hendry and others were able to treat the sheet music and handwritten notes.

Jessica Silverman, CCAHA’s director of conservation, said the center was able to remove the tape from the documents. Conservators also used pigmented inks to mitigate the fading issues, and developed a replica of the Liss-Ham notes page for display.

While every project is rewarding, Silverman said the Action News preservation has become a “tour favorite.” “People get real jazzed up about it,” she said.

After the project wrapped in April, the revived sheet music and replicated notes page are now on display at 6abc. The original light-sensitive notes, Monsell said, are stored in a temperature-controlled storage container.

The CCAHA project signifies the theme’s importance for people of the region, but 6abc is not shying away from addressing one of the more controversial moments in the station’s history: the changing of the theme song in 1996.

Planned for a late summer release, 6abc president Bernie Prazenica said, a mini-documentary will chronicle how viewers reacted to an “orchestrated” version of the opening theme that debuted on Sept. 20, 1996.

Liss and Ham’s original was updated by the London Philharmonic Orchestra, but viewers immediately took to their phones to bash the new interpretation. The criticism forced 6abc to pull it from the airwaves and place the original song back after three days.

“I think people who view it will get a real kick out of it,” Prazenica said. “I think it’s going to be fun to look back on that, especially for those who have heard the story but haven’t heard the music. They will get a chance to sample it.”

If you ask anyone at 6abc, Monsell said, there’s no way the Action News theme will be changed in the future. The original will always remain an integral part of the city’s identity, and he and others will continue to commemorate the song’s storied legacy.

Somewhere in a living room near Norristown, Chantry and his family are cheering that. Standing up, of course.

– The Philadelphia Inquirer

Delco dad is the king of bad jokes

TikTok star Dave “FitDad” Ogleton makes fellow fathers laugh, while kids shake their heads in (slight) embarrassment.

The Delco native who thrives off of clever puns and rapid-fire quips has always been funny but decided to start sharing his jokes with the world in 2020. It was the start of the pandemic, and five of his now-six children had switched from in-person to virtual classrooms. And uncertainty loomed over his nutritional product business.

Ogleton, now 39, took to social media to break the monotony of quarantine. He started uploading skits and gags and soon found an audience of dad joke-loving viewers.

“It was something for us as a family to do. It was fun and other people started finding it funny,” he said. “Deep down, I always wanted to do something in entertainment, so when things started to pop off I thought, ‘I can turn this into a business.’ ”

Four years on, he’s amassed nearly 3 million followers on TikTok and Instagram, and forged partnerships with the likes of Disney+, Pepsi, Netflix, and Procter & Gamble.

His role as a full-time content creator has allowed him to relish in his ultimate passion — being a father to his children, who range in age from 3 to 15 years old. We talked to the self-proclaimed “King of Dad Jokes” about his penchant for puns, his kids’ reaction to his social media fame, and the best (and worst) dad jokes, just in time for Father’s Day.

The interview has been lightly edited for length and clarity.

Do you consider yourself an expert ‘dadfluencer’ by now?

I’m definitely not. So many people are like, “You’re the expert,” but the truth is I didn’t grow up around kids or anything like that. I know it’s kind of cliché, but everything was new to me [as a father]. We had our first daughter, and I think I asked my fiancé, “When will she start talking? In a year or something like that?” And she was like, “What?”

How do you come up with these jokes?

Dad jokes have been around forever. A lot of these jokes that I use now aren’t new. I just put my own spin on it, and I think that’s the best part about it. I come up with new ones every once in a while. If I say something funny to one of the kids I’m like, “OK, let me write that down real quick.”

How is viral celebrity-dom treating you?

It’s actually weird. We were on vacation three years ago, and all we heard was whispering. The lady comes up to the table and said, “I’m sorry, but I recognize your voice. I know you’re FitDadCEO.” There are certain spots and demographics where I get spotted more. Like every time we go to Disney World, it’s like nonstop — every five seconds. It’s still a little bit of an adjustment.

How do your kids like your social media fame?

They don’t really have a problem with it. The high school and middle school-aged ones, they’re like, “Alright, that’s enough dad.” You know how kids are when they get to that age, they will find any reason to make fun of somebody. I’m more aware of what I post, especially when it comes to something that’s a more sensitive topic.

What are our favorite family-friendly spots in Philly?

For me, it’s Philly’s sports venues ... places like Citizens Bank Park. When the kids were younger, we would go to South Street and Columbus Boulevard all the time. The kids also love going to the Eagles and Phillies games. The Sixers, too. A lot of the area in South Philly is where we love to go to.

Any Father’s Day plans?

Father’s Day is usually a pretty chill day for us. We usually do a typical barbecue or a Wiffle ball game. We have a pool, so we usually hang out. Or I might get a nice nap in.

