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In light of the cinematic success of Luca Guadagnino’s “Challengers,” Emily Quintanilla revisits the Perlman family in Northern Italy.
In light of the cinematic success of Luca Guadagnino’s “Challengers,” Emily Quintanilla revisits the Perlman family in Northern Italy.
Angel #270, Annika Gavlak, attends the “Brat” promo at Brain Dead Studios to find out how Charli XCX is feeling now.
Ellie Eberlee reflects on a momentous loss for the international literary community, and for the world at large.
Paul Thompson scratches the surface of Eve Babitz’s Los Angeles on the occasion of her birthday.
Mother’s Day inspires Emily Quintanilla to revisit Azarin Sadegh’s review of “What My Mother and I Don’t Talk About: Fifteen Writers Break the...
A. J. Urquidi asks, “Who’s punk? What’s the score?” to a bunch of rad nerds at Cal State Fullerton’s PunkCon 3.
Brandon Sward wades through spectral sports audio in search of that yummy-yum at Paul Pfeiffer’s retrospective at MOCA’s Geffen Contemporary.
Brittany Menjivar forgoes turkey legs and opts instead for a taste of pulled pork and momento mori at the Renaissance Faire.
Copydesk chief A. J. Urquidi ponders urban doom loops, world peace, and sacred riffage at the Helmet and Cro-Mags show in Los Angeles.
Emily VanKoughnett cuts through the exquisite bullshit and watches Mannequin Pussy create a kind of heaven at the Fonda Theatre.
Emily Ann Zisko discovers a cure-all for commercialism, consumerism and c-loneliness at the Burbank IKEA residency exhibition.
Kate Sadoff, surrounded by fruiting L.A. bodies, ponders the fungus among us at Jennifer Croft’s “Extinction of Irena Rey” reading in Brentwood.
The recent outpouring of literary works from Latin America leads Emily Quintanilla to unearth Dick Cluster’s profile of Texas’s own FlowerSong Press...
Your climbing guide Kate Sadoff offers you a “peak” at the release reading of Will Cockrell’s “Everest, Inc.: The Renegades and Rogues Who Built an...
Maya Chen attends “Funny Girl” to find the music that makes her dance, even with a sprained ankle.
Office-core hyperobjects give Chase Bucklew the technocreeps at Katherine Behar’s UC Irvine solo exhibition.