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Emotional oranges concert setlists & tour dates, emotional oranges at manchester academy 2, university of manchester students' union, manchester, england.

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Emotional Oranges at The Academy, Dublin, Ireland

Emotional oranges at swg3 warehouse, glasgow, scotland, emotional oranges at thekla, bristol, england, emotional oranges at here at outernet, london, england, emotional oranges at nalen klubb, stockholm, sweden, emotional oranges at belly up, aspen, co, usa, emotional oranges at the independent, san francisco, ca, usa.

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Emotional Oranges at Gurtenfestival 2023

Emotional oranges at ruisrock festival 2023.

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• Motion ( 22 )
• Personal ( 21 )
• West Coast Love ( 21 )
• Just Like You ( 20 )
• All That ( 19 )

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About Emotional Oranges

Fans have no idea how much effort Emotional Oranges put into their shows. The group, comprised of Azad and Vali, has included intricate animations, dancers, and high production value to bring their ethereal yet punchy R&B across the world at a high cost.

“It takes a village to put together a show. We still haven’t made money from touring. We’re in the red over half a million dollars over the past four years because we’ve wanted to put on a great experience for our fans,” Azad told REVOLT.

In this installment of “Tour Tales,” the enigmatic duo explains the spiritual experience of performing in Cape Town, Mary J. Blige checking out their show, and the dozens of songs they’re ready to unleash on their fans later this year. Read the exclusive interview below.

Your first show as Emotional Oranges was in Toronto in May 2019, and you were somewhat hiding your identities. How did that approach affect your set?

Azad: You have to be really vulnerable to be able to put yourself out there already as a musician and a songwriter . The intention behind the show was to have people come and get to experience us. We weren’t putting ourselves out there on the internet like that, but Val and I put a lot into the show. So, I feel like people got to really get to know us.

Vali: I didn’t even know if it would be real (laughs). Our soundcheck was about two hours long because we tried to make it perfect. Then we asked, “Are people going to come? Is this real?” After we did our first song, “Unless You’re Drowning,” I remember looking at him and then looking out into the audience in the crowd. We were both like, “Wait, no, this is actually real.”

What were some mishaps you two learned from?

Azad: I vividly remember our show in Amsterdam at Bitterzoet [on June 4, 2019] when the sound went out. We’ve all loved Kevin Lyttle’s “Turn Me On,” but I never thought I’d see the day when 300 people would be singing that song with Val and our guitar player Mitch with no sound on. That was insane. I don’t know about you, Val, but that changed my whole perspective.

Vali: We were jamming to it in the dressing room before we went on. Then, the sound cut out in the middle of the set. I remember the mics were on, but nothing else. I just saw Azad run behind me to the sound guy and then run back the other way. Then, I looked over at Mitch and said, “’Turn Me On.’ Should we just sing it (laughs)?” He just starts playing these campfire guitar chords, and we start singing. That was a really significant moment where we showed we got each other onstage.

“The Sad Fruit Tour” was one of your first after the COVID-19 pandemic quarantine. How was it adjusting to being back on the road?

Vali: It was weird.

Azad: We were the only American act on European soil that didn’t cancel shows while the Russia and Ukraine issues were happening. We still sold out a whole bunch of those Europe cities.

Vali: But, the traveling was weird. We got to the airport, and because it was near the end of COVID, the security lines were hours long. So, I would put my scarf on like a diva, have my big glasses on, and Azad would go to the front and say, “I have this very big artist, and we need to skip the line. I have to get her on before anybody sees her.” And they’d be like, “Oh, my God! OK.” I wouldn’t say anything (laughs).

You’ve done almost every festival, from Life Is Beautiful to Coachella. Did any artists of note come to check out your sets?

Azad: Recently, at Halsey’s show in Bahrain, she told the crowd of 10,000 people, “I bet you guys didn’t know I was watching Emotional Oranges from right behind the stage.”

Vali: Also, Mary J. Blige walked in while we were performing. It was at her Strength of a Woman Festival in Atlanta. She walked in during our set and watched us on the screen.

What did you have to get used to when it came to touring?

Azad: Resources and investment are some things I’ve learned the hard way. I used to open up for some really dope people like Kendrick [Lamar] and Mos Def . But it’d be me and a DJ. I wouldn’t know what front of house is, what a visual person is, what stage design, or choreo or any of that is. It takes a village to put together a show. We still haven’t made money from touring. We’re in the red over half a million dollars over the past four years because we’ve wanted to put on a great experience for our fans. So, understanding the business has been the most challenging.