Tell us your best/worst dad jokes.

How do you find Will Smith in the snow? Just follow the fresh prints.

Why does no one ever laugh at Peter Pan’s jokes? Because they Neverland.

Did you know Ryan Reynolds and Snoop Dogg are collabing? Yeah, I can’t wait to hear Reynolds Wrap.

Did you hear about the guy who swallowed a lamp? Just wanted a light snack.

Darth Vader always knew what Luke got him for Father’s Day. He could sense his presents.

– The Philadelphia Inquirer

Jill Scott is ‘really tickled’ to be featured in a new mural at her alma mater, Girls’ High

After years of fiercely repping her hometown, Philly’s very own legendary vocalist Jill Scott was honored at her old stomping grounds.

On Thursday, Mural Arts unveiled a mural of Scott during a 175th-year celebration of her alma mater, Philadelphia High School for Girls. “I want to live in the moment,” Scott said in a Zoom interview before the ceremony. “I’m very touched and thrilled. I cannot believe this.”

The mural is designed by artist Patrick Dougher and features Scott coronating young girls with replicas of the same golden crown she wears on her head. The Latin phrase “vincit qui se vincit” comes out in a wave from under Scott’s halo-like Afro. It translates to “She/He conquers who conquers herself/himself.”

The 900-square-foot mural, titled Luminaries: The Coronation, is located on the facade of Girls’ High facing Broad Street. Jane Golden, executive director of Mural Arts, said its vibrance is a reflection of the impact Scott has made as an ambassador for Girls’ High and the Philly arts.

“Her artistry, resilience, and dedication to uplifting our community epitomize the spirit of Girls’ High,” Golden said in a statement. Through the mural, she said, “we honor not only Ms. Scott but also the countless women who have graced the halls, leaving an indelible mark on our world.”

Before the ceremony, “Jilly from Philly” chatted with The Inquirer about her fondest memories at Girls’ High, the hidden powers of “Schuylkill ,” — otherwise known as Philly tap water — and her headlining performance at the Roots Picnic on Saturday. A deep feeling of gratitude shined through her smile. “It’s hard to explain how great this is,” she said. “I am really tickled. ”

The interview has been lightly edited for length and clarity.

How does it feel to have this honor?

It’s really crazy. Wow, I know I should be ready for these kinds of questions because I figured you would ask me how it feels, but it’s kind of surreal. I had such a difficult time during high school. I missed 48 days of school my senior year, primarily because I couldn’t get to school. I didn’t have money, tokens, or anything, and I worked at night. It was very hard. I did not pass math, which was devastating. It meant I couldn’t walk and had to go to summer school. But that’s the reason this is so surreal, it was such a challenging part of my life, but an amazing time as well.

This is the kind of stuff that’s in a lot of fairy tales. I would have never imagined that my likeness or any part of me would be on the side of my dang high school. Never, not one day.

How was Girls’ High?

Girls’ High was beautiful. We had perfect pink marble hallways, and walking down those hallways felt like triumph every day. There were so many brilliant young women, and so many friends I have till this day. It was an extraordinary time for me, I just wish I didn’t have the troubles I had at the time.

What do you remember the most from those days? Any particular teachers?

I have a lot of fond memories, the only problem was we didn’t have any money. But yes, I had Mr. William Murphy, the leader of Treble Clef. You had to audition to be in the Treble Clef Choir, and it taught us Latin, German, and Italian songs. He played amazing music, and took us to the Academy of Music. That’s where I first heard and saw Kathleen Battle. I never heard someone sing so lovely and smile so pretty at the same time.

You grew up here. How did the city make you who you are?

People ask me the question all the time: What makes Philadelphia vocalists? I think it’s the Schuylkill punch, and the fact most of the musicians are coming out of church. I think it’s institutions like the Philadelphia High School for the Creative and Performing Arts, and Treble Clef at Girls’ High. I think all these accumulate to make Philly’s musicians, vocalists, and artists great.

And what about the city’s murals?

I grew up looking at murals my whole life, on every other corner. Murals have been an inspiration just by seeing all those beautiful colors. There was a lot going on in the city of Philadelphia. [But] the murals were uplifting, with beautiful quotes and the faces of people we admired. I’ve always appreciated that.

And the Philly arts community? Does its future excite you?

Of course. I think I’ve touched pretty much every portion of it in the course of my lifetime. All the wonderful time I’ve had performing live, whether it was poetry or singing somewhere. There were so many places, and some of them aren’t here anymore, but they are integral to everything that I am and everything that I’ve done. And oh, the block parties. I used to go to so many block parties. All those things made me who I am.

Can we get a glimpse into your Roots Picnic performance on Saturday? Or do you want to keep everything secret?

