Category: Arts & Culture

  • More Americans are picking communal living over nuclear families. Including this Penn Valley author.

    More Americans are picking communal living over nuclear families. Including this Penn Valley author.

    “Quit your job. Sell your stuff. Come home.”

    That’s what Samantha Paige Rosen’s father told her when she was 29.

    Rosen was living alone in Bethesda, Md., and struggling with what she called unrealistic deadlines at her copywriting job.

    She liked being in the D.C. area and was reluctant to move back to her parents’ house in Bala Cynwyd. Plus, this wasn’t what adults were supposed to do, she thought. Ultimately, she decided to listen to her dad.

    “My job was making me sick,” she said, referring to her deteriorating mental health.

    The morning after she moved back into her childhood room, she already felt a difference. “The depression lifted. A lightness. A steady, quiet heartbeat,” she wrote in a 2022 essay, “Unlearning the Shame of Living with My Parents as an Adult,” for the literary publication Catapult.

    That decision shaped the trajectory of her life.

    Samantha Paige Rosen, author of the anthology “Living, Together,” prepares to take her cat to her parents’ home for a visit last month. She lives in Penn Valley, a short walk from her parents’ home.Jessica Griffin / Staff Photographer

    Thanks to the care provided by her parents, she was able to get well and build a tutoring business. And her experience inspired her to pitch, sell, and edit an anthology called Living, Together: Reimagining Community in the Age of Disconnection, out last month from Beacon Press and now an indie press bestseller.

    The anthology, a mix of personal essays and conversations featuring 22 writers who live in the U.S., offers a window into the experience of living outside of a nuclear family arrangement. For some, that means living in a multigenerational household, a cohousing community, or three polyamorous parents and children. The book also goes beyond just housing, to focus on building community and chosen family.

    Copies of the anthology “Living, Together” by writer Samantha Paige Rosen.Jessica Griffin / Staff Photographer

    Novelist Sarah Thankam Mathews writes about her experience sustaining Bed Stuy Strong, the mutual aid organization she helped found during the pandemic. Author Rhaina Cohen explores her and her husband’s decision to live with their friends. Novelist Jonathan Escoffery talks about how his sense of community was shaped by his Jamaican immigrant parents and fellow writers of color.

    When she was living with her parents, Rosen, now 36, said she didn’t know anyone who was living in a nontraditional setting and couldn’t find much writing about it. In a lot of ways, the book, she said, “was for me.” She wanted to hear about all the ways people were building homes and community.

    It’s difficult to quantify the trend of alternative living arrangements because it’s such a vast term. But what is clear is that what Americans tend to think is middle-class “normal” — living with a spouse and children — is on the decline.

    In 1970, 67% of Americans ages 25 to 49 were living with their spouse and one or more children under 18. Today, that number is closer to 37%, according to a 2023 Pew Research Center analysis of census data. At the same time, people are increasingly living alone or in multigenerational households.

    Writer Samantha Paige Rosen, author of an anthology called “Living, Together”, in her home, located a short walk from her parents house, July 20, 2026, in Penn Valley, PA.Jessica Griffin / Staff Photographer

    Multigenerational and otherwise non-nuclear family living is common in several global cultures, but Rosen wanted to highlight American writers as a way to combat the thinking that more communal ways of living are suited for other countries but not here.

    Living, Together fits into a growing canon of literature focused on envisioning alternative family and relationship structures. From Cohen’s best-selling 2024 The Other Significant Others: Reimagining Life with Friendship at the Center to Mathews’ 2022 novel All This Could Be Different, from Sophie Lewis’ 2022 Abolish the Family: A Manifesto for Care and Liberation to Lola Milholland’s 2024 memoir Group Living and Other Recipes, there’s a growing tide of voices calling for collectivism over individualism.

    “There’s a real hunger for interdependence and people don’t know how to get it,” Rosen said. She hopes the book will open people’s eyes to what’s possible. And not just what’s great about communal living, but what’s difficult about it, too.

    When Rosen lived with her parents, sometimes she’d visit friends’ places and wonder if she was doing what she should be doing “as an adult woman.” Her mom, Patty Rosen, also remembers fielding some judgment from others about her daughter’s living situation.

    “When’s Sam gonna move out?” they asked.

    But the Rosens said they loved living together, even with things like negotiating sound while Samantha was tutoring and dealing with her cat crying at the front door. Or being parented a little too much.

    Writer Samantha Paige Rosen, author of the anthology “Living, Together,” poses with her parents in their home in July. Rosen lives a short walk from her parents’ home in Penn Valley and visits with them daily.Jessica Griffin / Staff Photographer

    And going on dates? “She didn’t like to be asked about it,” Patty said.

    They’d ask about the date’s name and profession, Rosen explained. “Then,” her father, Stuart Rosen, said, pretending to whisper behind his hand, “I would Google.”

    In 2025, Stuart and Patty downsized and moved into a house in Penn Valley. Rosen moved into the house across the parking lot — a house she could only afford because of the years she lived with her parents.

    The shift in their family’s living situation echoes something Rosen learned while working on the book.

    “Those who’ve taken communal living from an idea to reality have reframed their thinking around it again and again, or gotten rid of the frame entirely,” Rosen wrote in an email. “It can last forever or for a season of life.”

    In this season of life, Rosen brings Fergal, her cat, in a backpack to her parents’ house everyday to play with their cats. Every Tuesday, she and her dad have dinner and watch a movie. Some evenings, her mom comes over after she finishes work to watch a movie in bed.

    Writer Samantha Paige Rosen, author of the anthology “Living, Together,” lives across a parking lot from her parents’ home in Penn Valley.Jessica Griffin / Staff Photographer

    The latest iteration of their living situation — and the potential for all the other ways she might live in the future — calls to mind something Rosen wrote in her essay.

    She said she wasn’t sure what she’d choose if she had complete freedom to live the way she wanted.

    “But I know I’m interested in figuring out how to live beyond the boundaries society has established for me. I didn’t always believe I was capable of that, but I am. We all are.”


    Samantha Paige Rosen will be speaking about her book at the Head & the Hand, 2230 Frankford Ave., Philadelphia, as part of “Hot Debut Summer” on Saturday, Aug. 22, 7 p.m.-9 p.m.

    “Living, Together: Reimagining Community in the Age of Disconnection” is available in digital and physical bookstores.