Vali: You want to know my answer? It’s the food (laughs). When you’re touring on your own, you eat whatever you want. When touring with Azad, you better know the best coffee spot in the city. You better know the best gluten-free option. Our food tour is a separate tour (laughs).

What are some of the most interesting fan interactions you’ve experienced?

Vali: Oh my god, there are so many (laughs). A fan came up onstage once and just started dancing. I was trying to dance with her before the security dragged her off. That was a weird fan moment that I remembered off top. We have fans who have waited for our bus for three hours in the cold in Vancouver.

Azad: For me, it was seeing so many hijabs when we were in Paris. I’m Iranian, and I grew up with a lot of Muslim women. I didn’t think our music connected with ’em like that, but that was awesome.

What is the most memorable show for each of you?

Vali: For me, it would be Cape Town. It was on my birthday, and I just remember hearing the fans singing before we even got onstage. That kind of shook me because I was in Africa and felt my father’s energy. He passed away about four years ago. That whole moment did something to me [that] I haven’t felt at too many of our shows. But we’ve had some great moments at other shows, too.

Azad: That was the 8 PM main stage slot, where I almost got burnt to smithereens because we had pyro, and they didn’t tell us (laughs). My dumb a** bouncing at the front of the stage, and I almost got barbecued, bro. Coachella was obviously crazy. I’m from LA, so that was nuts. We sold out 4,000 tickets at The Palladium in LA; my mom and dad were there. I used to go to shows there growing up. Then, in Korea, we co-headlined a festival for 15,000 people, where English is their second or third language. To hear them singing our album cuts was crazy. Then, Val and I’s faces were on a mural . We were the biggest faces on the mural. That was crazy.

What can fans expect from this upcoming summer tour?

Vali: It’s definitely going to be fun because it’s a festival run. When we do our festival shows , we give you all the meat and all the sauce, whereas our headline shows are intimate… You get to experience the different world of Emotional Oranges. We’re going to bring the heat. It’s going to be a real fun show.

Azad: We’re on some unique bills. We’re playing Electric Forest, which is a predominantly electronic crossover festival. So, you’re going to get a lot of our uptempo jam songs. But, then, we’re going to places like Latvia, where English isn’t their primary language. So, giving them some new covers is really going to be fun. We’re doing The Weeknd and Mario Winans’ “Creepin’” flip. That’s going to be a lot of fun.

What else do you have coming for the rest of 2023?

Azad: We have a project dropping. We got a lot of music coming. We’re independent , so there’s a whole lot of music on the way.

Vali: We have about 30 songs (laughs).

Azad: Track after track after track [and] different styles of music, too. As a producer, that’s a lot of fun for me. We get to experiment without weirdo corporate people saying we can’t put songs out because they’re not popping up or whatever.

Vali: We have multiple full projects ready.

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Emotional Oranges

Not much is known of the LA-based R&B-Pop male/female duo, A+V. Described by critics and fans alike as experimental and futuristic, EO are the physical manifestation of alternative R&B, Soul and Funk. Provocateurs extraordinaire, Emotional Oranges have been unanimously lauded everywhere from Complex, Fader, Paper, VIBE, Highsnobiety to Hypebeast, BBC1, Triple J, MTV & more. They have established themselves as one of the most exciting new acts without ever truly revealing themselves. Their debut singles, “Motion” and “Personal” immediately created a cult following. The Juice Vol. I, Vol. II, and Vol. III have amassed over 400 million streams globally. In June of 2021, they released their first collaborative mixtape, The Juicebox. With features with artists like Vince Staples, Channel Tres, Kiana Ledé, Becky G and more, the duo reached to shatter genre boundaries on the project.

Lollapalooza and Life is Beautiful kicked off The Sad Fruit Tour as A+V ventured across 24 US cities during the Fall of 2021. The Sad Fruit Tour continued in Spring 2022 with 12 dates in Europe, and two incredibly successful weekends in the desert at Coachella. They kicked the Summer off at Pharrell’s Something In The Water festival in D.C., followed by a co-headlining slot at Korea’s Haus of Wonder Festival, 4 headline dates in Australia & New Zealand and a stop over in South Africa for a once in a lifetime festival slot at Rocking The Daisies. Rounding out 2022 with the release of the much anticipated The Juice: Vol. III, EO has never been more invigorated about the music they are making. The Pulp Fiction Tour during the Spring of 2023 saw the duo selling out shows at The Hollywood Palladium, Brooklyn Steel, and House of Blues in Chicago. A+V extended their stay on the road into the Summer of 2023, opening up for Halsey in Bahrain and playing an additional 5 festivals in Europe. The juice is certainly worth the squeeze.