I’ll keep it a secret. Just know that I’m thrilled and very excited. I had a wonderful time performing at the Met for the 23rd anniversary of Who is Jill Scott? Words and Sounds Vol. 1 last year. I loved that people walked out singing in the streets. It felt so good.

– The Philadelphia Inquirer

Charlamagne tha God is done with the small talk

For millions of morning radio show listeners, Charlamagne tha God has evolved into one of the leading voices in pop culture.

From his days at Z93 Jamz in Charleston, S.C. to his current post as the host of Power 105.1′s The Breakfast Club, the former morning show host of Philly’s 100.3 the Beat says he has lived by an unspoken oath: to think and speak freely.

His social critiques, polarizing political stances, and unpredictable interview moments have stunned listeners, led to national headlines, and turned hour-long interviews into bite-sized viral clips.

His infamously comedic and often vicious interviews with artists like Lil Mama, Kanye West, and Post Malone have generated millions of YouTube views, and his recent observations of President Donald Trump and President Joe Biden’s electoral campaigns have taken him to The Daily Show

In his third book, Get Honest Or Die Lying: Why Small Talk Sucks, he is asking America to stop lying to itself.

In the book, set to release on May 21, Charlamagne writes from the belief that the world’s imbalances stem from a lack of meaningful conversation among people, be it our neighbors or politicians. This, he says, leads to the oversaturation of “small talk.”

“I’m not talking about the pointless chitchat people try to make when you’re at the airport or randomly standing in line somewhere. I’m talking about the small conversations people have on social media every day,” Charlamagne said. “You know it’s micro because it only lasts 12 hours. This book is a way to open up conversation with people.”

The Inquirer talked to the self-proclaimed “prince of pissing people off” about the dangers of unimaginative conversations, the balance between righteousness and “ratchetness,” and hip-hop’s role in freeing America’s intellectual chains ahead of his book release and tour stop at Green Street Friends School on May 23.

The interview has been lightly edited for length and clarity

This is another big achievement for you. How do you feel?

I feel good. It was an effortless process because what I decided to write about in this book is where my mind has been for the past few years. I just think we’re in a society where everybody likes to focus on the micros instead of the macros. And because we spend so much time talking about the micros, we have so much small talk in the world.

Is this a conclusion you arrived at recently?

I’ve never liked small talk. I’ve always wanted to have big macro conversations and discuss big ideas, even when the conversation starts with individuals. I don’t want to discuss people, I want to discuss the ideas these people are presenting. Even on the radio, you may [hear] a headline about something, but I want to talk about the broader deep dive into what it is. Like the Kendrick Lamar and Drake rap beef, I don’t just want to talk about the beef. Let’s talk about the psychological aspect of all this. Let’s talk about where this will lead people or the culture of hip-hop.

Do you think your voice is big enough to steer these kinds of conversations?

I don’t sit around thinking, ‘Oh, my voice is big.’ I just think we need to start having more macro conversations. We have to start discussing things that benefit us and help us grow as humans. I’ve been like that my whole life. I always say I’m the perfect balance between ‘ratchetness’ and righteousness, or at least that’s what I strive to be. There’s never been a time in my radio career, no matter where I’ve worked, that I didn’t have voices we could learn from on my platform. From spiritual leaders to political leaders, it doesn’t matter. I’ve always had people you could learn from.

What about people who say you’re incapable of leading ‘macro’ conversations?

That’s their opinion, and they’re entitled to their opinion. You see that a lot with the conversations we’ve been having in politics [on The Breakfast Club]. This ain’t new. The first political guest to come on The Breakfast Club was Bakari Sellers in 2014. He was running for lieutenant governor of South Carolina, so he came on to talk about his campaign. From that moment on, the ball was rolling and everyone and their mother was coming on.

When it was 2020, all the Democratic candidates were coming through. Even back then, people said, ‘Charlamagne you went too hard on Kamala Harris,’ and ‘Charlamagne you went too hard on President Biden.’ The flip side of that: ‘Charlamagne you’re too easy on Democrats. Y’all are a bunch of Democratic shills and never ask Democrats the hard questions.’

Fast forward to 2024, when it’s a large Republican field and those candidates decide they want to come up to The Breakfast Club. They’re choosing to come to our platform, and all of a sudden people have a problem with us talking about politics. You’re damned if you do, damned if you don’t. And to be honest, neither one bothers me because it’s all a part of the larger conversation. It’s not going to stop me from having the conversations I want to have.

Moving on to hip-hop, is the genre and culture ready to have these ‘macro’ conversations?

