The city of Philadelphia welcomed Vice President Kamala Harris to her first presidential debate and former President Donald Trump to his seventh on Sept. 10. 

The ABC News-hosted event was set at the National Constitution Center in the battleground state of Pennsylvania where “World News Tonight” anchor David Muir and ABC News Live “Prime” anchor Linsey Davis moderated the debate. 

While this may be the only debate between the candidates for the 2024 election, the conditions and rules were unlike the ones seen in past presidential debates. These rules included no live audience in the debate hall, a coin flip to determine the order of closing statements and podium placement, no opening statements, two commercial breaks, two minutes to respond to questions, two-minute rebuttals, and an additional minute for a response or clarification. Both candidates were also not permitted to bring pre-written notes or any props but were provided with a pad of paper, a pen, and bottled water. 

Stepping onto the stage at 9 p.m., Harris extended her hand, compelling a compulsory handshake as Trump slowed to a halt behind his podium. 

Moderators Muir and Davis maintained the set rules and asked questions regarding the economy, foreign policy, abortion, immigration, the U.S. Capitol attack on Jan. 6, 2021, and race in politics. 

Muir began the night with what he said is the most pressing issue according to voters of whether the economy has improved since President Biden and Vice President Harris took office four years ago.

“I am actually the only person on this stage who has a plan that is about lifting up the middle class and working people of America. … That is why I imagine and have actually a plan to build what I call an opportunity economy,” said Harris.

In Harris’ “opportunity economy” vision, she laid out a plan to extend a tax cut for young families of $6,000, the largest yet. She also plans to give a $50,000 tax deduction to start-up small businesses, explaining that they are “part of the backbone of America’s economy.”

Trump proposed, “First of all, I have no sales tax,” and that his plan for the future of the economy is to put tariffs on other countries.

Harris used her extra minute stating, “In this debate tonight, you’re going to hear from the same old, tired playbook, a bunch of lies, grievances, and name-calling. … and a dangerous plan called Project 2025.”

Explaining that he has nothing to do with the project, Trump added that he has not read the 900-page book made up of detailed policy proposals created by the Heritage Foundation. 

Project 2025 is run by his prior cabinet members and advisors, including an advisory board consisting of over 100 conservative groups with policies that mimic Trump’s policies when he was in office.  

Davis followed with the issue of abortion in America, noting that Trump has not been consistent with his position on the issue and that Vice President Harris said that women should not trust him as a result. 

“Her vice presidential pick says abortion in the ninth month is absolutely fine. He also says execution after birth… is okay. Hence the vote,” said Trump, referring to overturning Roe v. Wade.

Shutting down his claim, Davis refuted that it is not legal to kill a baby after it is born in any state in the country. 

Harris pledged that as president, she would sign a bill into law after it is passed by Congress, to put the protections of Roe v. Wade back in place on a national level and asserted that Trump, if he were to be re-elected, would sign a national abortion ban. 

Davis turned to Trump and stated, “Your running mate JD Vance has said that you would veto if it did come to your desk,” referring to vetoing a national abortion ban to which Trump replied that he had not discussed this topic with Vance. 

Harris called attention to a sore point between her and Trump, saying, “I’m going to actually do something really unusual and I’m going to invite you to attend one of Donald Trump’s rallies because it’s a really interesting thing to watch. … And I will tell you the one thing you will not hear him talk about is you…I believe you deserve a president who actually puts you first.”

Trump’s rebuttal included defending the excitement and size of his rallies because “people want to take their country back” from a “failing nation” that began “three and a half years ago.” 

He placed the blame of the “failing nation” on immigrants, laying a false claim that Haitian immigrants in Ohio are abducting and eating pets including cats and dogs, to which Muir immediately fact-checked him, confirming with the city manager that this is untrue.

His response prompted a chuckle from viewing parties, members of the press, and Vice President Harris.

On the topic of the U.S. Capitol attack, Muir posed the question of whether Trump regretted anything he did on that day.

“I had nothing to do with that other than they asked me to make a speech. I showed up for a speech,” replied Trump despite his tweet several hours before the attack, saying, “Statistically impossible to have lost the 2020 Election. Big protest in D.C. on January 6th. Be there, will be wild!” 

