Los Angeles Blade, Volume 09, Issue 20, October 10, 2025

‘Small is all’ (Photo courtesy of Farah Sosa)

LA Councilmember Ysabel Jurado on moments of queer joy, political victory, PAGE 03

OCTOBER 10, 2025 • VOLUME 09 • ISSUE 20 • AMERICA’S LGBTQ NEWS SOURCE • LOSANGELESBLADE.COM

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6#7899-:;-899<=-!*$*-+>?@A:97B7CBD-E;8CB9-F?D8G>-G:;A?;;B;6;7899<-C?H-:7I8AHJ?9-7>7B@H;->J-K?BBD-L>M-8@G-I>9:H:A89-N:AH>DM The Blade sits down with Ysabel Jurado, the first queer Filipina woman to serve on Los Angeles’s city council #$%&'()*(+%),-. %&'() #*+(,-./'/0'1) 2345 0'.)6+147*)843)'.',9'7)9*)9&'),-9:) ,*+(,-.)49)9&')'(7)*;)<=<>?)3&')843) (4@-A49-(A)4)3'49)'/01*-.'7)-()/-35 91+39B)C&')0'49)*+9)9&')-(,+/0'(9) *;)#*+(,-.)D-391-,9)E#DF)G>?)H'@-()D') !'I(?) 8&*) &47) 0''() '(3(41'7) -() 4)3,4(74.)4;9'1)4()4+7-*)1',*17-(A) *;)&-/)/4J-(A)14,-39)1'/41J3)843) !>;-$@QB9B;-A:HM-A>?@R .'4J'7)-()<=<<B cil member YSABEL C+77'(.:?) 6+147*) 843) &4@-(A) JURADO presides over 9*) (4@-A49') ,*/K.'L) 0+1'4+,149-,) +>?@A:9-):;HD:AH-1S* TUV>H>-A>?DHB;M->J-W8D8V-#>;8X 3:39'/3)43)3&')91-'7)9*)1'A4-(),*(5 39-9+'(9) 3+KK*19) 4(7) 3K41J) K*3-5 tive, tangible change. A first-time elected official, Jurado had K1'@-*+3.:) 8*1J'7) 43) 4) 9'(4(93M) 1-A&93) 499*1(':) 4(7) &*+3-(A) 47@*,49'B) %&-.') 'N+-KK'7) 8-9&) .'A4.) 'LK'19-3'?) 3&') 843) '/5 041J-(A)*()9&-3);*14:)-(9*)A*@'1(4(,');1*/)3,149,&B O'1)4KK1*4,&)-3)-(;*1/'7)0:)&'1)*1A4(-P-(A)04,JA1*+(7?)43) 8'..)43)9&')-(9'13',9-*(3)*;)&'1),*1')-7'(9-9-'3Q)4)3-(A.')8*1J-(A) mother, a child of immigrants, and a newly out queer woman.

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N+''1)T*+1(':)43)3&')91-'3)9*),1'49')4)/*1')'N+-940.')'(@-1*(5 ment for her district’s residents.

It’s been about a year since you were first elected to the city council. How has it been for you so far as a first-time political official, and what have some of your challenges and wins been so far?

S'-(A)4)0'A-(('1)-3)3*/'9&-(A)9&49)-3)4.84:3)4)@'1:)&+/0.-(A) K1*,'33Q)(4@-A49-(A)9&')0+1'4+,14,:)8&-.')91:-(A)9*)7'.-@'1)-/5 /'7-49')1'3+.93);*1)8*1J-(A);4/-.-'3?)'3K',-4..:)8&-.')A*@'1(-(A) during multiple crises. I think figuring out the bureaucracy was 3*/'9&-(A)U)'LK',9'7)9*)0'),&4..'(A-(A?)0+9)9&'),1-3'3)9&49)+(5 folded: wildfire recovery, the ICE raids, the budget shortage, all *;)9&*3')9&-(A3)T+39)1'4..:),*/K*+(7'7)*()*(')4(*9&'1B)R&49) made it hard to learn straightforwardly, and it was like fits and starts and fits and starts.

U)9&-(J)04.4(,-(A)9&')+1A'(,:)*;)4771'33-(A)3:39'/-,)-33+'3) 4(7) 9&') 3.*8) K4,') *;) A*@'1(/'(9) K1*,'33'3) 7*'3(M9) 4.84:3) make sense, so that is definitely challenging. You know, want-(A)9*)/''9)9&')/*/'(9)4(7)9&'()9&')0+1'4+,14,:)T+39)0'-(A) 3*)'.40*149'?)4(7)0'-(A)+(40.')9*)7*)-9)N+-,J.:?)-3)4.84:3)3*/'5 thing that frustrates me.