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Taylor Swift changed The Eras Tour set list to include 'The Tortured Poets Department.' Here are all 46 songs she performs now.

• Taylor Swift's blockbuster Eras Tour resumed Thursday in Nanterre, France.
• Swift altered the set list to include songs from her new album, "The Tortured Poets Department."
• The current Eras Tour set list, which includes 46 various hits and deep cuts, is cataloged below.

Taylor Swift is back on the road for her record-breaking , economy-altering Eras Tour.

The stadium series kicked off last year in Glendale, Arizona, and quickly became a sensation . After making stops across the US, Mexico, South America , Japan, Australia, and Singapore , Swift will continue to perform throughout 2024 in Europe , plus a second North American leg scheduled for later this year.

On Thursday, Swift resumed The Eras Tour in France after a multi-week hiatus.

During that break, Swift released her 11th studio album, " The Tortured Poets Department " — so she adjusted the original 44-song set list to include brand new tracks, though other fan favorites (including " The Archer ," " The 1 ," and " Tolerate It ") were cut for time.

The updated show stretches for over three hours and includes 46 songs. The complete set list is cataloged below, in order of Swift's performance.

"Miss Americana & the Heartbreak Prince"

The Eras Tour is Swift's first live tour since 2018. The show opener includes the lyric, "It's been a long time coming, but / It's you and me, that's my whole world." 

"Cruel Summer"

"Cruel Summer" was released as the second track on 2019's "Lover" and never promoted as a single.

However, once The Eras Tour was underway, the song experienced a delayed surge in popularity and became Swift's milestone 10th chart-topper on the Billboard Hot 100 .

"The Man"

"The Man" was promoted as the fourth single from "Lover," alongside an Easter egg-filled music video .

"You Need to Calm Down"

"You Need to Calm Down" is an ode to LGBTQ+ rights . The music video, which features a huge cast of queer celebrities , ends with a call to sign the Equality Act .

"Lover"

"Lover" is the solo-written title track from Swift's seventh studio album. Before she performs the song during The Eras Tour, she tells fans that she hopes it'll hold a special meaning for each individual who hears it.

"These are songs that I have written about my life or things I felt at one point in time," she says in the concert movie. "But after tonight, when you hear these songs out and about in the world, my dream is that you're gonna think about tonight, and the memories we made here together." 

"Fearless"

"Fearless" is the title track for Swift's 2008 sophomore album, which is still known as the most-awarded country album of all time .

"You Belong With Me"

Swift won best female video for "You Belong With Me" at the 2009 MTV Video Music Awards .

"Love Story"

"Love Story" was the first rerecorded song that Swift ever released from her "Taylor's Version" series.

"22"

When Swift performs "22" during The Eras Tour, she always gives her bowler hat to one lucky concertgoer .

"We Are Never Ever Getting Back Together"

"We Are Never Ever Getting Back Together" was released as the lead single from "Red" in 2012. It became Swift's first-ever No. 1 hit on the Hot 100 .

"I Knew You Were Trouble"

The third single from "Red," coproduced by Max Martin and Shellback, peaked at No. 2 on the Hot 100.

"All Too Well (10 Minute Version)"

The extended version of "All Too Well" was released as the final track on " Red (Taylor's Version) " after years of fan anticipation.

It debuted at No. 1 on the Hot 100, becoming the longest song ever to hold the chart's top position.

"Enchanted"

"Enchanted" is the only song from Swift's third album, "Speak Now," that she currently performs during The Eras Tour.

For a brief time, following the release of " Speak Now (Taylor's Version) ," Swift added the fan-favorite deep cut "Long Live" to the set list. It has since been removed.

"…Ready for It?"

"…Ready for It?" was originally teased during ABC's "Saturday Night Football" broadcast in 2017. It was later used by ESPN in college football commercials.

"Delicate"

Swift's performance of "Delicate" during The Eras Tour features a stage animation that cracks beneath her feet .

"Don't Blame Me"

"Don't Blame Me" is the sole non-single that Swift performs during the tour's "Reputation" segment. The fan-favorite track is often cited as a highlight of the show .