Trump evaded further questions on the topic.

As the focus shifted to foreign policy, Harris stood by her previous statement about the Israel-Hamas War, restating that, “Israel has a right to defend itself. … And how it does so matters. Because it is also true that far too many innocent Palestinians have been killed.”

“The war must end,” said Harris, “we need a cease-fire deal and we need the hostages out.”

Her plan includes working around the clock to create a two-state solution where there must be security for Israeli people along with Palestinians, including a solution to rebuild Gaza. 

In his reply to Davis’ question on how to negotiate with Benjamin Netanyahu, the Prime Minister of Israel, and Hamas to prevent the deaths of more innocent civilians, Trump explained that had he been president, “it would have never started,” a claim he also repeated regarding the war in Ukraine. 

At the end of the night, numerous representatives and allies from both the Republican and Democratic Parties entered the Spin Room to speak with journalists for their feedback from the debate. 

Pennsylvania Governor Josh Shapiro sided with Harris’ statement that although she and President Biden might agree on some policies and plans for the future, she is her own person: “It makes her Kamala Harris and I thought she was a damn good Kamala Harris tonight. And she’s going to be a damn good president.”

Mini Timmaraju, President and CEO of NARAL Pro-Choice America, said that students should vote for the vice president because “Kamala Harris is the only candidate with a plan to restore a federal right to abortion while Donald Trump made it very very clear tonight where he stands… he bragged about overturning Roe again.”

Biotech entrepreneur Vivek Ramaswamy, who previously suspended his bid for the 2024 Republican presidential nomination, responded to the announcement of Taylor Swift’s endorsement of Vice President Kamala Harris, saying, “I think the reality is that celebrity endorsements mean generally very little and I do think that voters should think independently for themselves or who they want to vote for.”

Regarding Ramaswamy’s claim, Swift’s endorsement via Instagram on Sept. 10 led “‘337,826 visitors to vote.gov referred from the custom URL created and shared by Ms. Swift. … As of 2:00 p.m. on Wednesday, September 11’,” according to a spokesperson for the U.S. Government Services Administration. 

With 67.1 million viewers, the much anticipated Sept. 10 ABC News Presidential Debate is now over. It is yet to be determined if a second Harris-Trump debate will take place and what impact this will have on the polls and the election outcome.

Every summer, the Southeastern Pennsylvania Transportation Authority closes down the trolley tunnel for two to three weeks along Market Street for track repair and station upgrades. While track maintenance is a necessary inconvenience, a lot of people rely on the trolley tunnel to get to work in Center City and beyond via subway connections. One healthier alternative to the trollies is biking. 

Biking is a good workout in ways that many people might not associate with the activity. As an alternative to sitting on a bus or in a car, biking works a few key areas of your body. Research cited by The New York Times from the Scandinavian Journal of Medicine & Science in Sports found that blood flow, lung function and lower body strength can all be effectively built up from bike riding. Cardio workouts like biking are proven to result in longer average life spans compared to those who do not use cardio. 

While running might be a fuller body workout compared to bike riding, the true benefits of cycling come from the combination of utility and fitness. The utility of a bicycle is its ability to bridge the gap between distances that can be covered on foot, and distances that require a car or other form of transportation. Especially when living in a city like Philadelphia, a lot of destinations that might have needed a trolley or train ride, now can be reached via the power of the bicycle. 

Philadelphia has been expanding its bike lane network in recent years, and there are some popular bike and pedestrian only paths here in the city, such as the Schuylkill River trail. While the fresh air and independence of cycling, as well as the health benefits are all strong reasons to consider it for a daily commute, there are also some risks. A lot of Philadelphia’s bike lanes are unprotected, meaning that you share the road with motorists. On July 17th, a bike rider was struck and killed in a DUI incident near Rittenhouse square. Bike theft is also common and learning how to properly lock up a bike is a must. A bike lock and a helmet are essential items before someone gets on a bike.