  • ‘A Nation of Artists’ is the epic story of American art. It has its charms and its slights.

    ‘A Nation of Artists’ is the epic story of American art. It has its charms and its slights.

    To find “A Nation of Artists” at the Philadelphia Museum of Art, you walk from the Great Stair Hall down a long gallery lined with art that’s not part of the show. The path zigs left and tightens into what looks like a service corridor, and then zags right past the bathrooms.

    After this distinctly unceremonious approach, you’ve arrived at one of the museum’s most spectacular events of recent years.

    Not only is “A Nation of Artists” momentous — it is billed as the “most expansive presentation of American art ever mounted in Philadelphia” — but it comes with the added juice of inaugurating the museum’s newly renovated American wing on the second floor after a 14-month closure.

    The occasion brings yet another distinction: amazingly, after three more galleries open in the wing, it will be the first time in a decade that all of the galleries in the main building will have been open at the same time.

    The odd journey to the second-floor American galleries has long been in place, but it seems especially odd now. It would have been nice to reopen this major piece of real estate with more of an architectural drumroll than a drab, winding hallway, especially for an institution that, after the tumultuous year it’s had, could use a thing or two to celebrate.

    “Miners’ Wives” (right) by Ben Shahn and “The End of the War, Starting Home” by Horace Pippin at the Philadelphia Museum of Art.Tom Gralish / Staff Photographer

    It might also be easy to miss the show’s greater significance to the museum and its cohost, the Pennsylvania Academy of the Fine Arts. “A Nation of Artists,” which opened in April with more than 1,000 works at both museums, arrives as a bolt of ambition as the groups work their way through deficits and reorganizations and remind audiences and funders that beyond crisis, there is art, and it is glorious.

    The show is the city’s major visual arts celebration of the nation’s 250th anniversary, and while it’s an impossible task to compress the story of art in America into any single show, the overall image that emerges is not a cohesive snapshot, but a fascinating mirror.

    There’s sometimes a random, almost improvisatory feeling to “A Nation of Artists” — despite the show’s attempt to place works around themes like the American West or inequity — because America is itself ever-random and improvisatory.

    Works in thematically grouped ensembles in ‘A Nation of Artists’ in the newly renovated Furness and Hewitt building at the Pennsylvania Academy of the Fine Arts.Tom Gralish / Staff Photographer

    More than 120 works from the collection of John and Leigh Middleton and their family are augmenting “A Nation of Artists.” But after the show closes and the Middleton works are gone, PAFA will put in place a newly curated permanent collection, and the PMA will be left with a sweeping look at American art that starts on the first floor with earlier works and proceeds to the second to bring it up to the mid-20th century.

    In other words, “A Nation of Artists” absorbs the Middleton works, but also spotlights the incredible riches in residence nearly all the time. That’s no small thing at a time when arts and culture in Philadelphia is struggling for engagement in the attention economy.

    The painting “Christ Rejected” by Benjamin West and marble sculpture “Paradise Lost” by Joseph A. Bailly at the Pennsylvania Academy of the Fine Arts.Tom Gralish / Staff Photographer

    A crisp reset at PAFA

    At PAFA, the outside world seems to creep in in ways both positive and worrisome.

    How can you admire the fruitful pedagogy at PAFA on display by generations of academy students and instructors without feeling concern for the place? The relationship between the museum and school — a specific artistic legacy unique to Philadelphia — is what makes PAFA special, and it remains to be seen whether a recently revamped certificate program at the school is the ultimate answer, artistically or financially.

    The exhibition marks a crisp reset: the reopening of PAFA’s jewel of a building, the riotously detailed 1876 Furness and Hewitt-designed landmark, after a renovation project that included a new HVAC system and other renovations.

    Laylights (variously utilizing natural or artificial light) in the newly renovated Furness and Hewitt building at the Pennsylvania Academy of the Fine Arts.Tom Gralish / Staff Photographer

    It’s good news that there are no dramatic changes; the building continues to dazzle. I visited the show there a half dozen times, and via the church-like rose window and skylights, nature played handmaiden to art. When clouds parted, sun filtered into some of the spaces, and in one gallery the natural light made the whites and colors of George Bellows’ North River pop.

    The marble sculpture “Peri at the Gates of Paradise” by Thomas Crawford in the grand staircase at the Pennsylvania Academy of the Fine Arts.Tom Gralish / Staff Photographer

    On another morning, the sunlight made the grand stair hall of the Furness building practically vibrate. The smooth white of marble sculptures like Thomas Crawford’s Peri at the Gates of Paradise glowed and the stars-on-cobalt pattern beneath the skylight seemed to be showering down.

    Here on this day, there was no more beautiful interior in the city.

    At the Pennsylvania Academy of the Fine Arts. In the rear is the oil painting “Death on the Pale Horse” by Benjamin West.Tom Gralish / Staff Photographer

    A more sequestered PMA

    If PAFA maintains a lively relationship with the outside world, the PMA’s new American wing feels sequestered. There are no visible windows letting in light in the second floor American galleries — no natural light except for a small opening in a staircase.

    The layout and footpath (including that unceremonious approach) is largely the same as it had been before the renovation. But the flow within and from gallery to gallery is more open, and there is now a central spine of four continuous middle galleries that opens up a vista that helps to orient the visitor. Three remaining galleries in the renovated American wing are expected to reopen, though the date is uncertain.

    Three Thomas Eakins oils (from left): “Mending the Net,” “The Pair-Oared Shell,” and “Sailboats Racing on the Delaware.”Tom Gralish / Staff Photographer

    The PMA half of “A Nation of Artists” features a lot of big names (Andrew Wyeth, John Singer Sargent, Georgia O’Keeffe), as well as about three dozen works by Thomas Eakins — intimate portraits as well as epic canvases. There’s a beautiful sequence of three Eakins oils, all painted within a decade of one another, all with rivers in various hues and states of excitement: The Pair-Oared Shell, Sailboats Racing on the Delaware, and the stunning Mending the Net, a seemingly ordinary scene that gathers filmic mystery and story through minutely detailed figures mending a fishing net by the river against a gauzy beyond.

    In terms of visitor experience, the new second floor American space succeeds most in moments of drama. The wall in one gallery uses a specially reproduced rich-burgundy period wallpaper, and the relationships among the paintings, furniture, pottery, and other items in the room ricochet beautifully.