V-,9*1-'3) W) 8'M@') 0''() 4) (-/0.') 9'4/) ;*1) 4) 8&-.') 49) #-9:) Hall and in the field, and now that we’ve grown, I think that’s 3*/'9&-(A)9&49)-3)'L,-9-(A)*()-93)*8(?)4(7)4..*8'7)+3)9*)-//'5 diately respond to the wildfires because we were in such close proximity to Eaton. We got through our first budget cycle, and we definitely had a bunch of wins, even as a first-year council /'/0'1B)%')A4@')K'*K.')4()*KK*19+(-9:)9*)1-7')9&')0+3)9*)A-@') K+0.-,),*//'(9)49)V4()X+:3)#-9:)O4..)9&1*+A&)4)0+7A'9)0+3?)

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'3);*1);439);**7)8*1J'13)4(7)9*+1-3/)8*1J'13B)ZR&'1'M3)4.3*[)9&') 1'*K'(-(A)*;)R&')\4(91:)43)4),&4/K-*();*1)9&')7-391-,9)4(7);*1) 8*1J'13?)4(7)A+414(9''-(A)9&49)9&'),-9:)-(,'(9-@'3)/47')-9)3*) 9&49)9&')('8)*8('1)8*+.7),*//-9)9*)4..*8-(A)9&')8*1J'13)9*) unionize, which was why they closed in the first place. So, I think 9&49)843)3+K'1)-/K*194(9B And then, of course, our immediate response to the ICE 14-73?) ,*((',9-(A) .*,4.) 0+3-('33) *8('13) 4(7) 8*1J'13) 9*) 1'5 3*+1,'3?)4(7).439)0+9)(*9).'439?)9&')1'(*@49-*()*;)9&')#*(@'(5 tion Center. That is definitely something we worked hard on for 9&')D*8(9*8()1'@-94.-P49-*(B U9M3),*/-(AB)R&')Y'(4-334(,')-3),*/-(A)04,J)9*)D*8(9*8(?) and we’re working hard for that.

It feels like most of your efforts are really concentrated on helping the everyday people: those who are most marginalized and those belonging to working-class communities. You were just saying there’s this pacing issue in terms of bureaucracy. How do you reconcile that mismatch in pacing when I’m sure you’re getting a lot of community response where they’re telling you their most urgent needs?

U) 9&-(J) 9&49M3) 3*/'9&-(A) 9&49) 8') 43) 4) 9'4/) 41') ,*(9-(+4..:) trying to grapple with: understanding that our role is different ;1*/)8&'1')8')8'1')0';*1'B)X*8?)8')41')4,9+4..:)K419)*;)9&') A*@'1(/'(9B)X*8?)U)&4@')9*)1'39419)4(7)0'A-()4A4-()43)4()*1A45 nizer in a different landscape. So, learning who those players 41')9*)/4J')9&')8*1J)'43-'1)W)-()9&'),-9:)&4..);4/-.:)4(7)0+5 1'4+,14,:)W)9*)J(*8)8&*)8')41')3+KK*3'7)9*)1*..)8-9&)9*)/4J') 9&'3')9&-(A3)A*);439'1?)-3)3*/'9&-(A)9&49)*+1)9'4/)-3)91:-(A)9*) N+-,J.:).'41()9*)0')/*1')4A-.'B U9M3).'41(-(A)9&')4,1*(:/)3*+K)4(7).'41(-(A)8&*)9&')K'*K.') 41')9&49)8'),4..)4(7)9&49)8')91+39)-()9&'),-9:);4/-.:)9*)/4J')3+1') 8'),4()7*)9&'3')9&-(A3)N+-,J'1B)R&49M3)1'4..:)8&49)*+1)T*0)-3Q) 9*).'41()9&').4(73,4K')4(7)9&')9**.3)9&49)41')49)*+1)7-3K*34.)

9&49)8'1'(M9)4@4-.40.')9*)+3)0';*1'?)3*)9&49)8'),4()477)@4.+') 9*)/*@'/'(93)*1)*1A4(-P49-*(3?)-(39'47)*;)7+K.-,49-(A)8&49M3) already been done.

R&49M3)1'4..:)8&49)9&');*,+3)-3Q)9*)/4J')3+1'?)43)K419)*;)*+1) ,*//+(-9:)',*3:39'/?)8'M1')477-(A)@4.+'B)%')41')-()9&-3)3K4,') ;*1)4)1'43*(?)4(7)8'M1')&'1')9*)47@*,49');*1)9&'3')/41A-(4.-P'7) ,*//+(-9-'3Q)K'*K.')*;),*.*1?)K'*K.')8&*)&4@')0''()K*.-,'7?)

K'*K.')8&*)41')!]SR^U$B)$(7)3*?)-()9&-3)K*3-9-*(?)&*8),4()8') intervene?

You say your organizing has gone through an evolution, and you’ve been through several personal evolutions of your own that have led you to your current political service. How do all of those different transformations or life experiences; like being a former tenants rights attorney and advocate, a single mother, a queer Filipina person; how does that all inform your approach towards your political work and really being in the community?