While public transit is essential, evidence shows that a lot of people who take it for short trips could see substantial health benefits, and increased independence by taking a bicycle instead. One option to test the effectiveness of switching a commute to biking, is to try a bike share station, like Indego. They allow users to rent bikes at very low prices and return them easily at stations all over the city. A helmet is still needed, but a quality helmet can be had for as low as 30 dollars. 

This is a developing story, updates will be posted as they come in.

In an email sent to faculty and staff by Board of Trustees Chair Richard Greenwalt on Monday, July 17, it was announced that Denis P. O’Brien would be named interim President of Drexel University. President John Fry was announced to be leaving Drexel to become the president of Temple University earlier this month. Fry stated at that time that he would remain at Drexel until a suitable successor could be found. 

Denis O’Brien is a current member of Drexel’s Board of Trustees and has served for two decades. He received his MBA from Drexel. He was also previously the chairperson of Drexel’s Buildings and Properties committee. He is known for his time as the CEO of PECO Energy, and later the senior vice president of Exelon, PECO’s parent company. PECO and Exelon are large regional utility companies, supplying customers in the Philadelphia and PA region with natural gas and electricity. 

The chair of the presidential search committee was also announced in the same email. “Trustee Mike Lawrie [will] chair the presidential search committee. More information on the presidential search process will be forthcoming, including the names of the search committee members, which will include a group of trustees, faculty members, students, alumni, and administrators,” said Greenwalt. 

O’Brien addressed the Drexel community in a statement via an email sent on Tuesday, July 17 conveying his gratitude for the position.

“I am writing to express my sincere gratitude to Drexel University’s Board of Trustees for their trust and confidence in selecting me to lead this great institution as interim president. I am honored to serve in this role and pledge to all of you that my priority during this time of transition will be to uphold all that makes Drexel an innovative institution at the forefront of higher education,” said O’Brien in his statement.

The Gaza Solidarity Encampment entered its second day on Drexel’s Korman Quad. Protesters set up the tents on Saturday, May 18 at around 5 p.m. and have been there since.

While existing protesters are free to leave, access to Korman Quad is restricted and no one else can enter the encampment according to police on scene. Legal observers, medics and police liaisons were still allowed to come and go from the encampment.

Around 25 protesters remained in Korman Quad on Sunday, down from around 50 on Saturday night at around 6 p.m. Around five Drexel University Police officers and around 10 Philadelphia Police Officers stood on the outside of a perimeter fence erected around the Quad. 

A media spokesperson for the protest stated their demands from Drexel were as follows: “We’re demanding that Drexel University immediately divest from partnerships with Israeli state institutions and non-Israeli entities that fund and uphold the system of apartheid, ethnic cleansing and genocide of Palestinians.” 

The protesters plan to stay until their demands are met by Drexel. 

Police on scene, as well as the protesters, confirmed that there had not yet been an order from law enforcement to disperse. Drexel’s campus remains on lockdown as of 3 p.m. Sunday, May 19. 

Several students stopped by the edge of the encampment, some bringing supplies such as food and water. Over the course of the afternoon a handful of students stopped to complain to the police as well as to the protesters about the lockdown on campus.

When asked about the lockdown, the media spokesperson for the protest responded: “Students, you have a right to be annoyed because you are entitled to these amenities that the institution provides to you, you pay tuition. You should have access to these things, and it is totally on the University’s decision to close these down. You can see here, we’re pretty self-contained here.” 

In an email sent to students and signed by President John Fry, Senior Vice President for Student Success Subir Sahu and Vice President of Public Safety Mel Singleton, they stated: “We will not tolerate the destruction of property; the harassment or intimidation of our students, faculty or professional staff; or threatening behavior of any kind, including speech that is explicitly racist, antisemitic, or Islamophobic, that creates a hostile environment for members of our community based on race, color, national origin, religious affiliation, or shared ancestry.” 

Taylor Swift released her long-awaited album, “THE TORTURED POETS DEPARTMENT” on Friday, April 19, sending fans into a state of disarray. The album consists of 16 tracks and is a little over an hour long. At 2 a.m., Swift surprised fans by revealing that TTPD is a double album and released “THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY.” This added 15 more tracks to the previous 16, making the album 31 tracks total, and about two hours in length. 

