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Abortion Rights 2022Allegations against UCLA Health gynecologists
Arts Columns


Sept. 23, 2022 6:25 p.m.
Album review: 5 Seconds of Summer explores themes of growth in new album ‘5SOS5’

Four red and blue exuberant figures make up the cover for 5 Seconds of Summer’s fifth studio album. The pop-rock group released “5SOS5” Friday. (Courtesy of BMG Rights Management)

5 Seconds of Summer’s latest album is putting listeners through an emotional blender.
Two years since their last album release, 5 Seconds of Summer have returned with their fifth studio album “5SOS5.” Composed of members Luke Hemmings, Calum Hood, Michael Clifford and Ashton Irwin, the Australian pop-rock band celebrated their 10-year anniversary in December 2021.

By Jessica Gonzalez


Sept. 20, 2022 6:26 p.m.
TV review: Second season of HBO’s ‘Industry’ masterfully weaves the personal and professional

This post was updated Sept. 21 at 10:37 a.m.
The work does not end at a 9 to 5 in “Industry.”
Released Monday, the explosive finale of the HBO show’s second season ends an ingenious set of eight episodes.

By Ashley Kim


Aug. 23, 2022 12:53 p.m.

Head in the Clouds 2022: Diverse food options bring savory, sweet flavors to festivalgoers at a sour price

This post was updated Aug. 28 at 9:04 p.m.
Culinary options drifted far and wide for Head in the Clouds festivalgoers.
Featuring a selection of vendors curated by the 626 Night Market in the San Gabriel Valley, the Head in the Clouds Music and Arts Festival presented attendees with several food and drink stalls scattered throughout the venue, from specialty merchants like Temaki Time to classic carnival staples such as funnel cake and frozen lemonade.

By Dannela Lagrimas


July 29, 2022 12:58 p.m.

Album review: Maggie Rogers embraces new sound while letting vocals shine in ‘Surrender’

This post was updated July 31 at 10:01 p.m.
Wherever Maggie Rogers goes, that is where listeners should be.
In her sophomore studio album, “Surrender,” Rogers departs from the acoustic folk pop sound that first distinguished her music and boldly leans into the energy associated with her self-attributed status as a “witchy feminist rock star.” But staying true to the dimensional essence of her past discography, Rogers demonstrates a renewed sense of artistry via emotional and sonic risks that, together, compliment the cathartics of her surrender to love, even when the production of some tracks does not reflect that experience as masterfully as others.

By Alexis Jones

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