U)4KK1',-49')9&49)N+'39-*()4).*9B)2*+)J(*8?)-9M3).-J'?)U).-@')/:) .-;'B)$(7)&*8)U).-@')4(7)8&*)U)4/)-3)49)9&')-(9'13',9-*(3)*;)4..) *;)9&'3')-7'(9-9-'3Q)74+A&9'1)*;)-//-A14(93?)N+''1?)8*/4()*;) ,*.*1?)8*1J-(A)3-(A.')/*/B)$(7)-9M3)49)9&'3')-(9'13',9-*(3)8&'1')

4).*9)*;)9&'3')-33+'3),*(@'1A')4(7),*/K*+(7B)$(7)0',4+3')*;?) (*9)7'3K-9')9&*3')'LK'1-'(,'3?)-9)&43)/47')/')0')1'3-.-'(9)4(7) *@'1,*/'),'194-()9&-(A3?)*1)3+1K433)9&')39-A/4)9*)7*)9&')9&-(A) that I want to do — and continue to keep doing it.

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R&')A*@'1(/'(9)&43)4..)9&')1'3*+1,'3)4(7)39'84173)9&'/) W)&*8)7*)8')/4J')9&49)7-391-0+9-*()/*1')'N+-940.'?)8&'9&'1) -9)/'4(3)9&'1'M3)/*1')Y',)4(7)\41J3)3'1@-,'3)-(),'194-(),*/5 /+(-9-'3)*1).-A&9-(A)4(7)9143&)K-,J+K)9*)/4J')-9);''.)34;'?)4(7) 8&'9&'1)9&'1'M3)4)(''7);*1).'33)K*.-,-(A)-(),'194-(),*//+(-9-'3a) R&49M3)8&'1')U)9&-(J)9&')1+00'1)&-93)9&')1*47);*1)/')-()9'1/3)*;) &*8)/:).-;')'LK'1-'(,'3)4(7)/:)-7'(9-9:)43)9&')_*9&'1`)1'4..:) -/0+')/:)K&-.*3*K&:)8-9&)&*8)U)-(9'(7)9*)A*@'1(B You’re new to governance and political work, but also new to being an out queer person. In a different interview, you mentioned that you felt like an “impostor” during your campaign for city council. How did you navigate that as someone new to both political spaces and queer spaces?

U)8*()4()48417 from an identity group, the Asian Democrats, 4(7)8&'()U)A*9)+K)9&'1'?)U)843).-J'?)_%&:)/'a`)U)843)T+39)K+95 9-(A)/:)&'47)7*8()4(7)7*-(A)/:)8*1J?)4(7)U)7*(M9)9&-(J)9&49M3) 8*19&)4KK.4+3'B)R&'(?)U)9**J)4)39'K)04,J)4(7)U)9&*+A&9Q)%*8?) '@'() /:) 1'4,9-*() 9*) 9&49) -3) @'1:) $3-4(B) b:) 747) 843) 4) &4175 8*1J-(A)747?)0+9)8&'('@'1)c49&'1M3)D4:),4/')41*+(7?):*+M7) 43J)&-/?)_%&49)7*):*+)84(9a`)4(7)&'M7)0').-J'?)_U)7*(M9)(''7) 4(:9&-(A?)4(7):*+)7*(M9)(''7)9*),'.'0149')/'?)0',4+3')UM/)T+39) 7*-(A)8&49)UM/)3+KK*3'7)9*)7*)43)4);49&'1?)8&-,&)-3)K1*@-7'B) $(7)9&49M3)&*8)U)3&*8):*+)/:).*@'B`)C*?)4).-99.')0-9)*;)9&49)-3)J-(7) *;)8&'1')UM/)49)8&'()K'*K.')41').-J'?)_Well, you’re the first, and this is your identity group.” %&'()U)94J')4()477-9-*(4.)39'K)04,J);1*/)/:)$$\U)+K01-(A5 -(A?)4(7)U)9&-(J)40*+9)-9)-()9&-3)/*/'(9?)9&-3)-3)4)0-A)1'3K*(3-5 bility, especially now, not to cower and hide. Even if I may be 3,41'7?)U)39-..)&4@')9*).'47)4(7)(*9)T+39);*1)/:3'.;?)1-A&9a)c*1)4..)

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34

#\, IYKNC, #\, ^NKC, *+1, '\, YIK, *)-, 67, .Q9 B*+1,68.,(6*6._(,$/*+(3.+1./C,[.+1./,`7+9 07+<7/-)+3,*+1,F+6./(.Q,R.;;+.((,*+1,"P5)6D, !5+1C,/.P5)/.,68.,(6*6._(,F+6./*3.+0D,:75+0);, 7+,a7-.;.((+.((,67,)-B/72.,*00.((,*+1,(./9 2)0.(,<7/,5+875(.1,?[\$Z],)+1)2)15*;(C,*+1, strengthen coverage around gender-affirm)+3,0*/.C,/.(B.06)2.;DG $8., \;*1., 8*1, *+, )+91.B68, 07+2./(*6)7+, H)68,V.35)*,*+1,?.,*O756,H8*6,;.1,68.-,)+67, 0)2);, /)386(, 07--5+)6D, H7/XC, H8*6, 68.D_/., 17)+3,H)68,68.,##EF,Z5../,47D,:7*;)6)7+C,*+1, 87H, 68.D, */., B*2)+3, *, B*68, <7/H*/1, 68*6, B/)7/)6)A.(, 68., ;)2.(, *+1, </..17-(, 7<, P5../C, trans Asian Americans. !"#$%& '"#& ()*+"%#,-& '"#+& ."$(,'& /0,12 ground, how you first got into social justice work, and where that’s led you?