Taylor Swift announced the album during her acceptance speech on the Grammy stage for her previous full-length album “Midnights.” The album won Album of the Year as well as Best Pop Vocal Album, and Best Producer, Non-classical.

TTPD follows in the footsteps of her last album with producer and frequent collaborator Jack Antonoff returning to produce the vast majority of the album. The sound is also somewhat expectedly sonically similar, with the familiar dark moody synth and drums of “Midnights” making a return. While the full album is vast in length, the variation in sound is much more narrow. The vast majority of the 32-song runtime sounds largely the same production-wise.

This resulted in split reactions to the album from fans. Some listeners absolutely loved and related to the tracks, whereas others have complained about the synonymous sound of every song, expressing that a double album was not needed. Some fans saw this as a positive as it was easy to get lost due to the number of tracks. Fans have even said they have created their own “remixes” in their heads singing one part of one song and then another part of a different song right after, not knowing they had switched between tracks.

The album starts off with a Post Malone collaboration track, “Fortnight.” This was not an expected collaboration for Swift, but one that has been well-received. The song’s bouncy yet sinister intro pulls the listener in sonically, while the detrimental love storyline of the song and Swift’s harmonies with Malone keep the listener interested. 

The title track “The Tortured Poets Department,” is track two of the album. It is a bit different than the opener, with a lighter sound and more breathy vocals, but sets the sonic tone for the album. The song toggles with the fear of a partner leaving and not understanding how anyone else could know them as their current partner does. This track also features some of the more questionable lyrics found on the album, such as the line, “You smoked and then ate seven bars of chocolate, we declared that Charlie Puth should be a bigger artist”. Taylor is no stranger to wordplay in her lyrics, but even for fans, this line and others seemed out of place. 

“So Long, London” starts off with an acapella intro before transitioning into the same dark synth style as the previous tracks. The song is a somber goodbye to both London as well as the relationship associated with it. The song sticks with Antonoff and Taylor’s usual style for the rest of the track’s run time. The track settles into a synth-backed ballad that fits sonically with the others on the album for its later half.

Swift shifts the mood a bit with track nine, “Guilty as Sin?” The song is in fact as suggestive as its title. Swift catalogs specific details of a hookup she fears only happened in her head, thus the chorus lyric “What if he’s written ‘mine’ on my upper thigh only in my mind?” 

Track 14, “The Smallest Man Who Ever Lived,” heavily leans into piano more than the other songs, and impresses on the listener an impending sense of doom. It describes the experience of being with someone who possibly had a hidden motive to destroy the person they were with, only treating them well in the spotlight. The bridge of this track is particularly strong and filled with raw emotion. It has also become a trend on TikTok for people to send this song to their exes, calling them “the smallest man who ever lived.” 

Track 20, “Chloe or Sam or Sophia or Marcus,” is a slow ballad about watching an ex-partner find someone new. Swift’s soft vocals express heart-breaking imagery from the opening line of the song, “Your hologram stumbled into my apartment /hands in the hair of somebody in darkness / named Chloe or Sam or Sophia or Marcus.”

The last track of the original album is “Clara Bow.” Swift sings about the experience of being “The IT Girl.” She references Clara Bow, Stevie Nicks and then herself showing examples of the women that came before her. At the end of the track, she also acknowledges the women in the industry who came after her with the line, “You look like Taylor Swift / In this light / We’re loving it / You’ve got edge she never did / The future’s bright / …Dazzling.” It is a wholesome closing track to an album of some of her most vulnerable thoughts. 

While a lot of fans were happy with both the full album and the single LP, several were disappointed. A lot of fans felt that the songwriting and lyrics were far below the quality of past albums. “Folklore” and “Evermore” are often referred to as the high point of Taylor’s lyrical career, and fans were quick to point out how much more rushed some of the songs felt by comparison. Users on music review sites “Album of the Year” and “Rate Your Music” both gave the album the lowest rating of any of Taylor’s past work. 