"Look What You Made Me Do"

"Look What You Made Me Do," which interpolates Right Said Fred's '90s hit "I'm Too Sexy," was released as the lead single from "Reputation" and debuted at No. 1 on the Hot 100.

"Cardigan"

The No. 1 single "Cardigan" was released alongside Swift's beloved album " Folklore ." The song references Peter Pan and introduces the album's "teenage love triangle."

"Betty"

"Betty" is told from the perspective of a high schooler named James , who broke the heart of the titular heroine.

"Champagne Problems"

The heart-wrenching piano ballad "Champagne Problems" often inspires a minutes-long standing ovation during The Eras Tour.

"August"

Swift's debut performance of "August" took place at the 2021 Grammy Awards. Later that night, she won album of the year for "Folklore," her record-tying third trophy in that category.

"Illicit Affairs"

"Illicit Affairs" is widely interpreted as a song about marital infidelity, though its descriptions of forbidden love and "clandestine meetings" adopt new meanings through a queer lens .

"My Tears Ricochet"

In Swift's own words , "My Tears Ricochet" was inspired by the image of an "embittered tormentor showing up at the funeral of his fallen object of obsession."

"Marjorie"

"Marjorie" is named after Swift's late grandmother, Marjorie Finlay , an opera singer who died in 2003. Finlay is credited with background vocals in the song.

"Willow"

"Willow" was promoted as the lead single from " Evermore ." Like "Cardigan," it was released simultaneously with its parent album and debuted at No. 1 on the Hot 100.

"Style"

Swift briefly dated Harry Styles before releasing her fifth studio album, "1989."

When Rolling Stone asked about the inspiration behind the album's third track, "Style," she replied, "We should have just called it 'I'm Not Even Sorry.'"

"Blank Space"

"Blank Space" is a widely celebrated satire about Swift's reputation as a "serial dater."

"'She only writes songs to get emotional revenge on guys. She's a man-hater. Don't let her near your boyfriend,'" Swift explained at the time. "It was just kind of excessive and, you know, at first it was hurtful and then I kind of found a little comedy in it."

The song dethroned "Shake It Off" at No. 1 on the Hot 100, making Swift the first and only woman in history to replace herself in the chart's top spot. (She has since done it twice.)

"Shake It Off"

"Shake It Off" was released as the lead single from "1989," Swift's official pivot from country to pop music .

The song became her first to debut at No. 1 on the Hot 100 and remained there for four weeks. It also inspired a sketch on "Saturday Night Live"  about adults realizing they love Swift's music.

"Wildest Dreams"

"Wildest Dreams" was released as the first rerecorded song from "1989 (Taylor's Version)."

"Bad Blood"

"Bad Blood" was famously inspired by Swift's then-feud with Katy Perry , whom Swift accused of trying to "sabotage" her "Red" tour. (The two pop stars have long since buried the hatchet .)

The remix includes a feature from Kendrick Lamar , who returned to rerecord his verse for "1989 (Taylor's Version)."

"But Daddy I Love Him"

Following the release of her massive double album , "The Tortured Poets Department: The Anthology," Swift added seven brand-new songs to The Eras Tour setlist.

The first is "But Daddy I Love Him," a sharp rebuke of Swift's own fans , many of whom criticized her dating life last year.

"So High School"

"So High School" is widely presumed to be about Swift's current boyfriend, NFL star Travis Kelce . The song's lyrics seem to reference their different professions: "You know how to ball, I know Aristotle."

"Who's Afraid of Little Old Me?"

Swift is the only songwriter credited for "Who's Afraid of Little Old Me?"

The song title is likely inspired by "Who's Afraid of Virginia Woolf?" — a celebrated play written by Edward Albee that tackles themes of truth versus illusion, fate versus choice, and feeling trapped.

"Down Bad"

"Down Bad" is a heartsick serenade that compares falling in love to being abducted by aliens.

"Fortnight"

"Fortnight" was promoted as the lead single from "The Tortured Poets Department," alongside a music video that costars Post Malone and references "Dead Poets Society."

"The Smallest Man Who Ever Lived"

"The Smallest Man Who Ever Lived" is a scathing breakup song that may have been inspired by Matty Healy , whom Swift dated while writing "The Tortured Poets Department." According to reports, their relationship lasted about one month .