Of course, and that’s why I wrote this book. One aspect of small talk is that we confine ourselves to these small echo chambers for no reason. Hip-hop has always been able to talk about these things. We used to say N.W.A was the CNN of the Hood. So the notion that hip-hop is not mature enough to listen. Says who? I guess that’s why it’s so easy for people to tell us to shut up and do what they say regarding politics. It’s probably so easy simply because maybe some of us aren’t sophisticated enough to know what’s going on politically. But I think that’s a bald-faced lie.

Was there a topic or chapter you second-guessed writing about?

Hell no. This book is about big conversations and focusing on the macros. I want [readers] to have conversations about the things I’m talking about. I’m not saying I’m right or the end all be all. I’m just sharing my experiences with the readers, and I’m hoping they get something from it.

I know your time in Philly was short, but what are some of your fondest memories of the city?

I love Philly because it’s one of the realest places on the planet. Almost everyone you meet will tell you the truth. The brothers and sisters in Philly are very honest, and I think that’s why they appreciated me while I was there. And any time I come back to Philly, it’s always love. I don’t take any of the support for granted.

At last year’s Roots Picnic, you named your top five Philly MCs. Who fills out the ranking?

I have to be objective here, so I won’t give a personal top five. I have to put Black Thought at No. 1 and Beanie Sigel at No. 2. You have to put the Fresh Prince at No. 3 — not Will Smith, the Fresh Prince. Then I’ll put Freeway at No. 4. My No. 5 coming out of Philly all-time, I want to salute the OG Schoolly D, but I feel like I got to put Young Chris at No. 5. He didn’t get his just due but Chris was very nice, and if you’re so nice that you’re influencing people like Jay-Z, that’s big.

– The Philadelphia Inquirer

Philly couple who went viral for living in a storage unit wants to prove ‘homelessness is a flex’

Like many Gen Zers, Lansdale couple Leland Brown Jr. and Breanna Hubbard gave TikTok viewers a tour of their new home, hours after they moved in.

The space was just large enough to fit a twin-size mattress, a small couch, a dresser, and a wall of storage boxes. But no windows, bathroom, or kitchen. It also happened to be located inside a storage unit in North Wales.

The container was an upgrade from their previous digs, a tent in the woods of Montgomery County. Brown and Hubbard, who spent most of their days creating videos, live a “minimal lifestyle” to avoid what they call the stresses of employment and costly housing.

According to a 2022 survey conducted by Freddie Mac, a government-sponsored finance company, adults between the ages of 18 and 25 have mostly positive thoughts about homeownership. But over one-third of them say it’s outside of financial reach.

“We think it’s more beneficial for us in the long run,” Hubbard said of living outdoors. “We’re not looking at how much we make now, we’re looking to build up our businesses and to work for ourselves. We want to make our own money by sharing our life, which we’re having success with.”

A mutual friend introduced the pair in March 2022, and they have shaped their online presence and living situation in tandem ever since.

It wasn’t always meant to be so “minimal.”

Brown and Hubbard were among the 31% of Gen Z who were living at home due to high housing costs. After continued disagreements with his father, who wanted the 28-year-old TikToker to pursue a more sustainable career, Brown was kicked out of his parents’ home in Montgomery County in May 2022.

“He told me I was grown and have a son, so I needed to figure it out,” said Brown, whose 7-year-old son lives with his mother.

Brown then moved in with Hubbard, 22, who was living with her family in Hatfield. That didn’t work out, so they packed up their bags and moved to the woods in September 2022.

Brown, who had never been camping before, was excited to adopt the new lifestyle. But he quickly learned how difficult it was living outdoors. “It was a lot once we got everything settled,” Brown said. “It was crazy dealing with the animals and the cold.”

After six months, Brown and Hubbard adapted to the new living situation and decided to chronicle their journey.

In December of 2023 he posted videos that showed him taking leftover food from his job at a nearby hotel to the tent. Brown lost his job soon after — but the videos generated millions of views on TikTok and YouTube.

Around the same time, Hubbard’s mom encouraged the couple to visit a nearby U-Haul store for an occasional break from the cold, and for a place where they could edit their videos and do other “office work.” The couple saw the storage units there as an opportunity to have a low-cost home of their own, at least while they saved money for a more permanent space.

They started by taking naps inside the U-Haul store, then moved their belongings into one unit. Over time, they organized furniture and made it into a small housing quarter. They posted the three-part series on TikTok, which generated over 22 million views and made national news, with outlets like CBS News, Complex, and Yahoo News reporting on their move into the climate-controlled space.

Within days, U-Haul management asked the couple to leave.

“Residing in a self-storage unit is a violation of state and federal housing laws,” Jeff Lockridge, a spokesperson for U-Haul International wrote in an email to The Inquirer.