The album’s poetry theme and moody dark production set it squarely next to “Midnights” in Taylor’s discography. The references to people and relationships in Taylor’s life intrigued fans and got them invested deeper than ever before in what some are calling “The Taylorverse.” The way Swift openly speaks about her feelings and experiences in a poetic light drew many fans in. While the sparse production and at times childish lyrics might have turned some listeners away, most hardcore fans are happy regardless, with the latest album from the biggest artist in music right now, Taylor Swift.

In “1989 (Taylor’s Version),” Taylor Swift revisits her 2014 synth-pop classic album with a complete re-recording of the original 16 tracks and an additional five bonus tracks “from the vault.” While the original track list is the same, a lot more has changed sonically than past “Taylor’s Versions” such as the re-recording of “Red” and “Fearless.”

The addition of the five bonus tracks brings the album’s total run time to an hour and seventeen minutes. The original release of “1989” clocks in at only 48 minutes and 47 seconds. While the new version of the album is longer, some of its other changes might not be for the better. The mixing is very different from the original across the entire project, which gives a new, crisp feel to these classic tracks. “1989” is generally regarded as Taylor’s first true “pop” album, and for the re-recording, she has clearly leaned into this. For some songs this is an improvement, for others not so much. Loudness and compression have been turned up substantially from the original, often to the album’s detriment. The opener “Welcome to New York” starts the album off with a much more punchy mix. Synths are mixed more into the front, with the bassline also more present. Swift’s vocals have a brighter tone and the well-loved track feels more cohesive than before.

“Blank Space” is one of the most popular tracks off of the original, with it getting substantial radio play over the years since its release. While the same mixing treatment as the others is present, it remains very similar to the original. Mega producer Max Martin was a co-writer on both versions of this track, but he only produced the original. Martin has produced some of the biggest tracks of the last decade, such as The Weeknd’s “Blinding Lights” and some of Taylor’s other hits, such as “I Knew You Were Trouble” off of “Red.” The original recording was punchy and bright, even among the synths of “1989.” Taylor’s Version does not change as much as some of the other tracks, but the absence of Martin on the production still leaves some elements lacking.

Track three, “Style,” is known as one of Swift’s most iconic pop songs (sitting at number three on Spotify), which is why fans were not happy with the result of its re-recording. The signature guitar riff intro sounds off from the moment that track starts. The guitar has been mixed to the back in place of the more booming bass line, continuing this theme of a more dance song style on the album. The song’s bridge also suffers from this with the more subtle elements of the track ending up buried in the mix. Users on TikTok compared the two versions of “Style,” likening the old version to a pleasant sunrise and the new one to an alarm clock.

“Bad Blood” is another one of the most played tracks off of the original, and has often been criticized for some of the more childish aspects of its taunting lyrics. Taylor’s Version is mostly the same as the original version, but with more synths mixed over the vocals, and a more confident sounding Swift on the mic. On the deluxe version of “1989 (Taylor’s Version),” another version of the track is present, featuring Pulitzer Prize-winning and seventeen time Grammy-winning rapper Kendrick Lamar. It features Lamar rapping over a booming bass line mixed into the chorus of “Bad Blood.” A previous version of this track was released in 2015 as a single, using the original version of “Bad Blood” as the template.

Track 12, “I Know Places,” showcases Swift’s matured vocals when she sings “and we run” at 1:40 before launching into the chorus. The rasp in her voice adds an extra layer of passion to the song, while the healthy belt allows listeners to hear how strong her vocals have become since the album’s initial release. This small addition makes the already amazing track even better.

When Swift announced the tracklist for “1989 (Taylor’s Version)” back on Sept. 20, fans thought that vault track 17, “Slut!,” would be an upbeat and potentially sassy song. This is not the case. “Slut!” is a beautiful ballad where Swift explains that while the media is always shaming her for her dating life, being called a slut may be worth it for the person she is singing about.