Lan Le she they :,F_-,07-B;.6.;D,+.H,67, B7;)0D,*1270*0DC,*065*;;DG,R8*6,-76)2*6.1,-., H*(,68*6,-D,<*-);D,*+1,F,*/.,/.<53..(,</7-, U).6+*-C,*+1,68*6,-.*+6,68*6,F,7<6.+,8*1,67, O.,68.,)+6./B/.6./,*+1,68.,*1270*6.,<7/,-D, B*/.+6(,*(,*,08);1G,#+1C,D75,X+7HC,3)2.+,68*6, F,H*(,*,08);1,</7-,68.,B/72)+0)*;,075+6/D()1.C, that was really difficult. Everything was bewildering, and it’s still difficult now, even as an *15;6C,O.0*5(.,F,H*(+_6,b5(6,6/*+(;*6)+3,H7/1(, W, F, H*(, 6/D)+3, 67, 6/*+(;*6., .+6)/., (D(6.-(, 68*6, H./.+_6, O5);6, H)68, <*-);).(, ;)X., -)+., )+, -)+1G, #+1, H8*6, H*(, 68., -7(6, 1)(8.*/6.+9 )+3,H*(,68*6,68.,(./2)0.(,68*6,H./.,-.*+6,67, 8.;B,5(,7<6.+,<.;;,(87/6,O.0*5(.,68.D,H./.+_6, 1.()3+.1,67,O.,*00.(()O;.G,?*+35*3.,*00.((, H*(,*;H*D(,6/.*6.1,*(,*+,*<6./6875386C,*+1,)6, H*(,+.2./,*,;)+.,)6.-,)+,68.(.,*3.+0).(_,O519 gets. \.<7/., b7)+)+3, #4'>:#?C, F, H7/X.1, 1)/.06;D, H)68,(5/2)27/(,7<,17-.(6)0,2)7;.+0.C,85-*+, trafficking and sexual assault for another nonprofit called y Sister’s House. I’m a sur2)27/,-D(.;<C,*+1,F,8*1,87B.1,68*6,-D,;)2.1, .QB./).+0., H75;1, O., 5(.<5;, )+, 68*6, ;)+., 7<, H7/XC, O56, F, P5)0X;D, <75+1, 756, 68*6, 68., 7569 07-.(, H./., 7<6.+, /.*;;D, *H<5;C, .(B.0)*;;D, for youths who’ve been trafficked, including many L BT youths. It was really difficult <7/,-.,67,17,68*6,6DB.,7<,H7/XC,O.0*5(.,F,H*(, /.-)+1.1,*3*)+,7<,-D,7H+,8.;B;.((+.((C,*+1, 68*6_(,H8D,F,68)+X,F,B)276.1,67,B7;)0D,*1270*9 0DC,.2.+,687538,)6_(,1*5+6)+3,*+1,07-B;.6.9 ;D,+.H,67,-.G,F,<.;6,;)X.,)6_(,68.,B*68,67H*/1(, (D(6.-)0,08*+3.C,*+1,F,H75;1,87B.,68*6,68)(, )(,*,H*D,<7/,-.,67,-*X.,(5/.,68*6,*00.(()O);9 )6D, *+1, .P5)6D, H./., +7+9+.376)*O;.C, 68*6, )6, would be a line item in the state’s budget.

hank you for sharing. How long did you work at y Sister’s House, and when did you start at AJSO AL? Lan Le:,'7,F,H7/X.1,<7/,MD,')(6./_(,a75(., <7/,6H7,D.*/(C,*+1,68.+,F,(6*/6.1,#4,'7,:*;,;*(6, D.*/,)+,#B/);G Jeff, can you share your story?