    “The Lost Pleiad” by Randolph Rogers in the Philadelphia Museum of Art’s salon-style gallery.Tom Gralish / Staff Photographer

    A sumptuous feeling immerses visitors in the high-ceilinged salon-style room (gallery 211) that includes vast landscapes and marble sculpture. Though it’s not immediately obvious, the first-floor American works are also part of the show, and they hold yet more Middleton works.

    Classics and surprises, and a lot of charm

    There’s greater poetry in the architecture at PAFA, but the work itself at both museums is undeniably impressive in scope, and especially at the PMA: painting, sculpture, furniture, silver, fabric, works in clay, and more.

    The curators — Kathleen A. Foster and Alexandra A. Kirtley at the PMA, and Leah Triplett and Lea C. Stephenson at PAFA — have delivered not just old favorites, but also surprises.

    “Black Night: Russell’s Corners” by George Copeland Ault at the Pennsylvania Academy of the Fine Arts.Tom Gralish / Staff Photographer

    PAFA’s classics include Winslow Homer’s Fox Hunt; the Jasper Johns Flag 1960-66 from the Middletons (which the couple brought home from an auction in 2010 for $28.6 million); and George Copeland Ault’s Black Night: Russell’s Corners (1943), whose flat, cold, electric light suggesting a modern encroachment on agrarian life, can only be appreciated in person.

    Among the pieces to which I kept returning: Pink Flower with Clock by PAFA 2011 graduate Aubrey Levinthal, because of the smart way it plays with the idea of photographic positive and negative imagery even though it is an oil; and Harriet Goodhue Hosmer’s Puck on a Toadstool, from 1856, whose supernatural energy is so potent that the figure appears poised to shape-shift and break free of its marble confines.

    At the PMA, a single canvas has me reconsidering Edward L. Loper Sr., the Wilmington artist who had his beginnings working for the WPA. Loper’s Abandoned Ferry Terminal is a complex refraction of shadows and colors from 1958 whose geometries never seem to stop shifting.

    A small shadowbox of a man and woman formally costumed from around 1880 might be the most unassuming bit of charm in the entire exhibition. Its maker is unknown.

    Custom wallpaper at the Philadelphia Museum of Art, with “Portrait Figures of a Man and a Woman, in a Shadowbox.”Tom Gralish / Staff Photographer

    Leaning into representation

    If you ever wanted a lesson in the difference how a work is displayed can make, just consider how much more substantial an achievement The Gross Clinic looked a few months ago. With bright but warm lighting at the PMA, Eakins’ 1875 canvas was frightening in its vividness, the red of blood on the surgeons’ hands glistening. Today, at PAFA, it looks a little washed out, overpowered by the light coming through the nearby rose window.

    Both museums have made a conscious effort to represent a spectrum of identity — gender, regional origin, ethnicity, and so on. This is all to the good, of course. Everyone will find something relatable in this exhibition, and many will discover works that aren’t necessarily relatable on first examination but become so. This is why museums, and good curators, are important.

    Detail of “Nydia, the Blind Girl of Pompeii” by Randolph Rogers at the Pennsylvania Academy of the Fine Arts.Tom Gralish / Staff Photographer

    It’s a fascinating marker of time to think about the cultural whiplash of the past couple of years in this country, and how vulnerable the simple concept of representation now feels. The tastes of the art establishment change, and so too does how we perceive art.

    How could it be otherwise? Every movement comes in with an air of moral and scholarly authority that purports to lay down once and for all an accurate cultural perspective.

    The prevailing ethos arrives as the new reality. Then the next reality comes along.

    “A Nation of Artists” runs through July 5, 2027, at the PMA, 2600 Ben Franklin Parkway; and Sept. 5, 2027, at PAFA, Broad and Cherry Streets. philamuseum.org, pafa.org.

  • At 125, Philadelphia’s official tall ship isn’t done riding the waves

    At 125, Philadelphia’s official tall ship isn’t done riding the waves

    125-year-old Gazela weighs 299 gross tons and is 177 feet tall. The ship has traveled across the Atlantic, appeared in the 1994 movie Interview with the Vampire, and was once, according to one of the ship’s longtime volunteer custodians, blessed by a group of nuns.

    It is also the official tall ship of Philadelphia, a role that requires it to take on some very serious duties. That included setting sail to Virginia’s Norfolk area, making stops at East Coast ports along the way, to represent the city at Sail250 Virginia, a celebration of the country’s 250th birthday, where the ship was one of the 60-plus visiting vessels from about 20 countries.

    Second mate Chris Peterson and crewmember Gary Dos Santos helm Gazela.Gael Chang Ortiz

    125 years of sailing

    Hailing from Portugal, the Gazela was first a cod fishing vessel from 1901 — when the ship was built — to 1969. During those years, the ship traveled thousands of miles, fishing off the coast of Newfoundland, and getting packed with salt and cod to bring back to Europe.

    In 1969, after a disastrous trip of horrible weather, broken gear, and a dismally low amount of fish caught, Gazela was finally laid up, putting the ship out of service. In 1971, Philadelphia philanthropist William Wikoff Smith brought the ship to the Philadelphia Maritime Museum. Just one year after arriving in America, Gazela was almost destroyed in an arsonist’s fire.

    As part of the Bicentennial celebration in 1976, Gazela participated in a race to Bermuda, where, during the last five minutes, the ship was wedged between two other vessels and nearly crushed.

    Gazela prepares to set sail from Philadelphia on June 8.Allison Grosso

    When the ship is not at sea, Gazela remains docked at Penn’s Landing, under the care of the Philadelphia Ship Preservation Guild, providing an education to tall ship enthusiasts. Groups tour the decks; volunteers learn about carpentry, knots, and ship maintenance. The ship provides a venue for the guild’s apprenticeship program and a slew of classes aiming to educate folks on building a maritime career.

    All that grit has made Gazela a true Philadelphian: scrappy and enduring, no matter what punches life lands. A proud immigrant, the ship is a symbol of both global maritime history and Philly’s specific historical importance as a shipyard.

    Crowds gather to board the Portuguese naval vessel Sagres in Norfolk, Va.Alisa McDonald

    ‘We’re from Philly, what of it?’

    On June 18, David Goldman, the captain for Gazela’s trip to Portsmouth, one of the ports on their trip, stood with a slew of tall ships behind him. The ships were anchored outside of Norfolk, resting before a parade that would take them to dock alongside the city’s shore.