Track 19, “Now That We Don’t Talk,” is also from the vault. Sonically, it has characteristics of Swift’s 2023 album “Midnights,” as both the vault tracks and “Midnights” were produced by the infamous Jack Antonoff. In this song, Swift expresses how much her life has improved now that she no longer talks to a love interest who treated her badly. Bridge’s lyrics, “I don’t have to pretend I like acid rock / Or that I like to be on a mega-yacht / With important men who think important thoughts” have an unapologetic air to them, and show that Swift is no longer catering her existence for the convenience of someone else. 

While Taylor’s Version of “1989” might have been more of a sonic departure from the original than some fans were expecting, it still has all the same elements of the original that shot the album and Taylor, to mainstream success. To most fans, “1989 (Taylor’s Version)” will be able to serve both as a replacement and a more modern spin on the original.

With two re-recordings left, fans on TikTok are theorizing that Swift will conclude the project with a double release: “Taylor Swift (Taylor’s Version)” and “Reputation (Taylor’s Version),” signifying that she is taking back her name and her reputation.

Biking has been proven to help physical and mental health, and is a climate-friendly alternative to cars, but one constant problem is bike thefts. While all bike locks are a deterrent, there are some ways to help keep a bike on campus safe. 

Locking up a bike starts with what it is locked to. Many bike racks are scattered around Drexel and the University of Pennsylvania’s campus, but not all bike racks provide the same level of protection. The first test of a bike rack is to give it a firm shake: even the biggest bike lock can be defeated by a bad bike rack. The second thing to check is how the bike rack itself is secured to the ground. Some are bolted in, others are cast into the concrete, and some are chained to nearby buildings. Bike racks held in with bolts can be unscrewed and removed and chains can be cut. Look for bike racks that are firm and cast directly into the ground or sidewalk. 

When a proper bike rack is not available, look for small poles with metal piping built onto them on the edge of the sidewalk. Throughout Philadelphia, these types of poles are a good spot to lock a bike, as they offer a strong and sturdy loop to hook the lock through. Their sole purpose is for bikes, so there is no need to worry “is it ok to put a bike here?” 

Since these poles are not extremely common in Center City and can commonly be in use by another bike, a sturdy street sign post will do as well. This is a commonly accepted practice; just make sure that there is a sign at the top and a rounded bolt at the bottom, or people could hoist the bike up and over the top or pull the sign out of the ground. 

Try not to lock your bike to a fence, whether it is someone’s handrail up their steps or in a park. These types of locations could make someone upset since fences are usually part of someone’s property, and the bike will likely look very out of place. 

It is important to think about which parts of the bike are being locked to the rack, as most bikes have a few disassembly points. The two main points of disassembly are the wheels, which can commonly be removed from the bike frame without any tools, and the seat. Make sure to weave the lock through the wheels and the frame so that a thief cannot steal your wheel, or even worse, your entire frame. The front wheel is easier to remove on most bikes, since the back wheel is involved with the chain and the gear sprockets. If two locks are available, try and secure both wheels to the frame, even if one is not hooked to the actual pole. Some U-locks come with a cable for securing the front wheel. 

A bike seat is another item that can commonly be removed without a tool, as a lot of bikes use a quick-release clamp to hold the seat in place. In a high-traffic area of the city, it is likely that a seat will not be taken. However it is worth considering removing the seat when leaving a bike alone for a long time. Of course, other items such as baskets, lights, helmets and water bottles are all subject to theft if left unattended and loosely connected to a bike.

The best type of lock to use according to Drexel Public Safety is a metal U-Lock, which commonly requires a key. These are thick, sturdy and nearly impossible to cut through with bolt cutters, the most common form of attack. However, they can be a pain to link through some docking locations, and might require some maneuvering to link through the wheel, frame and pole at the same time. 

Wire locks are easier to work with, but are far easier for thieves to cut through since they are bendy and thin compared to U-Locks. Most cable locks can be cut completely quietly in under two seconds with the correct tools. These usually require a code instead of a key.

There is never any guarantee that your bike is completely safe in the city. Any lock is an investment in deterrence, but in the age of cordless angle grinders, any lock can be defeated. However, following this advice on where and how to lock a bike is a great start.  