Jeff Deguia he him :, F, *-, 68., 05//.+6, ?#,/.3)7+*;, B7;)0D, *1270*6., *6, #4'>:#?G, F_-, *;(7,+.H,67,B7;)0DC,;)X.,?*+G,F_2.,O..+,H)68,68., B7;)0D,6.*-C,37(8C,F,68)+X,b5(6,72./,6H7,D.*/(G, F_2.,O..+,)+,68.,7/3*+)A*6)7+,<7/,+)+.,D.*/(C, )+)6)*;;D, 7+, 07--5+)0*6)7+(C, 17)+3, -.1)*, marketing, press stuff. And I kind of realized 68*6, F, -)((.1, 68., B*/6+./, 07++.06)7+(, *+1, the community work. #+1,68.+,68)(,7BB7/65+)6D,B5;;.1,5B,H)68, B7;)0DC,*+1,F,H*(,;)X.C,cF,17+_6,X+7H,)<,F_-,68., best fit, because I don’t really have this great 6.08+)0*;, O*0X3/75+1, )+, B7;)0DGd, F_-, *(X)+3, ?*+,*+1,68.,6.*-C,;)X.C,ca7H,17,O);;(,B*((,)+, 68.,B/70.((ed,*+1,*O756,;)+.,)6.-(,*+1,B.+*;, 071.(G,F_-,(6);;,6/D)+3,67,;.*/+,68.,b*/37+,*+1, 87H, 68)+3(, H7/XG, \56C, F, 68)+X, ;)X., ?*+, (*)1C, O.)+3, *O;., 67, (.., 68., 07//.;*6)7+, O.6H..+, (D(6.-,08*+3.(,*+1,H7/X)+3,*;7+3()1.,07-9 -5+*;,7/3*+)A)+3,7+,68.,3/75+1C,*+1,O.)+3, *O;.,67,-..6,68.-,*6,68*6,(*-.,;.2.;C,H)68)+, 68.,372./+-.+6,*+1,68.,;.3)(;*65/.C,)(,(7,)-9 portant.

I am the first generation to be born here )+,68.,'6*6.(,f)+,-D,<*-);DgG,MD,B*/.+6(,*/., !);)B)+7, )--)3/*+6(G, F_-, </7-, :8)0*37G, #+1, ;50X);DC,)+,68.,E8);)BB)+.(C,68.D,6.*08,"+3;)(8, )+,(0877;(G,'7,-D,B*/.+6(,H./.,*O;.,67,+*2)9 3*6.,67,*,3771,.Q6.+6G,\56,)+,:8)0*37C,68./._(, +76, *, 853., B7B5;*6)7+, 7<, #()*+, #-./)0*+(C, .(B.0)*;;D,H8./.,F,3/.H,5B,)+,68.,(5O5/O(G,'7, H)68756,68*6,07--5+)6D,0*/.,*+1,(8*/)+3,7<, X+7H;.13.C, H., /.*;;D, H75;1+_6, 8*2., X+7H+, how to do anything, you know?

F,68)+X,3/7H)+3,5B,)+,*,-*b7/)6D,H8)6.,(5O9 5/O,7<,:8)0*37,)+,68.,JT(C,H.,H./.,*;;,O.)+3, 6.*(.1,;)X.C,c#/.,D75,:8)+.(.e,R8D,*/.,.D.(, ;)X.,68*6ed,#+1,68.+,B5;;)+3,68.)/,.D.(,O*0XG,F, 68)+X,-D,B*/.+6(,(*H,-.,O.,5B(.6C,*+1,-D, 1*1,H*(,;)X.C,c\.,B/751,7<,O.)+3,!);)B)+7,*+1, 07//.06,68.-Gd,$8*6,.*/;D,07+2./(*6)7+,H8.+, F, H*(, (.2.+, /.*;;D, (.6, -., 5B, <7/, 68)(, O.;).<, 68*6,F,-*66./,*+1,68*6,-D,/776(,*/.,)-B7/69 *+6G, MD, 05;65/., *+1, H87, F, *-, )(, 1.(./2)+3, 7<, O.)+3, )+, 68)(, 075+6/DC, *+1, 68*6, 75/, B;*0., )+, 8)(67/D, *+1, 75/, 07--5+)6D, )(, )-B7/6*+6, *(,H.;;G,a.,H*(,*,O)3,B*/6,7<,H8D,F,8*2.,68)(,

B/)1.<5;,5+1./(6*+1)+3,7<,O.)+3,!);)B)+7,*+1, just being who I am. #+1,F,68)+X,*(,F,376,7;1./C,*;;,68.,)+6./(.09 6)7+(,7<,O.)+3,P5../C,!);)B)+7C,*,08);1,7<,)--)9 3/*+6(,W,F,/.*;;D,87;1,68*6,B/)1.,*+1,68*6,X)+1, 7<, <..;)+3, 0;7(., 67, -D, 8.*/6G, F, O.;7+3, 8./.C, *+1,.2./D,B*/6,7<,-.,1.(./2.(,67,O.,8*BBD, *+1,1.(./2.(,67,8*2.,</..17-(G,#+1,F,68)+X, 68*6_(,*,O)3,B*/6,7<,H8D,F_-,)+,68)(,H7/X,*+1,F, (6*D,)+,68)(,H7/XC,*(,8*/1,*(,)6,)(,*;;,68.,6)-.G, \.0*5(.,68)(,075+6/D,)(,+76,)+,*,3771,B;*0.C, *+1,8*(+_6,/.*;;D,O..+G,F,b5(6,6.;;,-D(.;<h,F,1.9 (./2.,67,O.,8./.G,'7,17.(,-D,<*-);DC,*+1,(7, 17.(,-D,07--5+)6DG Lan, what was your feeling of belonging growing up? I know you’re a refugee. here did you end up settling and how did that feel growing up? as there a sense of community or belonging for you?