    “This scene could be out of the page of a book from 150 years ago. Please treat it with the reverence it deserves,” he said to the crewmembers. The Gazela stood out a little in the crowd: older than most of the other ships and a bit worn down from its century-plus of sailing. Slightly ragtag, slightly punchy.

    One crewmember referred to the ship as an “ugly duckling,” of course, with love.

    “We’re from Philly, what of it?” is the attitude that Gina Pickton, PSPG’s executive director, thinks Gazela has.

    A Coast Guard ship at port in Norfolk, Va.Isaac Pollock

    “This has not been easy, this is not a vacation,” said Allison Grosso, who manages events and communications for the guild. “Everybody on this boat feels the same way, and cares that much that we’re doing all this, because it’s that special to us.”

    Underway, the crew of 40 volunteers rotated through approximately five-hour shifts. Within each watch, a crewmember stood on lookout, checked the ship’s safety (including the ship engine — one was added in 1938 and updated in the late 20th century), helmed it, and kept it to the correct angle measured on a beautiful brassy compass.

    Bunks were stacked in threes in the focsle, with about a foot and a half of space in between, and hung in twos in the hold.

    Many of the volunteers have “land jobs” — one works at an environmental nonprofit, another attended art school, and another was in the Air Force. Some are hobbyist retirees; others, adults at the beginning or middle of a maritime career; one, a high school graduate spending as much time with the ship as he can before heading off to Temple in the fall.

    They form a tight-knit community.

    Maryland’s Woodrow Wilson Memorial Bridge opens for Gazela’s passageStephan Botes

    “You can just step on[board], and people will be so friendly to you,” said Gael Chang Ortiz, 18. “They’re willing to teach you so much.”

    At 125, the tall ship remains an object of endless affection. While the ship was anchored outside of Portsmouth, a rowboat carrying four young men approached the ship’s flank and tossed a friendly offering of Goldfish crackers onto the ship’s deck.

    “Gazela’s still a fishing vessel!” shouted a crewmember, holding the bounty high.

    The Gazela just outside of PhiladelphiaAlex McNeil

    Documenting history

    Beyond preserving the community, the guild is working on preserving Gazela’s history — and not just by repainting the ship’s hull. Nancy Linden, the journey’s third mate, is working on an oral history project about Gazela. Chang Ortiz said he’s considering participating in Gazela’s apprenticeship program; there are PSPG members who started as volunteers and have wound up seeking full-time maritime careers.

    Gazela’s crew also thinks it’s important not only to preserve history, but to tell it truthfully.

    “Historically, sailing was an interesting pathway for both enslaved Americans as well as free African Americans to make a living,” said Maura Hackett, the chief mate for this journey and a seafarer for about two decades. “It’s really unfortunate that the first thing a lot of people think about [ships] is old white guys.”

    Gazela sits at port in Portsmouth, Va.Isaac Pollock

    “It’s hard to see yourself doing something if you’re not mirrored in the crew or the representation,” Hackett said. “I’ve had little kids come up to me and say, ‘I can be a captain too?’ And [I’ve said,] ‘Yeah, you can!’”

    After 29 days spent as much as 300 miles from home, Gazela returned to Philly.

    And as fireworks lit up the sky on July 4, the Portuguese Gazela, half as old as the ship’s adopted country, was just another Philadelphian basking under the night sky of the city it calls home.

  • ‘The Mondrian House,’ Jon Batiste, and a Disney throwback for millennials are some of the best art you can enjoy this week

    ‘The Mondrian House,’ Jon Batiste, and a Disney throwback for millennials are some of the best art you can enjoy this week

    Lady Alma’s newest Philly anthem

    The career of Philly house music singer Alma Hornton — who performs as Lady Alma — stretches back to the 1990s, when she was a featured vocalist at the now “Back 2 Basics” nights at Silk City Lounge and gave voice to projects like King Britt’s soulful “Sylk 130″ and British electronic duo 4Hero.

    Hornton had put music aside in the 2010s until a video of a fan dancing to her song “Let It Fall” went viral on Facebook, reviving a career that has gained momentum since, including her 2023 duet with the Eagles’ Jordan Mailata on “Merry Christmas, Baby.”

    Lady Alma’s “Liberty” is part of the “Philly Anthems” project by WXPN-FM (88.5) with Pew Center support.Paige Walter

    Now, she is a natural fit for the ongoing “Philly Anthems” project, an initiative of WXPN-FM (88.5) with support from the Pew Center for Arts & Heritage. Her song “Liberty” is the fourth to be heard from the project, which also includes “Better Times” by Eric Bazilian, “America the Beautiful” by the War on Drugs’ multi-instrumentalist Eliza Hardy Jones, and “Freedom” by XPN 24 Hour Song Challenge winners the Flying Vees.

    The “Philly Anthems” concept is to give Philadelphia artists “the opportunity to reflect on themes in the Declaration of Independence that resonate today through original music,” according to XPN station manager Roger LaMay.

    Hornton does just that in a pulsating dance track that’s a collaboration with esteemed old-school hip-hop producer Marley Marl and 88 Fingerz. “Need some answers for the madness” she sings over a house music groove that aims to find catharsis on the dance floor, “Seeing hope through the sadness.”

    In a statement, Hornton describes “Liberty” as “a song that offers an honest perspective on what the world needs right now. The song carries a sense of joy. Embrace the message and find light in the darkness. Celebrate unity, love and the belief that one day we will truly have liberty and justice for all.”

    The coming weeks will bring new “Philly Anthems” by Christian McBride and Devon Gilfillian, plus up-and-coming acts Grace Gardner, Black Buttafly, the Bul Bey, J.R. Everhart, Sug Daniels, and Moustapha Noumbissi. A 12-song album will be released timed to Record Store Day in April 2027.

    — Dan DeLuca

    An arty house in Queen Village

    A quirky home at 514 Fitzwater St. in Queen Village.Farrah Segal

    There’s a storied house in Queen Village that holds many names: Lego House, Clock-Tower House, Art Deco House, Mondrian (after Dutch painter Piet Mondrian) House. In a city full of architectural gems, it’s one of my favorites.