"I Can Do It With a Broken Heart"

In a meta twist, "I Can Do It With a Broken Heart" was apparently inspired by The Eras Tour itself. The lyrics seem to reference a string of concerts last year, when Swift felt "miserable" but continued to perform as usual ("They said, 'Babe, you gotta fake it 'til you make it,' and I did").

Surprise Song No. 1

During each show on The Eras Tour, Swift performs a two-song acoustic set that changes every night . The first song is always played on acoustic guitar. 

The first-ever surprise song Swift played in Arizona was "Mirrorball." For the first stop on the European leg, she chose the "Midnights" bonus cut "Paris."

Surprise Song No. 2

The second surprise song of the evening is always played on the piano.

In Arizona, Swift's first-ever surprise song on piano was "Tim McGraw," the lead single from her 2006 debut album. For night one in France, Swift played the "Tortured Poets" heartbreaker "Loml."

"Lavender Haze"

"Lavender Haze" is the opening track on Swift's 10th studio album " Midnights ."

"Anti-Hero"

"Anti-Hero" was promoted as the lead single from "Midnights." It debuted at No. 1 and became Swift's biggest hit to date, reigning atop the chart for eight weeks.

The same week that "Anti-Hero" arrived in the top spot, Swift became the first and only artist in history to  occupy the entire top 10 on the Hot 100 .

"Midnight Rain"

"Midnight Rain" doubles as a breakup song and an ode to Swift's own ambitions: "He wanted it comfortable, I wanted that pain / He wanted a bride, I was making my own name," she sings, calling back to the rejection of '50s gender roles in "Lavender Haze."

"Vigilante Shit"

Put simply, "Vigilante Shit" is about getting revenge. Many fans believe the song was inspired by Scooter Braun , who purchased Swift's back catalog in 2019. Less than two years later, he sold Swift's master recordings to a private equity company .

"Bejeweled"

The music video for "Bejeweled"  includes a variety of celebrity cameos, including Laura Dern, the Haim sisters, and Dita Von Teese.

"Mastermind"

In the chorus of "Mastermind," Swift seems to serenade her longtime fans: "What if I told you I'm a mastermind? / And now you're mine." 

The song also references Swift's penchant for Easter eggs and her keen business acumen, which has allowed her to build a billion-dollar empire .

"I'm sick of women not being able to say that they have strategic business minds — because male artists are allowed to," Swift told Rolling Stone in 2019. "And so I'm sick and tired of having to pretend like I don't mastermind my own business."

"Karma"

Swift closes the elaborate show with "Karma," a song that mocks her enemies and salutes her own longevity: "Ask me what I learned from all those years / Ask me what I earned from all those tears / Ask me why so many fade, but I'm still here."

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Lizzy McAlpine follows her breakout hit with an ‘Older,’ and wiser, tour

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Thousands of fans sway in sync, phone flashlights raised high, anticipating the crescendo.

“But it’s not real,” Lizzy McAlpine sings as members of the Red Rocks Amphitheatre crowd join in. They belt with the conviction of Broadway stars, some crumpling from the emotional catharsis.

It’s the second show of McAlpine’s “Older” tour and “Ceilings” is far from the last song on the set list. But when the viral hit ends, an exodus ensues. For so many of the fans, the show’s essentially over.

“It’s super disheartening as an artist,” McAlpine says, recounting the episode from her L.A. home two weeks later. “People will come to the shows just to see that one song, to see the one snippet of that song that they know from TikTok, and then they’ll leave.”

From now on, she says, “Ceilings” will be an encore. “They’re gonna have to really wait the whole show if they wanna see that one song.”

That will apply to her concerts Saturday and Sunday at the Greek Theatre in Los Angeles. The dates follow one of the short breaks the singer-songwriter is taking between shows to preserve her energy. On previous tours, she exhausted herself to the point of physical illness: pneumonia, laryngitis, influenza and more.

“Every tour I would go on, my body would literally reject it,” she says.

She’s also visiting fewer cities and forgoing an opening act so she can start her show sooner.

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April 10, 2024

McAlpine didn’t expect “Ceilings” to be the breakout track from her 2022 album, “Five Seconds Flat.” It wasn’t even a single.

Nonetheless, a sped-up version of the song she posted on TikTok in January 2023 has spurred nearly 665,000 posts, with many users ( Victoria Justice and Jimmy Fallon among them) lip-dubbing to the song while running, dancing or both.