“I was always prepared to get kicked out because of the video,” Brown said. “I didn’t expect it to become as viral as it was, but when it did, I knew I couldn’t delete it. I was making money off of it, so we had to run with it.”

The couple stayed in a U-Haul truck for a night before moving their stuff back to the Lansdale woods.

Brown and Hubbard currently live inside a large camping tent, filled with bundled blankets, an air mattress, and a power bank to charge their electronics.

Brown, who prefers the term “house-lessness,” said tent life is less than ideal. But the independence that comes with the low-cost lifestyle, he feels, is a sacrifice worth enduring.

“I’m very educated and intelligent, and so is [Hubbard], but people tell us how to live because their perspective in life is different,” Brown said.

While Brown had asked to move back in with his parents in the past, he said he and his father have now come to an understanding. “My dad is saying [I] have to stay in the woods and make it work,” he said. “He’s trying to teach me to be strong and survive.”

His father, Leland Brown Sr., a principal engineer and director of a military and aerospace communications company, said he had his concerns, especially when Brown and Hubbard moved into the storage container. Still, “I believe Leland has been very clear this is a choice he has made and he stands on his choice,” Brown wrote in an email. “If no harm is caused to anyone, content development is a good method to share his approaches on how he wants to live his life, while allowing others to follow his journey.”

While Hubbard’s parents have invited her back home, she’s continued to say no. “I had to leave to be the best version of myself,” she said.

Since last year, the couple has monetized videos of their daily exploits. They clean up in hotel bathrooms, use rented vehicles to run DoorDash deliveries, make food in a portable grill placed in the trunk of an electric car. All the while defending their house-free lifestyle against the naysayers who comment under their posts.

The couple is enrolled in the YouTube Partner Program and TikTok’s Creator Fund, which allow certain users to monetize their videos based on views, engagements, and other metrics. Brown said they pull in roughly $750 a week from their videos.

In a February video, titled “When You’re Homeless & Not Getting a Job #genz,” Brown talked about his desire to be an entrepreneur rather than working for someone else. “I’m not getting no job,” he said in the TikTok video. “I’ve had jobs in the past, and I’ve got fired at 90% of those jobs. It’s not for me. I’m an entrepreneur, self-made, and so is [Hubbard].”

In response to the video, one TikTok user commented “if you can’t handle a 9-5, you most definitely cannot handle entrepreneurship.”

Brown and Hubbard admit negative comments often get under their skin, especially when people suggest they are faking their lifestyle or meaninglessly avoiding employment.

“I’ve been saying homelessness is a flex, and I believe that with my heart and soul because of the challenges homeless people endure,” Brown said. “People don’t understand that.”

Still, Brown says he recognizes his and Hubbard’s living situation is a lot different from many unhoused people. They are located in a relatively quiet suburb and can earn a steady flow of income from their videos. “We got very lucky,” he said. “I grew up here half of my life, so that’s a privilege.”

Tyler Greene, who has known Brown since they were in elementary school, is happy his friend is garnering attention online, but “I want him to get out of that tent,” he said.

The couple will continue living in the woods for now, but Hubbard said they intend to save money and eventually buy a tiny home before starting a family together. They currently want to purchase an RV and document van life. (A recent social media trend focuses on #vanlife, where people live out of modified vans. It’s often promoted as a bohemian way to travel and save money, but critics say it’s really “glorified homelessness.”)

Their only hurdle is a lack of payment and credit history.

In the 2022 Freddie Mac survey on homeownership, insufficient credit history and unstable employment were two of the top five obstacles preventing young adults from purchasing a home.

“We have to be more patient, live out in the woods for three or six more months, and just be more financially intelligent,” Brown said. “We’re just waiting for the right time while we live in the wilderness.”

As they continue to chase their entrepreneurial dreams, which include starting a clothing and pottery business, Hubbard said they want to change the negative perception of unhoused people through their content.

“It’s not the end of the world to be homeless or live minimally,” she said. “It’s an opportunity we have to work on ourselves.”

Erick The Architect Steps Into A New World On 'I’ve Never Been Here Before'

Rapper/producer Erick The Architect is no stranger to reinvention. 

The Brooklyn-bred MC cut his teeth over alt-East Coast beats as Erick Arc Elliot before forming psychedelic rap trio Flatbush Zombies with childhood friends Meechy Darko and Zombie Juice. But after multiple mixtapes and two albums with the group, Erick is returning to solo form and venturing into new creative ground. 

Following 2021’s Future Proof EP, Erick is embarking on new musical travels with the release of his official debut album, I’ve Never Been Here Before. Out Feb. 23, the double album explores Erick’s flowy instrumentation, poeticism, and artistry at full scale. The project is fueled by singles "Shook Up" featuring FARR and Joey Bada$$, "Ezekiel’s Wheel" with funk forefather George Clinton, and the breezy "Instincts" with Westside Boogie.