Lan Le:,MD,<*-);D,*+1,F,*//)2.1,)+,'*0/*9 -.+67C,*+1,)6_(,*065*;;D,H8./.,F,/.()1.,/)386, +7HG, F+, 6./-(, 7<, O.;7+3)+3C, F, *;H*D(, (6/539 3;.1, H)68, <..;)+3, *;).+*6.1, 7/, )(7;*6.1, </7-, 768./(C,O.0*5(.,)6,H*(,+76,7+;D,68.,<*06,68*6,F, 1)1+_6,(B.*X,"+3;)(8,*+1,68.,<*06,68*6,F,H*(,*, /.<53..,</7-,U).6+*-G,F6,H*(,*;(7,-D,P5../, identity. And it was very difficult to find peoB;., H87, 5+1./(6771, -D, B./(B.06)2.C, O.9 0*5(.,7<6.+,F,68)+X,F,H*(,*(8*-.1,O.0*5(.,)6, H*(+_6,68.,+7/-G,F6,1)1+_6,-..6,68.,(6*+1*/1, 68*6,-D,B*/.+6(,.QB.06.1C,*+1,68.,07--5+)9 ty around me as well. #6,(7-.,B7)+6C,F,H*(,;)X.h,>X*DC,F_-,17+., .QB;*)+)+3, -D(.;<G, F_-, 17+., 6/D)+3, 67, b5(6)<D, -D,.Q)(6.+0.G,F_-,b5(6,37)+3,67,*00.B6,H87,F, *-G,F,68)+X,*065*;;DC,*(,*,/.(5;6,7<,68*6,*00.B9 6*+0.C,F_-,-7/.,07-<7/6*O;.,O.)+3,7B.+,*+1, 25;+./*O;.,W,*+1,68*6,H*(,H8*6,8*(,*;;7H.1, me to be effective in my advocacy. Because H8.+, 07--5+)0*6)+3, 68.(., )((5.(C, F, 17+_6, b5(6,<705(,7+,68.,<*06,68*6,68.(.,*/.,1)(6*+6, 68.7/.6)0*;,B7;)6)0*;,)((5.(C,/)386e,$8)(,)(,2./D, concrete and affects you personally. Do you H*+6,D75/,<*-);D,67,8*2.,*00.((,67,8.*;680*/., *+1, .150*6)7+e, V7, D75, O.;).2., 68*6, .;1./(, (875;1, O., 6*X.+, 0*/., 7<, *6, 68., .+1, 7<, 68.)/, ;)2.(e,'7,F,68)+X,68*6,*;;7H.1,-.,67,O.,-7/., effective because they see how it directly af<.06(,68.-h,68.,;*0X,7<,;*+35*3.,*00.((C,68., ;*0X, 7<, 05;65/*;;D, 07-B.6.+6, -.+6*;, 8.*;68, services, the downstream effects of .S. for.)3+,B7;)0DG,$8.(.,68)+3(,*/.,*;;,*,B*/6,7<,68.)/, story as well. So I try to focus on these issues.

Let someone else rock your retro looks.

When you donate or shop, 96 cents of every dollar earned goes to providing lifesaving care to those living with HIV/AIDS.

!"#$%&"'

!"##"$%&'()$&)"#*&+,-",.*"&/-.("-"01&2(0&/$%34305& ($46&2789:;&<,-",.*" $901*901.()0+*5)(/>*=),4J1*8(;-*.9,0)*3/10+*4-8*9(;*.9,<*1.4<*9(>,A/6*8/)0-5*1/+9*/-+,).40-*.03,1 !"#$%&'#(&)*+, Few things in this world are as powerful as a song. !()*+,-./)0,12*34)50-4607,8*+(33/-0.0,1*94:,*/1,8*3/10+*41*4*;4<*.(*+(3,*.(5,.9,)2* 41*4*)466<0-5*+)<*.(*),3,3=,)*.9,*>(;,)*.9,<*9(68*4540-1.*.9(1,*;9(?8*(>>),11*.9,3@* And in a Los Angeles filled with music, few groups resound as loudly as ariachi Arcoiris.