In an empty Sephora at Hudson Yards mall in New York City, The 502’s — known as The Happiest Band on Earth — prepped for the Hudson Yards summer series concert. The six members exuded an air of familiarity as they goofed off and laughed together, including Joe Capati (saxophone, trumpet, harmony vocals), Sean Froehlich (drums, percussion), Ed Isola (lead vocals, banjo, acoustic guitar), Nicholas Melashenko (bass, harmony vocals), Gracie Phillips (guitar) and Matthew Tonner (keys, electric guitar, harmony vocals).

Recalling how their band started, Isola joked that they met on Hinge. In reality, their music progressed from grade school until college, ultimately leading the band together in their home state, Orlando, Florida. Through DMs and “Irish Pub meetups… that’s kind of how we started” he said.

Isola started in banking, but a new path opened after some videos went viral. Melashenko and Capati’s classical training plus Tonner’s musical background created the band’s foundation. Melashenko’s aspirations started at age 14 while Froehlich played in his high school band: “I always wanted it to be a career, but it was kind of hard until we had an opportunity and things have been moving forward, so it just kind of worked out.”

Phillips’ musical passion has persisted her entire life through growing up in a musical family. Her professional pursuit began in late high school. Tonner and Capati became friends in grade school, while Froehlich and Melashenko crossed paths in college. Melashenko and Tonner’s mutual passion for jazz at Rawlin’s College in Florida kickstarted their decade-long partnership.

Capati remembers Melashenko joining The 502’s as their bass player and completing the band. Froehlich then compared Orlando’s lively music scene with New York City’s creative atmosphere, where artists collaborate to create impactful music.

The 502’s consider how their experiences’ influence their uplifting music. Isola attributes their sound to their positive personalities. However, their early albums also reflect individual hardships, “that’s not what we want to be doing with our life. We want to be feeling good.”

Tonner expresses that “It’s a lot easier to play happy music consistently.” He joined The 502’s because their music makes them feel good, even if they initially felt down. The band members’ natural compatibility creates an enjoyable atmosphere. Tonner emphasizes “It’s hard to fake happiness,” showcasing their music’s authenticity.

As the conversation shifts to dream collaborators, Isola admires Shakira and Mumford and Sons while Froehlich’s dream is to work with Dave Grohl due to his character and influential presence in the music scene. Capati envisions adding a sax solo to a camp track, even if it’s brief. Tonner envisions collaborating with Post Malone, while Melashenko thinks of Jon Bellion, along with intriguing choices, Rick Rubin and Phil Collins. Phillips envisions partnering with The Punch Brothers, Nickel Creek, or music similar to Chris Thile’s and exploring bluegrass alternative styles.

Afterward, Phillips shared advice for young people and aspiring creatives: “Don’t ever put an age limit on yourself.” She emphasized how musicians often quit before reaching potential. The band’s decade-plus-long experience exemplifies this: they understand that mastering skills, building confidence and finding artistic sound all require time. “If it’s something that you’re really passionate about, don’t give up on yourself.”

Melashenko stresses cherishing alumni networks, passionate peers and a supportive environment; “they’ll guide you into adulthood after college.” Melashekno points to Tonner: ” I kept a relationship with Matt after college, and if he wasn’t there, I wouldn’t be here” Mentors and professors can provide unplanned opportunities, such as job offers and valuable networks, “Stay in touch with those who matter to you and pursue what you’re passionate about.”

Froehlich acknowledges the importance of building and breaking habits. He urges people to adopt meaningful habits that yield positive results and warns against harmful ones. Though overcoming bad habits may be challenging, it’s worthwhile. The band also emphasizes positive reinforcement. 

The band shared meaningful thoughts on their music’s impact. Isola hopes to help their listeners not “feel alone.” He acknowledges that while most people may not be as happy as the band, alleviating loneliness can help improve people’s lives.

Froehlich adds “There’s always something to look forward to no matter what’s going on…. regardless if it’s tomorrow, next week, or next year” while their music embodies this message of hope. Phillips admits The 502’s music acts as a superpower that grants “permission to be happy.” Their music provides a temporary escape from life’s worries and reminds listeners of life’s positives.