Erick says I’ve Never Been Here Before is more than a collection of catchy introspections, melodic monologues, and '90s-inspired jams. It’s the shedding of one persona — and sound — and the beginning of a new: the Mandevillain. 

"This album is an identity of a new person," Erick the Architect tells GRAMMY.com, noting that the moniker is an ode to his father’s hometown of Mandeville, Jamaica. "A lot of people may have thought there was a ceiling to what I’m capable of, but I think this album will showcase a brand new artist and identity, which is really hard to do when people think they already know you. But I really think this is unique." 

The switch isn’t just in name — he’s taken on a new approach to music, too. For the first time in years, Erick says he’s prioritizing himself and his specific musical world. "It’s the first time I have created with the headspace that I’m free," he says. "I find that other artists don’t listen to other people’s music when they’re in a creative space, but this is the most locked off I’ve been from things."

As much as I’ve Never Been Here Before signals new creative ground for Erick to fertilize, it also represents his collective efforts to limit distractions and break free of any barriers — personally and sonically. 

While it was difficult to stay so focused and inward-looking while creating his debut album, turning to some of his legendary collaborators provided some clarity. After having conversations with James Blake, George Clinton, and other artists as part of the project, Erick no longer feels forced to fit a mold or address outside criticism. 

"This album is about sacrifice, and I’ve Never Been Here Before is me being okay with losing things," he says. "I think that losing has always a negative connotation because nobody wants to lose, everybody wants to win. But it's the first time I'm losing stuff and it’s better being lost. Whether it's a habit or a person in your life, you don't need to hold everything."

I’ve Never Been Here Before lives up to its title in both theme and creation. Where Erick previously wrote songs in moments of vulnerability, the rapper says he "doesn’t feel that way anymore." 

Citing the work of Keith Haring, Miles Davis and Pablo Picasso as inspiration, Erick says he was driven to write more high-spirited songs, rather than ones tethered to struggle and hardship. As a result, the album is more accessible than some of his previous work.

"I’m tired of writing from a perspective of just being like, 'I’m sad today, bro,'" he says. "I haven’t made a project that I feel like you can just put that joint on and just play it, don’t even think about anything else because it’s commanding an energy that we all need." 

In transforming the project, the "Die 4 U" artist pieced together a blend of new and older songs he recorded five years ago. And while a double album is a "death sentence" in the eyes of most rap fans, Erick says he’s prepared for both heaps of praise and hurls of "he’s overrated" from listeners. He would feel more anxiety only if the music never came out.

"I’ve always believed that I had another special part of me that I think people didn’t witness because I didn’t put it out in the forefront," he says.

While getting a new release across the finish line can be a heavy weight to bear, Erick says he’s determined to prove his doubters wrong and own his legitimacy as a solo act. "I didn’t get lucky or sneak in here and steal beats from somebody’s laptop," Erick says. "This project is great to defeat people who have perceptions about me that are incorrect."

With the momentum of I’ve Never Been Here Before, Erick is set to test his new music and moniker on the road during his upcoming Mandevillain Tour, which kicks off in Austin on March 25.

Now that he’s fulfilling his ambitions as a solo act, the artist has a few more mediums he plans to explore – TV and film. After being a rapper/producer for more than a decade, Erick says he’s ready to take grander creative leaps.  "I’m just trying to take this to the highest caliber," he says.

– Grammy.com

The Philly artist who gets mistaken for Banksy

Susan Ferrence was in a rush on a December morning as she passed by Jefferson Plaza at 12th and Chestnut Streets. She was late for a workout session when an image stopped her in her tracks.

It was a stenciled mural of a young child, screaming while wrapped tightly in a straitjacket.

Ferrence, an art historian and director of publications at INSTAP Academic Press, took pictures of the freshly stenciled work with darkened shadows and etched grooves. She told her friends she had just spotted a Banksy.

The “Banksy” turned out to be the work of a Southwest Philly artist who goes by Bad Luck. The 33-year-old, who opts to conceal his identity, had stenciled the sketch of the screaming child on a wood-paneled wall hours before Ferrence walked by it.

The idea for the mural, he says, stemmed from a feeling of restriction, like being bound in a straitjacket. Bad Luck wanted to break free of his thoughts, like the child he drew screaming in enraged silence.

That’s how he’s always envisioned his artwork — as a cleansing of thought and emotion. But the comparison to Banksy is something he says he never imagined or wanted.

“I hate it, man,” he said. “He’s so big, talented, and clever. But if you try to do stencil work, then somehow you’re automatically biting off of Banksy. That’s how people view it.”