    The marvelous corner building is dotted with color, featuring a cornice of red, yellow, and blue bricks — evoking Mondrian’s signature style — and a clock on the roof. A small statue of a little girl with yellow hair and a blue skirt is hidden among the lush flowers growing in containers in front of the house. The home dates back more than 100 years and once served as a deli before an architect in the 1980s transformed it into this visual landmark.

    As striking as the home is on the outside, there’s now a rare chance for curious Philadelphians to get a peek inside, where the artistry continues with boldly colored staircases and decor. The house was sold earlier this summer and the doors are now open for an antique sale this weekend where you can explore the legendary home and find possible treasures within.

    The antique sale runs through Aug. 16, 10 a.m. to 7 p.m. 514 Fitzwater St., Phila.

    — Rosa Cartagena

    Jon Batiste performing at the Met Philly, Oct. 30, 2025.Elizabeth Robertson / Staff Photographer

    Jon Batiste’s ‘Black Mozart’ is a balm for the current times

    Alas, we didn’t get Jon Batiste in person this week. The pianist, bandleader, and TV personality no doubt disappointed many when, citing “personal circumstances,” he canceled Friday night’s scheduled appearance at the Highmark Mann Center.

    He “truly can’t wait to come back and perform for you soon,” Batiste assured fans in a message posted on the Highmark Mann website.

    But Friday did bring us Jon Batiste all the same, via the release of Black Mozart. The new recording finds the musician at the keyboard alone in a jazzy, gospel-y, contemplative (though still energetic) mood. Using Mozart tunes as the departure point, he develops the material liberally — harmonically, rhythmically, sliding back and forth across the centuries and genres, and doing so in a natural, fluid way.

    With 10 tracks totaling 35 minutes, Black Mozart’s source material is a Mozart piano sonata, a piano concerto, the Symphony No. 40, and other works. Batiste, who has two degrees from the Juilliard School, is at his best when he gets creative with the 18th-century composer.

    Gospel Andante uses the slow movement of Mozart’s Piano Concerto No. 21 in C Major, K. 467 as a framework. But it’s when the power of gospel asserts itself — where the genre line really blurs — that the music lifts off into another emotional dimension.

    There is nothing revolutionary about Black Mozart. Performers and composers have blended classical with jazz and other genres for decades. Batiste himself covered similar ground with his 2024 release, Beethoven Blues. But if Beethoven was a generally dramatic and soulful impetus, the quieter moments of Mozart transformed by Batiste are the appeal here. These are the easygoing pleasures that might be the counterprogramming you need in the current atmosphere.

    “Black Mozart” is available across all music platforms.

    — Peter Dobrin

    A road trip featuring Goofy and Max

    Odyssey this, Spider-Man: Brand New Day, that.

    What about the cinematic brilliance that is Disney’s 1995 classic, A Goofy Movie?

    The Philadelphia Film Society and Another Corner — a South Street novelty shop devoted to books, photography, coffee, and other specialties — are screening the movie next week for one night only.

    It’s part of the Film Society’s series on road trips and Another Corner’s hobby of the month focusing on “movie loving.” Shop owner Lee Frank will say a few words at the beginning and there will be zines and other film buff collectibles on hand.

    The movie, which is 31 years old (sorry millennials, I know that hurts!), focuses on Goofy and his son, Max, reconnecting as they head to a concert. They’re on their way to see the iconic fictional band, Powerline, featuring a “Michael Jackson-styled canine,” as described in the Miami Herald’s original review.

    The Herald review praised the film, adding that “this fast-paced movie has enough colorful characters and rollicking gags to keep the tykes from getting bored.”

    “A Goofy Movie” plays Aug. 20 at the Philadelphia Film Society Center, 1412 Chestnut St. Tickets are $16 and available on the Film Society’s website.

    — Emily Bloch

  • Thora Jacobson, award-winning former chief executive officer at the Fleisher Art Memorial, has died at 77

    Thora Jacobson, award-winning former chief executive officer at the Fleisher Art Memorial, has died at 77

    Thora Jacobson, 77, of Philadelphia, award-winning former chief executive officer at the Fleisher Art Memorial, former executive director at the Philadelphia Art Alliance, former director of design review for Mural Arts Philadelphia, former chief operating officer for Philagrafika, former chair of the Philadelphia Art Commission, onetime adjunct instructor at Drexel University, independent curator, artist, mentor, Mummers Parade judge, and much more, died suddenly Sunday, Aug. 2, at her home. The exact cause of her death has not been determined.

    Born and reared in Ridley Park, Delaware County, Ms. Jacobson became interested in art education, administration, and conservation at Trinity Washington College in Washington in the 1960s. She settled in South Philadelphia after college in the 1970s and spent the next 50 years organizing, promoting, and inspiring local artists and art organizations.

    “Philadelphia richly deserves to be known as a place that honors its own,” she told The Inquirer in 2006.

    She joined Fleisher in 1972, rose to CEO in 1983, and left in 2006 to work over the next two decades at Philagrafika, Mural Arts Philadelphia, the Philadelphia Art Alliance, and elsewhere. During her 34 years at Fleisher, she developed its Center for Works on Paper, the Community Partnerships in the Arts program, and the Challenge series juried competition.

    She also oversaw three capital campaigns and told The Inquirer that her priority was “seeing connections and possibilities between and among artists, institutions, and their constituencies.” A colleague said on Facebook: “To many of us she was Fleisher.”

    She prepared Philagrafika to host the city’s first international festival of printmaking in 2010, consulted with artists on major projects at Mural Arts, and organized popular national juried exhibitions at the Art Alliance. “Her love and commitment to the arts knew no bounds,” Jane Golden, executive director of Mural Arts Philadelphia, said in a tribute. “Thora’s imprint was profound.”

    John Ittmann, former curator at the Philadelphia Museum of Art, told The Inquirer in 2006: “Thora is a real firecracker. She has a wonderful type of energy that is really infectious.”

    Ms. Jacobson was also chair of the Philadelphia Art Commission for a decade, interim director of operations for the Asian Arts Initiative, vice president of the Philadelphia Volunteer Lawyers for the Arts, trustee of the National Guild of Community Arts Education, member of the American Swedish Historical Museum, and, most recently, a visual arts management consultant.

    Ms. Jacobson and fellow curator Warren Angle admire an exhibition at the Fleisher Art Memorial in 2002. April Saul / Staff Photographer

    “Thora was kind and clear,” colleagues at Social Impact Studios said on Facebook, “but firm as she pushed us to keep tweaking things until they were as strong as they could be.”