Composed of passionate violins, bellowing trumpets, and amazingly amboyant uniA()312*34)04+90*,-+4>1/64.,1*.9,*+(3>6,B0.0,1*(A*C4.0-,*3/10+*4-8*.9,*1.),-5.9*(A*.901* +(33/-0.<@* D.* /-A()./-4.,6<* 941-?.* 46;4<1* =,,-* ;,6+(30-5* .(* E/,,)* >,)A()3,)12* =/.* recent years have seen artists merge their identities to create a beautifully intersec.0(-46*1(/-8@*#)+(0)01*01*(-,*(A*.9,1,F*.901*5)(/>*348,*901.()<*GG*<,4)1*45(*;9,-*0.*;41* formed as the world’s first all-queer mariachi band. In the time since they’ve inspired thousands, not only gaining fame through their endlessly viral performances but sooth0-5* 5,-,)4.0(-46* ;(/-81* ;0.9* .9,0)* 1(/-8H4-8* 0.?1* =,,-* 8,:41.4.0-5* .(* ;4.+9* .9,3* 1.)/556,2*46(-5*;0.9*466*(A*C#?1*C4.0-,*+(33/-0.<2*43081.*:0(6,-.*DI"*&4081*4-8*-4.0(-46* discrimination.

The Los Angeles Blade was honored to sit down with members of ariachi Arcoiris .(*9,4)*4=(/.*.9,*03>4+.*(A*.9,0)*3/10+*4-8*;94.*0.?1*=,,-*60J,*;4.+90-5*.9,0)*08,-.0.0,1* =,*.4)5,.,8@*$9,<*8,.406*9(;*9())0=6,*0.?1*=,,-*1,,0-5*C#*+(3,*/-8,)*4..4+J*0-*),+,-.* months — but also how they haven’t lost hope. Because, as any good mariachi will tell you: music heals. And ariachi Arcoiris hopes that their songs can be the soundtrack to Los Angeles fighting back against those hurting it today.

KD*.9(/59.*.(*3<1,6A2*L$94.?1*0.@*D?:,*948*0.*M*D?3*5(0-5*.(*1.4).*4*34)04+90*;9,),*>,(>6,* like me can be welcomed,” Said Carlos Samaniego, who founded ariachi Arcoiris in . He explained how this group was created in response to homophobia he’d previ(/16<*6,A.*-/3,)(/1*(.9,)*34)04+901*4A.,)*A4+0-5*>),N/80+,*8/,*.(*901*1,B/460.<@*&,A/10-5* .(*466(;*4-.0E/4.,8*08,461*.(*946.*901*8),4312*9,*A(/-8,8*.901*5)(/>*.(*+),4.,*4*94:,-* for other musicians who’d been refused the spotlight they deserved. usicians like Samantha Sammi’ Bautista, who traveled across California to audition A()*.9,*5)(/>*.9,*3(3,-.*19,*./)-,8*GO@*'9,*,B>640-,8*;94.*34-<*+466,8*4*)419*3(:,2* 14<0-52*KD.*948*=,,-*4*8),43*(A*30-,H=,0-5*54<*(>,-6<2*>64<0-5*46(-5*;0.9*>,(>6,*0-* 3<*+(33/-0.<@*D.?1*:,)<*>(;,)A/62*P=,0-5Q*(/)1,6:,1*;0.9*,4+9*(.9,)*4-8*P+),4.0-5Q*.901* 3/10+@R* #-8* 0.?1* >(;,)A/6* .(* ;4.+9* 41* ;,66F* 46(-5* ;0.9* 4-* 0-.,):0,;2* .9,* C(1* #-5,6,1* Blade was welcomed to sit in on ariachi Arcoiris’ practice — one of the many they +(-8/+.*,4+9*;,,J@*D.*;41*4-*/>60A.0-5*,B>,)0,-+,*.(*1,,*4*5)(/>*.94.*,-+(3>411,1*1(* 34-<*08,-.0.0,1*=,0-5*/1,8*41*>(60.0+46*A(88,)*+(3,*.(5,.9,)*0-*64/59.,)*4-8*9,4).A,6.* >,)A()34-+,@*":08,-.*0-*,:,)<*3(3,-.*;41*9(;*3/+9*.9,1,*>,)A()3,)1*+4),*A()*(-,* another, with member Yalitza Yaya’ asquez-Lopez saying, This is where we can always +(3,*=4+J*.(*4-8*A()5,.*4=(/.*,:,)<.90-5*,61,*94>>,-0-5*0-*.9,*;()68@R It’s a kind of reprieve that ariachi Arcoiris hopes to give its audience. We’re really N/1.* 4+.0:4.0-5* 1(3,.90-5* >(;,)A/6* ;0.90-* /1* 4-8* ;0.90-* (/)* >,(>6,2R* +(-.0-/,8* S4<4@* K#-8*D*.90-J*.94.*.94.*01*),101.4-+,*0-*0.1,6A2*=,+4/1,*P;9,-Q*<(/*1.4).*10-50-5*46(-5*.(*4* 1(-52*<(/*P),4607,QT*D?3*-(.*46(-,@R*D.*E/0+J6<*=,+43,*+6,4)*.94.*.901*;41*.9,*30110(-*(A* ariachi Arcoiris, to encourage others to live as openly as these musicians do onstage M*4-*(>,--,11*.94.2*/-A()./-4.,6<2*34-<*#-5,60-(1*+/)),-.6<*:0,;*41*84-5,)(/1@ It’s difficult to describe the gut-wrenching anxiety that has filled LA in previous 3(-.91@*$9,*+0.<*941*=,+(3,*4*9(.=,8*(A*DI"*&4081*4-8*.9,*A(+/1*(A*-4.0(-46*)4+0132* ;0.9* ,4+9* 84<* =)0-50-5* -,;* 1.()0,1* (A* 94)8;()J0-5* 0-80:08/461* =,0-5* J08-4>>,8* 4-8* 8,-0,8*.9,0)*)059.1@*D.?1*348,*34-<*C4.0-,*+(33/-0.0,1*),6/+.4-.*.(*19(;*>)08,*A()*.9,0)* culture in fear of it making them a target. And not only have these attacks affected the city’s residents on a personal level, but as Carlos stresses, on a professional one as well.