Philly artist Bleak, who shares an Instagram page with Bad Luck and assists him on select projects, said the comparisons are “wild.” “We admire Banksy’s work obviously, but we’re trying to be our own thing.”

Bad Luck started out as a graffiti writer before transitioning to stenciling after seeing Banksy’s work, but he wants to avoid being labeled a copycat.

“I’m inspired by him for sure, but not as much as people would like to think,” he said. “He showed me a new way to be able to create things years ago, but I try to find my own style. I try to send different messages, which is why my work can be darker.”

Since long before catching Ferrence’s attention, Bad Luck has been fascinated with the art world, but was forced to admire it from afar.

Growing up in foster care, and bouncing around group homes as a teen, the self-taught artist never attended a traditional art school. In time, Bad Luck said, art became his emotional refuge. He embraced the pain of his challenging upbringing and called himself “Bad Luck.”

If it were up to Bad Luck, he would spend most of his nights drawing on street corners and highway overpasses. But with a full-time job and a separate life as a husband and father, it can be a difficult balancing act for both him and Bleak.

“My wife has definitely expressed concern about cops and safety,” Bleak said. Thankfully, there haven’t been any real run-ins with law enforcement. The only real conflict, he says, has been between stencil and graffiti artists.

“For any art form, Philly is all about being respectful and true to yourself, but [Bad Luck and I] have received a lot of love and a lot of hate,” Bleak said. “Stencil artists don’t mix well with graffiti writers. We’ve heard some good things too, so it’s not completely sour.”

Bad Luck said he’s had graffiti artists spray over his artwork, and he has covered theirs in retaliation.

Despite the criticism and infuriating comments — including being called “Fake Banksy” — Bad Luck said his respect for graffiti artists and other Philly creatives has never wavered.

“The art in the city is unreal man,” he said. “The people here are talented with brushes and paint cans. I feel like that’s real art.” But when it comes to stenciling, he doesn’t see anyone else doing it on a large scale.

Conrad Benner, who’s covered the arts for years under his Streets Dept banner, says there are plenty of stencil artists in Philadelphia. But like many trends in the industry, some rise in popularity or grow more obscure over time. While Philly’s street art generally doesn’t have a recognizable Banksy influence, Benner said, there are definitely stenciling artists in the city other than Bad Luck and Bleak.

West Philly resident Tyquaan Bardlavens is surprised by the Banksy comparison.

Bad Luck’s ability to convey his emotions through his work is what drew in Bardlavens. And as they have become friends, he’s encouraged him to take his street art to wider audiences.

Bad Luck said he next plans to place his work in gallery spaces. He’s still figuring out how to navigate commercial art space, but above all, he wants to deliver positive messages through his creations and be known as “the stencil man.”

“It’s not about the money — I don’t want to get paid,” Bad Luck said. “I want normal people that are in the art world to see my s— on a wall and in an exhibit, and for me to get recognition. Oh, and to not get caught by the police.”

Inside The Metro-Verse: How Metro Boomin Went From Behind-The-Scenes Mastermind To Rap's Most In-Demand Producer

Metro Boomin isn’t your ordinary hero. Instead of scaling walls and flying over cityscapes, he possesses the rare ability to generate hits across a myriad of genres while remaining true to form. Like heroes in the Marvel and DC universes, the often withdrawn producer has played a not-so-quiet role in hip-hop for a decade.

For his superpowers, Metro has become one of the most in-demand sonic architects in the game. His collaborations with Future, Travis Scott, 21 Savage, Big Sean, and other big-name artists defied convention, turning Southern trap into high-performance art. Despite his reserved demeanor, Metro Boomin has been behind the board of more than 100 Billboard Hot 100 songs, including top 10 hits like the Migos’ "Bad and Boujee" and 21 Savage’s "Mr. Right Now" with Drake. 

Metro spread his heroics even further last year. He produced standout tracks on Young Thug’s Business is Business ("Oh U Went), Lil Durk’s Almost Healed (War Bout It") and other major releases, while cranking out his own viral hits – "Am I Dreaming" featuring A$AP Rocky and Roisee and "Superhero" with Chris Brown and Future. His contributions led to his nomination for Producer of the Year, Non-Classical at the 2024 GRAMMYs, and showcased his versatility as an artist. 

Thanks to Metro, and his unmistakable calling card — "If young Metro don’t trust you, I’m gon’ shoot you" — trap's appeal has grown outside of the rap community, influencing pop and R&B. And his string of hits with the likes of The Weeknd, James Blake and Solange further proves Metro's musical wizardry. 