    She was an adjunct instructor at Drexel University from 2010 to 2014 and led research projects at Drexel and the University of Pennsylvania on social impacts of art in Philadelphia neighborhoods. Her first job out of college was coordinator of the student center at the Art Museum.

    She curated and juried shows, and wrote forwards and essays for art books and catalogs. She drew in her spare time and judged the Mummers Parade for years.

    She was featured in The Inquirer and Daily News, and appeared in the 1992 TV art documentary Monuments in Love. In 2006, she earned the Visionary Woman Award from Moore College of Art and Design, and was honored for lifetime achievement by Tri-State Artists Equity.

    Ms. Jacobson, standing between Jim Straw, to the left, and Ralph Wellington to her right, earned the Visionary Woman Award from Moore College of Art & Design in 2006.Gary Horn Photography

    “She’s really respected throughout the arts community in Philadelphia,” Happy Fernandez, then president of Moore, said in 2006. Anne d’Harnoncourt, then director of the Art Museum, said Ms. Jacobson’s “impact has been enormous.”

    William Valerio, director and CEO of the Woodmere museum, said: “Thora was a towering figure in the arts of Philadelphia, a builder of institutions whose accomplishments are lasting.”

    Thora Elizabeth Jacobson was born Feb. 19, 1949, in Ridley Park. She was the youngest of three children; her father died when she was 3. She played field hockey in high school, was fascinated by words and language, and graduated from the old Holy Child Academy in Sharon Hill.

    She met her husband, Antonio Sorgini, when he was taking classes at Fleisher, and they married in 1980 and had a son, Antongiulio. Her husband died in May.

    Ms. Jacobson, her husband, Antonio Sorgini, and their son, Antongiulio, lived in South Philadelphia.Courtesy of the family

    Ms. Jacobson was a talented seamstress and baker. She did humorous impersonations, collected art, and enjoyed working with young people.

    Friends noted her “many kindnesses” and “decades-long advocacy for artists and the cultural community” in online tributes. Woodmere’s Valerio said: “She was both a strong voice and a warm friend to many.”

    Her son said: “She had a sharp wit and relished cheerful banter among friends and colleagues. Above all, she took the work of mentorship very seriously.”

    In addition to her son, Ms. Jacobson is survived by a sister and other relatives. A brother died earlier.

    Friends noted Ms. Jacobson’s “many kindnesses” and “decades-long advocacy for artists and the cultural community.”Courtesy of the family

    A celebration of her life is to be held later.

    Donations in her name may be made to the Fleisher Art Memorial, 719 Catharine St., Philadelphia, Pa. 19147; and Mural Arts Philadelphia, 1727-29 Mount Vernon St., Philadelphia, Pa. 19130.

    Ms. Jacobson was a talented seamstress and baker.
    Mark Garvin, / Philadelphia Museum of Art
  • A sculpture by a ‘Monuments Man’ is dedicated at 30th Street Station on this week in Philly history

    A sculpture by a ‘Monuments Man’ is dedicated at 30th Street Station on this week in Philly history

    Not all Philadelphians who answered President Franklin D. Roosevelt’s call to action were soldiers and civilians.

    Even the artists went to war.

    Like renown sculptor — and local legend — Walker Kirtland Hancock, these educated Americans charged into the bomb-pocked battlefields of World War II to also confront unprecedented evil.

    Their task? Saving priceless pieces of art.

    Hancock was part of the “Monuments Men,” an outfit of about 345 men and women who were sent overseas to try to pry Europe’s cultural treasures from the grip of the Gestapo.

    “I was really prepared,” Hancock told the Daily News in 1991. “I knew where I was going and what I was looking for.”

    A group of “Monuments Men” retrieving stolen art in Germany in 1945. National Archives

    Hancock, who would become one of the United States’ most distinguished sculptors, attended the Pennsylvania Academy of the Fine Arts and taught there from 1929 to 1967.

    He enlisted in the Army in his mid-40s and was trained as a medic, but later transferred to the Army’s Monuments, Fine Arts, and Archives outfit.

    The unit’s monumental task: reclaim art the Germans had stolen and then hidden throughout the countryside in caves, on trains, in castles, and in hospitals.

    But it was in a salt mine in Bernterode, Germany where Hancock struck gold.

    Walker K. Hancock, considered the dean of American figurative sculpture, taught at the Pennsylvania Academy of Fine Arts.Inquirer Archives

    The first painting he rescued was a work by Jean-Antoine Watteau, Embarkation for Cythera, what he described as “one of the greatest paintings” the artist ever completed.

    “The surprise was so enormous to see a very famous old friend like that standing on the ground without any frame on it,” he told the Daily News.

    The mine was also filled with other treasures: the great seal of Prussia; an emperor’s scepter; the art collection of Frederick the Great, which was considered to be the best collection of French paintings in the world; and palatial libraries.

    The group’s efforts to reclaim precious pieces of human achievement were documented in a 2009 best-selling book. In 2014, their tale was given the “based on a true story” treatment and made into a star-studded motion picture dubbed The Monuments Men, featuring names like George Clooney, Matt Damon, Bill Murray, and John Goodman.

    Today, Hancock’s public works can be found all over the country, and locally, his most notable work sits at the east end of 30th Street Station.

    The Pennsylvania Railroad War Memorial (1950, installed 1952) by Walker Kirtland Hancock (1901 – 1998) in the lobby of 30th Street Station.Tom Gralish / Staff Photographer

    The 39-foot-tall, 10½-ton Statue to War Dead depicts an angel holding a dying soldier. It commemorates in bronze the 1,307 employees of the Pennsylvania Railroad who died during World War II. Gen. Omar N. Bradley was on hand to help dedicate the artwork on Aug. 10, 1952.

    Hancock died in 1998 at age 97 but his sculpture remains the station’s monumental centerpiece.

  • Philadelphia, home of the first U.S. Mint, is where the country’s first and last pennies were made

    Philadelphia, home of the first U.S. Mint, is where the country’s first and last pennies were made

    On the advice of United States Treasurer Alexander Hamilton, Congress passed a law establishing America’s first federally funded bank on Feb. 8, 1791.

    The bank — located inside Philadelphia’s Carpenters Hall — would serve as the primary fiscal agent for the federal government and one of its many jobs was to issue paper money that was printed by private banknote companies and local print shops.

