NEWS & CULTURE

For most of the last decade, there has been a particular purgatory reserved for pop artists who were too good to ignore and too strange for radio. Fan communities named it the khia asylum, borrowed from Khia, the early-2000s rapper whose defining single "My Neck, My Back" never translated into sustained commercial recognition. To be stuck there is to have a devoted fanbase, critical praise, and climbing streaming numbers while the radio-play gatekeepers look elsewhere. Escaping it is the moment everything changes.

For nearly two years, students walking to campus on Sunset Boulevard have passed a dark marquee and a boarded-up dome. That changes this August, when construction begins on restoring the Cinerama Dome and the former ArcLight Hollywood complex. For Hollywood, it's the return of one of the city's most recognizable theaters.

For Oscar-winning sound mixer Phillip Bladh, sound has never just been technical — it’s an emotional audio journey for audiences that can make or break a film. Long before winning a Best Sound Academy Award for his groundbreaking work on Sound of Metal, the Los Angeles Film School alumnus was a musician obsessed with microphones, recording equipment, and the invisible ways sound shapes human experience.