But on his second album, Heroes & Villains, which is nominated for Best Rap Album at the 66th GRAMMY Awards, the St. Louis native proves that he's as strong a solo act as he is an engineer of others' hits. Driven by lead single "Creepin’" featuring  21 Savage and The Weeknd, the 2022 album topped  the Billboard 200 charts and became Metro’s third project to land at No. 1 

It’s the second installment of an ongoing album trilogy, which follows 2018’s Not All Heroes Wear Capes. 

Boasting features from John Legend, Future, Chris Brown, Travis Scott, Don Toliver, and Young Thug, Heroes & Villains is the second installment of an ongoing album trilogy, which follows 2018’s Not All Heroes Wear Capes.  

According to Luminate, Heroes & Villains netted Metro his biggest opening week to date, with an estimated 185,000 equivalent albums sold in the U.S. "I didn’t see that coming," Metro told DJ Drama in January 2023. "A lot of times my stuff will grow slowly because I’ll put my time into it and people will realize, Oh, this is dope. I thought it was going to be one of those usual things … But it definitely caught me off guard." 

In a recent renaissance of soundtrack projects, the multi-platinum producer also created the soundtrack to the animated blockbuster Spider-Man: Across the Spider-Verse. Metro flexed his versatility on the 13-song project, which combined sonorous trap beats, reggaeton and Afrobeat-inspired jams, and lush pop ballads. 

Metro's success and recent GRAMMY nominations have been the result of years of Herculean feats.  Never content to follow a single sonic thread, Metro has continually expanded his reach to other genres and mediums. He’s dabbled in film and TV, producing songs for the short-lived and The Weeknd-starring HBO series "The Idol," and embraced live orchestration both in song and performance. On songs like "On Time" with John Legend, the producer amplified the grandiose record with stringed instruments, then performed the song with a live orchestra at the Dolby Theater for the Red Bull Symphonic back in November 2023.

Despite his vast production credits, Metro says he’s been unfairly labeled a "trap producer." He’s conjured pop and R&B hits, too. "I love R&B music, I love making this, love making that," he told GQ in 2022. "Why would I wanna do something that I did?" Along with producing The Weeknd’s No. 1 song "Heartless," Metro laid his hands to tracks on James Blake’s Assume Form and Solange’s When I Get Home, then later produced Coldplay’s "Let Somebody Go" featuring Selena Gomez in 2019.

Metro’s venture into solo stardom shouldn’t be a surprise either; the 30-year-old producer told Billboard he wanted to be a rapper as a teenager. "In order to do that, I needed some beats, so I started to make my own beats." At age 13, Metro took notice of artists like Soulja Boy, who also made his own beats. "It was like … it’s possible." 

Now, after years of playing the background, the man behind the blistering trap beats and rattling hi-hats is finally unmasked and fully embracing his solo artistry. There were flashes of his genre-bending genius on Not All Heroes Wear Capes, with the Offset, WizKid, and J Balvin-assisted "Only You" melding trap, Afrobeats, and reggaeton in euphoric form, but Across the Spider-Verse fully showcases Metro's musical dexterity both behind the board and in front of the mic. 

On the film’s soundtrack, the roaring orchestral sounds of "Am I Dreaming" form a transcendent exchange between A$AP Rocky and eclectic vocalist Roisee. Songs like "Hummingbird" see Metro return to his trap roots, but James Blake’s harmonious croons breathe mists of pop magic into the track. 

The hip-swaying "Silk & Cologne" and "Link Up" fuse reggaeton and Afrobeats, but "Nas Morales" is a complete step in unfamiliar territory for Metro. The unlikely collaboration between him and Nas closes out the 13-song project — Metro’s most experimental to date. 

The album Heroes & Villains is more in line with Metro’s roots, with songs like "Superhero (Heroes & Villains)" and "Niagra Falls" highlighting the producer’s darker, more mystifying trap wizardry. He also, for the first time, conjured a rollout for the project. 

Before the album’s release, Metro dropped a short film that featured cameos from Gunna, Young Thug, and actors LaKeith Stanfield and Morgan Freeman. The video, directed by Gibson Hazard, shows TV journalists (Gunna and Thug) reporting on a firetruck driver (Stanfield) setting flames to a city’s streets. Metro, overlooking the destruction alongside Morgan Freeman, decides to take action and stop the arsonist. 

Last year was a big one for Metro, but the producer isn't driven by accolades.  He wants fans to know that no amount of fame or hardware can take him away from his calling. "More than any accolades, sales, and everything, I just want people to know at the end that I cared the whole time. Every ounce of effort that I possibly could put into the art, I did," Metro told Complex.  

With a new year in full swing, Metro has already hinted at a possible hat trick in 2024. While interacting with a fan on X, formerly known as Twitter, Metro wrote, "2023 was great but just watch what I do 2024!!!!!." The fan then asked how many albums to expect, with Metro responding, "3 at the very least." 

– GRAMMY.com