    Coins, though, weren’t in the mix yet.

    Sean Martorana’s No. 1 reflects themes of craftsmanship, trust and unity of the U.S. Mint.Sean Martorana and the Colibri Workshop

    On April 2, 1792, Congress established the United States Mint in Philadelphia with the adoption of the Coinage Act. The act set the dollar as the standard and set denominations — pennies, dimes, nickels, quarters — and their weights, compositions, and regulations.

    The new law also required a symbol and inscription of the word “liberty” on each of the coins.

    The first U.S. Mint will be celebrated Saturday at the United States Mint in Old City, from 11 a.m. to 1 p.m. as part of the Philadelphia Historic District’s 33rd “Firstival.” Firstivals are weekly day parties held in honor of America’s 250th birthday.

    The first U.S. Mint — fondly remembered as Ye Olde Mint — was located on the east side of Seventh Street, just south of Arch, on land purchased by David Rittenhouse.

    Ye Olde Mint — the original Mint building — pictured in 1911. It was located on Seventh Street, south of Arch, on land purchased by David Rittenhouse, the first director of the U.S. Mint. The Mint was housed there until 1833.The U.S. Mint

    Rittenhouse, the well-heeled great-grandson of America’s first paper mill owner, William Rittenhouse, was an 18th-century astrologer and clockmaker who would serve as the first director of the U.S. Mint. Rittenhouse Square is named after him.

    The first coins made after the Coinage Act were half dimes and fashioned off-site, according to Tim Grant, exhibits and public affairs manager at the U.S. Mint. “Made of silver, these half dimes were supposedly struck using silver donated by Martha Washington,” Grant wrote in an email.

    The first coins fashioned at the actual mint building were 11,178 copper cents, or pennies, and were delivered in March of 1793. (The U.S. Mint stopped making pennies in November, ending its 232-year production run.)

    A worker at the cutting press at the U.S. Mint’s third location, which took up the entire block of Spring Garden Street between 16th and 17th Streets in 1901.U.S. Mint

    During America’s early days in the late 18th century, work conditions at the U.S. Mint were grueling, Grant wrote. Employees worked 11 hours a day, six days a week, and earned $1 a day. It took workers three years to produce the nation’s first 1 million coins.

    “Today we can produce one million coins in less than a half an hour,” Grant wrote.

    As the nation grew, so did its demand for coins.

    By the late 1820s, the U.S. Mint had outgrown its original buildings, and in May of 1828, Congress voted to keep the Mint in Philadelphia and erect a second building. The cornerstone of this new, larger U.S. Mint was laid on July 4, 1829, on the northwest corner of Juniper and Chestnut Streets. It opened in 1833. That building served as the U.S. Mint’s home for 68 years.

    In 1901, the U.S. Mint moved to its third location, taking up the entire block of Spring Garden Street between 16th and 17th Streets. The building, with a lobby containing seven Tiffany mosaics, was its home through the mid-1960s. The Community College of Philadelphia occupies the site today.

    Mike Spinosa, a pit driver at the U.S. Mint, transfers one-cent blanks before they are struck into pennies in Philadelphia in 2007. MUST CREDIT: Demetrius Freeman/The Washington PostStephen Hilger

    The Mint returned to Old City in 1969, moving into its current building on five acres on Fifth Street between Arch and Race Streets. It has over 600,000 square feet of manufacturing space.

    There are three other active U.S. Mints in America: the Denver Mint, the West Point Mint, and the San Francisco Mint. The San Francisco Mint is not open to the public and specializes in commemorative coins.

    “The mission of the United States Mint has remained the same for over two centuries,” Grant wrote. “To serve the American people by safely and efficiently manufacturing, distributing, and circulating precious metal, collectible coins, and national metals.”

    This week’s Firstival is Saturday, Aug. 15, from 11 a.m.-1 p.m. at the United States Mint, 151 N. Independence Mall East.

    Each week, The Inquirer is highlighting a “first” from the Philadelphia Historic District’s 52 Weeks of Firsts. A “52 Weeks of Firsts” podcast, produced by All That’s Good Productions, drops every Tuesday.

  • Top editor at Forbes magazine fired after taking undisclosed $6 million payment

    Top editor at Forbes magazine fired after taking undisclosed $6 million payment

    The chief content officer at Forbes magazine was fired from his top editorial position after the company learned he had received around $6 million as an undisclosed payment from a man that does business with the publication, the New York Times reported Wednesday.

    Randall Lane was fired last month, the Times reported.

    In an unrelated connection to Philadelphia, Lane was the cowriter of a musical, The Sound of America, that debuted this summer at FringeArts.

    The Times, citing unnamed sources, reported that Lane was paid by RJ Shook, the founder of Shook Research, which has partnered with the magazine for about a decade to publish rankings of wealth advisers.

    Shook made the payment after he sold a majority stake in Shook Research to a private equity firm last August, the Times reported.

    To avoid the appearance of a conflict of interest, newsrooms often prohibit payments from sources or other people who have a financial incentive to curry favor with a journalist.

    The Times said it was unclear why Shook paid Lane, though at least one unnamed source said Lane considered the money as a gift for advice he had provided to Shook over the years.

    The 58-year-old Lane, in a statement to the Times, said: “I made a mistake, and I take responsibility for it.”

    He added: “I should have disclosed the gift, and failing to was a serious error in judgment. I deeply regret that and I lost the job and team I love because of it. None of this changes how I feel about Forbes and the amazing people there.”

    A Forbes spokesperson confirmed to the Times that Lane was no longer with the magazine, but declined to talk about the payment. The Times reported that Shook did not respond to requests for comment.

    The Sound of America, the musical that Lane co-wrote, was promoted on the Forbes website and the magazine’s YouTube channel.

    The musical imagines Franklin as a young rock star who finds fame after discovering electric rock and roll from the power of a lightning strike.

    The musical ended its run at FringeArts on Aug. 1.

  • Jon Batiste cancels Friday concert at Highmark Mann Center

    Jon Batiste cancels Friday concert at Highmark Mann Center

    Jon Batiste’s show at the Highmark Mann this Friday has been canceled, the popular singer, songwriter, TV personality, and bandleader wrote in a note posted on the arts center’s website Tuesday.

    As he navigates “some personal circumstances,” Batiste said he needed to cancel some upcoming concert dates, including the one at the Highmark Mann.

