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On Feb. 6, University of California, Los Angeles, professor Kency Cornejo delivered the Manton Foundation Annual Orozco Lecture in the Hood Museum of Art. Cornejo discussed her July 2024 book, “Visual Disobedience: Art and Decoloniality in Central America” — a text which explores artistic strategies for “Indigenous, feminist and anti-carceral resistance in the wake of torture, disappearance, killings and U.S.-funded civil wars in Central America,” according to its blurb.
This article is featured in the 2025 Winter Carnival Special Issue.
This article is featured in the 2025 Winter Carnival Special Issue.
This cartoon is featured in the 2025 Winter Carnival Special Issue.
This cartoon is featured in the 2025 Winter Carnival Special Issue.
In classic SZA fashion, the deluxe version of her second album “SOS,” titled “Lana,” arrived later than expected — a testament to her perfectionism. Although teased to release at the stroke of midnight on Dec. 20, 2024, SZA spent the morning making finishing touches, sweetening the deal by dropping a teaser music video, featuring actor Ben Stiller, for the song “Drive” at the original drop time. It wasn’t until 3 p.m. when my Spotify refreshed and I was finally able to embark on my latest SZA-inspired spiritual journey. A winterim-emptied and situationship-drained receptacle, I sat on a park bench near my home in Florida and pressed play. Dropped two years after its parent album, the deluxe version was well worth the wait. On that perfectly sunny afternoon, I floated away to the tune of the opening flute synths on “No More Hiding.”
On Jan. 29, approximately 20 people gathered in Still North Books & Bar for a reading from new author Duncan Watson. Watson read from “Everyone’s Trash: One Man Against 1.6 Billion Pounds,” his debut memoir about the “human connection with trash,” he said.
Grace Lee '28 is too relatable.
For Jamylle Oliveira '26, the NRO decision is the last line of defense.