“Ceilings” peaked at No. 54 on the Billboard Hot 100 and has amassed more than 523 million streams on Spotify. Following its success, McAlpine signed to RCA Records.

“That moment allowed me to get here, and I’m obviously super grateful for it,” McAlpine says. “But it’s also hard to see people only care, seemingly, about one song, especially after I’ve just released this new album that feels the most like me I’ve ever felt.”

A highly confessional record built on wandering folk melodies and soft layered vocals, McAlpine’s third studio album, “Older,” was released April 5 after three years of work. She calls it a “second- or third-listen album,” one that grows on you the more time and attention you give it.

Writing the songs was easy, like it usually is, McAlpine says. “Making them sound good,” though, “that was the part that took forever.” She recorded with a slew of producers in a trial-and-error manner, never quite realizing the vision she had in her head.

By fall 2023, she had a version of an album that she couldn’t bear to release and a mission to find a producer who could fix it.

Instead, she found a six-man band.

Assembled by Pasadena-based guitarist Mason Stoops for a Marcus Mumford tour in 2022, the band took its final form, Stoops says, after he and a few other members were recruited to record a live version of L.A. singer Ryan Beatty’s 2023 album, “Calico.” They subsequently supported Beatty on his “California in Every Color” and “Calico” tours.

When McAlpine saw the band performing with Beatty at the Ford in Hollywood last September, she was mesmerized.

“I can’t really explain it,” she says. “I was just so blown away by the band and their playing, and it really was such a focal point of that show.

“It felt so human to me, and that’s what I felt like I’d been missing.” As luck would have it, McAlpine knew the brother of a band member, steel guitarist Tyler Nuffer. She reached out the next week.

“Lizzy called me and she was just like, ‘I have this record that I hate, basically, and I think I can produce it myself with the right band, and I heard you guys play and I just felt like, this is exactly the sound that I want,’” Stoops says.

The band didn’t take much convincing. In two weeks, they re-recorded nearly half of McAlpine’s album in Nuffer’s home studio in Pasadena, Nuffer Ranch .

Stoops didn’t think McAlpine actually needed their help, but seeing how disheartened she was after years of working on her album, he hoped to restore her confidence.

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“I think she felt the pressure that a lot of artists feel where, after they have a hit or they have a following — they’re known for something — it’s like, ‘Well, I have to live up to that’ or ‘I have to give people more of that,’” he says. “This record became the mission of helping Lizzy find truly only herself in these songs and giving her some kind of platform so that she could go forward as her own artist.”

Sometimes, that meant leaving the songs untouched. Track 10, “You Forced Me to,” is the original demo McAlpine made alone in her apartment. It became the “North Star” for the record, pianist Taylor Mackall says.

Up until Stoops heard that demo, he says, “I didn’t know that Lizzy was this, like, savant-level arranger and composer.”

“That’s kind of what’s wrong with production,” he says. “It hides or covers up so much of the musicality of the artists that we’re working with.”

The stage design for the “Older” tour, essentially a replica of Nuffer Ranch, does the opposite. There’s no track, no clicker, no spectacle — nothing to detract from the raw performance.

Stoops believes the intimacy of it is registering with McAlpine’s audience.

“I think it’s helped encourage people to just, like, take a moment and listen and be there with her instead of seeing her as an external object on the stage that you can just scream at,” he says.

In the footage from the tour’s opening show in San Diego, Stoops says, the crowd is so quiet, you can hear the crickets outside the venue.

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So far the “Older” tour has been a healing experience for McAlpine, who spent her past tours overextending herself, putting on a persona she thought people wanted to see.

“I never knew I could like to do this, but yeah, it’s been like night and day, honestly,” she says.

Still, after the tour concludes in October, McAlpine plans to take a long break from music. She’s eyeing film and theater work, but nothing is concrete — and that’s a comfort to her.

“Just to get to this point took so much out of me,” she says. “Now that I finally know who I am and how I can do this job in a way that will make me feel good, I am doing it, but I still need to take a step back and just, like, live.”

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Malia Mendez is an editorial assistant at the Los Angeles Times. She previously was an intern on the Entertainment and Arts Desk and recently graduated from Stanford University with a bachelor’s degree in English and a master’s degree in journalism. Mendez got her start in journalism at the Stanford Daily, where she worked as managing editor of the newspaper’s Arts & Life section. Her byline can be found in Los Angeles Magazine, the Orange County Register and the Peninsula Press. She is from Irvine.

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