    He is “finding new ways and opportunities to share live music with you,” and “truly can’t wait to come back and perform for you soon,” he wrote in the message.

    Batiste — Louisiana-born and -raised, Juilliard-trained — has forged a multifaceted career, often blending classical and jazz. He has been nominated for 25 Grammy Awards, winning eight, and was bandleader and musical director of the Late Show with Stephen Colbert from 2015 to 2022.

    Last summer, he performed with the Philadelphia Orchestra at its summer home in Saratoga Springs, N.Y. His new release, Black Mozart, is due out Friday.

    Batiste is beloved for the sense of joy he brings to music-making and for being an “incandescent spirit,” as Inquirer music critic Dan DeLuca has written. At his show at the Met Philly in October, DeLuca wrote, Batiste ended by “tooting on his melodica, leading a Crescent City-style parade through the lobby onto Poplar Street, making it a mission to weave the multifarious strains of American music into one exuberant tapestry.”

    Refunds for the Aug. 14 show are available at point of purchase. For tickets purchased via Ticketmaster, no action is required and refunds will be processed within 14-21 days, according to the cancellation notice. For more information visit highmarkmann.org.

  • Mural Arts Philadelphia names new executive director

    Mural Arts Philadelphia names new executive director

    For the first time since 1996, a new leader will be taking the helm of Mural Arts Philadelphia.

    Emily Mello, a longtime arts educator and curator, will assume the role of the arts organization’s executive director on Sept. 1.

    She succeeds Mural Arts founder Jane Golden, who has been a part of the organization since its inception in 1984, when it was known as the Philadelphia Anti-Graffiti Network. Golden announced her decision to step down as executive director in August 2025.

    Mello’s appointment follows a national search led by the board of directors of Philadelphia Mural Arts Advocates, the nonprofit organization that raises funds for and supports Mural Arts Philadelphia.

    Arts educator and curator Emily Mello, who has led arts institutions in New York, Chicago, and Miami, is Mural Arts’ new executive director.Courtesy of Ray Bailey

    Board chair Hope Comisky said Mural Arts is “thrilled” to land Mello, adding that she boasts the blend of arts education, civic participation, and collaboration integral to the organization’s future.

    “She’s worked with diverse groups and cultures. She’s had meaningful partnerships and understands the importance of artists and communities in the work that she does, and she has a collaborative work ethic,” Comisky said.

    Mello brings more than two decades of arts leadership, with extensive experience in strategic planning, fundraising, community partnerships, and restorative justice. Most recently, she served as the Museum of Contemporary Art Chicago’s senior director of education, learning, and public programs.

    In Philly, Mello said, she has found a city with a “strong arts community” and a level of civic pride she has not encountered in other places.

    “I have worked in a lot of cities, and not every city has that amount of pride, and that’s a great place to be working from,” she said. “It tells me that people are really invested in what public space looks like, how it’s used, who has a stake in it, and who it’s reflecting. Those are all things that you see immediately upon entering Philly, and Mural Arts is such a huge part of that.”

    Mural Arts is a nonprofit arts organization that transforms public spaces through community partnerships and artist collaborations. The organization has produced more than 4,300 public artworks across Philadelphia since its founding in 1984.

    It was established as the Philadelphia Anti-Graffiti Network by Mayor Wilson Goode’s administration. At the time, Tim Spencer was the group’s executive director, and Golden was brought on to develop the program’s art component — addressing the city’s graffiti problem by working directly with young people drawn to it as a form of self-expression.

    In 1996, with the support of then-Mayor Ed Rendell, the Anti-Graffiti Network became the Mural Arts Program, and Golden took on the role of executive director.

    “I have loved every part of running Mural Arts, and there is a part of me that feels sad. And a part of me that feels excited for Mural Arts and its future,” Golden said. “I think [Mello] was a really strong candidate, and I have the confidence she will be able to lead Mural Arts in the years to come.”

    Arts educator and curator Emily Mello, who has led arts institutions in New York, Chicago, and Miami, is Mural Arts’ new executive director.Courtesy of Anjali Pinto

    Before proposing any new programs, Mello said, she plans to continue building on Mural Arts’ existing education and restorative justice programs, and other core initiatives focused on “using art as a tool for healing.”

    “Those are things that have really resonated for me in the arts, and I recognize it in Philly,” she said. In this city, she says, there are “people who see art as an essential infrastructure for a city.”

    The immediate task at hand, Mello said, is to connect people from different neighborhoods and sectors to ensure that art — and the stories they tell — remains a central part of life in Philadelphia. “I think that has been established in Philly, but it’s something that we can’t take for granted,” she said.

    Mello, 47, was born and raised in Providence, R.I., and earned an undergraduate degree in art history from Mount Holyoke College. She has a graduate degree from the Harvard Graduate School of Education and a certificate from the Aspen Institute Seminar for Artist-Endowed Foundation Leaders.

    She has also been the senior associate director of education at the New Museum of Contemporary Art in New York and deputy director for education and public programs at Pérez Art Museum Miami. Mello also worked with artist Simone Leigh as her director of foundations planning and special projects.

    The mural “In Pride, In Power, In Memory” is located outside of Voyeur Nightclub in Philadelphia’s Gayborhood.Morgan Ritter

    On Monday, Mello visited the 1,200-square-foot In Pride, In Power, In Memory mural that was unveiled on the exterior of Voyeur Nightclub at 1221 St. James St. on June 26.

    The mural, created by artist Santiago Galeas, was a work in progress through Mello’s interview process and has taken on a special meaning for her.

    “I love that it memorializes figures that are important to Philadelphia’s history, but also history more broadly,” she said. “To see it at that scale, and transforming the cityscape, is a powerful tool to teach people about those who came before them and fought for them.”

    Golden will serve in an advisory role through the end of the year to assist with the transition.

    Jane Golden, Mural Arts Philadelphia founder and executive director, speaks at the Bells Across PA event in celebration of America’s 250th Birthday in Philadelphia, Pa., on Friday, Jan. 16, 2026.Tyger Williams / Staff Photographer

    “We obviously want to honor [Golden’s] legacy because she transformed Philadelphia, and she certainly inspired cities nationally, if not internationally,” said board chair Comisky.

    “But we also want to look toward the future, and we think with the background [Mello] has, we’re going to be able to do just that.”