The band explained the origin of their slogan “the happiest band on Earth.” Isola mentioned that someone had tagged them in it and the band decided to embrace it. Capati emphasized their dedication to fans, valuing their social media feedback and reciprocating their fans’ support. He then advised to “show up for the people that show up for you.” Later, during the concert, the band clarified the slogan’s origin, linking it to the ongoing conversation.

When asked about their vision for the next decade, Capati responded, “Probably doing the same thing. I would be playing and enjoying the show with the boys and Gracie on stage. It’s special, it’s fun, and you can’t take that away.” Froehlich chimed in with “Madison Square Garden” and eventually, the band established their dream as “Filthy rich on an island but still having fun playing together.”

As the interview concluded, Tonner expressed the band’s love for Philadelphia and the Northeast, mentioning how their first tour outside of Florida led them to New York City, “For whatever reason, this region has always been really good to us.” The band cherishes their unforgettable show at Philadelphia’s Theater of Living Arts, their second biggest in America and the night Phillips joined the band. 

Something in the last year has made me fall out of love with my digital camera. Not my camera specifically—my trusty GH4 has done nothing but serve me well these last few years—rather, the digital medium itself. I started taking pictures as a little kid; I was probably around three years old when my parents got me a small silver plastic film camera. I have no idea who made it, but it was basically just a disposable camera that you could reload, right down to the thumb wheel film advance that was so hard for my small kid hands to work. I remember I got my first digital camera when I was 10, a Kodak EasyShare C112 that I still have to this day. I loved that camera, and for the time it took great pictures. I never looked back on film until about two years ago when I fixed my Polaroid 600 instant camera. There is something about having to count my photos left and think about if what I am taking a picture of is appealing. With digital, I can hold my finger on the shutter and just blaze away. Add onto the fact that on my computer in Lightroom, I can fix almost anything short of focus. Photography started to feel less and less deliberate to me.

 Enter my parents’ attic: they keep almost everything, and while I was home from college for the summer, I happened to find my parents’ old film SLRs, a Pentax K1000 and an Olympus OM-1. Two classic film bodies, well made, and with 50mm prime lenses mounted. While I still might go back and shoot some rolls through the K1000, the OM-1 is what ended up making the journey with my back to school, as well as a big assortment of Goodwill find point-and-shoot film cameras. So far, I have mainly used the OM-1 and a Minolta Maxxium 7000, one of the most 80s-looking cameras of all time, and the first fully automatic auto-focus SLR. It was an eye-opening experience. I’m not ignorant of how expensive film is but learning to work with the cost of Kodak Gold 200 over my head has forced me to think about my photos again, in a way that I have not since I was first learning the basics of a DSLR.

There are issues with shooting film, for one: maintaining these aging cameras is a problem that will only continue to get worse. Another is that people like me who are running back to Kodak and Ilford are shooting used film camera prices through the roof; not everyone has parents with a packed attic. Another problem is finding a lab that you trust to develop your work promptly. I am lucky to have plenty of options, mainly because I live in the sixth largest city in the US, and with so many colleges in the area, the supply of hipster film nerd types is limitless. I cannot say the same for some of the more rural areas of the country. Even my hometown in Rhode Island has no film labs within a short driving distance. This means that rolls will have to be mailed out for development, adding to the turnaround time. I can get my film scanned and developed in 24 hours, and with some clever subway timing, I can even grab the negatives in that time frame. As some of my work is time sensitive, I can understand why digital is the only option for so many.

Whether you are deciding to shoot film for some of the reasons I did, or just for that sweet retro look, I think there is a lot of merit to going back to analog. A few weeks ago, on a dare from a friend, I decided to waste four dollars and pick up a singular share of Eastman Kodak stock. Do I think I will make money? No, I expect to lose every cent, but I hope that I am proven wrong. I want people in the future to be able to experience the struggle of using a film advance as a small kid. I want the generation after me to feel what it is like to take a picture, the sound of the film advance ratchet, the old cloth shutter, all things that are tactile and real. Digital will always be more reliable and convenient for most, but the fact that analog is anything but is the very reason I just cannot stop swiping my poor credit card for more Kodak Gold.