K$9,*34N()0.<*(A*3<*3/10+04-1*8(*.901*A()*4*60:0-52R*1408*.9,*A(/-8,)@*K$901*01*9(;*.9,<* >4<*.9,0)*),-.2*.9,0)*A((82*.9,0)*541*M*,:,)<.90-5@*U,+4/1,*(A*.9,*DI"*)40812*.9,),*94:,* =,,-*34-<*+4-+,664.0(-1*(A*>,)A()34-+,1@R*V,*,3>94107,8*0.?1*-(.*N/1.*.9,3F*34)04+901* across the city have found themselves struggling financially as institutions grow fearful -.&=&>?9>8@A&BC1&DCDE&=&2>!/F7@2@!82/'@G?>+

(A*9(1.0-5*1/+9*4*=(68*,B43>6,*(A*+/6./),@*#-8*-(.*(-6<*01*.9,0)*)4+,*=,0-5*.4)5,.,82*=/.* ariachi Arcoiris is made up of queer and trans individuals, identities that face more 4-8*3(),*4..4+J1*A)(3*>(60.0+04-1*8,.,)30-,8*.(*>40-.*.9,0)*4/.9,-.0+0.<*41*1(3,.90-5* insidious. They’ve found themselves as intersectional targets, enduring a hateful cli34.,*.94.*941*+4/1,8*1(*34-<*>,(>6,*.(*50:,*/>*9(>,H So why hasn’t ariachi Arcoiris?

It hasn’t affected us morally at all,” clarified Yaya, when asked how these attacks have impacted the group’s willingness to perform. We are a chosen family, and it’s brought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his is not to say they’re immune to worry each member held utterly justified concerns around their rights and freedoms. But Yaya reassures that it’s their shared love of the artform — and one another — that keeps them going, saying, ariachi is joy, >40-2* 148-,11H=/.* 461(* +,6,=)4.0(-* 4-8* ),101.4-+,@* "1>,+0466<* .(84<2* ,1>,+0466<* 0-* .9,* %'2*.94.?1*;94.*34)04+90*01@R

In a Los Angeles mired in fearful uncertainty, ariachi Arcoiris is committed to re340-0-5* 4* 340-1.4<* (A* =(.9* CWU$XY* 4-8* C4.0-,* +/6./),@* $9,* 5)(/>* ),+(5-07,1* .9,0)* A/./),*01*/-+,).40-F*.9,<*4),*1.066*A4+0-5*),8/+,8*>,)A()34-+,*),E/,1.12*4-8*,4+9*84<* =)0-51* 3(),* -,;1* (A* 4..4+J1* (-* .9,0)* +(33/-0.0,1@* S,.* .9,<* J-(;* .94.* 3/10+* 01* .9,0)* =,1.*A()3*(A*),101.4-+,2*.94.*.9,*3,6(80,1*.9,<*=)0-5*.(*.9(/14-81*4),*4*),30-8,)*(A*.9,* >(;,)*;,*94:,*;9,-*;,*1.4-8*.(5,.9,)2*/-4A)408*.(*19(;*(/)*3(1.*4/.9,-.0+*1,6:,1@* They find solace in this liberating sound, creating it daily to empower not only each other but their countless fans worldwide. #-8*.9,<*;4-.*,:,)<*601.,-,)*.(*),3,3=,)*.94.2*0A*.9,<*,:,)*A,,6*46(-,*()*60J,*.9,<?:,* 6(1.*.9,0)*+(33/-0.<2*466*.9,<*94:,*.(*8(*01*10-5*46(-5@

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3)&&4$'./'5$678 $4)&911<()@G)X(>0Y;)1'()/0+-1)59<<)39.9<8-<F)(@8<+81()1'()<(78<91F) 0B)$?8'023)1-8437(4?(-)3,0-13)<85N1'()T_89-4(33)94)W0.(423) *,0-13)">1;U)5'9>';)394>()913),83387()94)Z[Z[;)'83)68--(?)84F) transgender girls from participating on public school-affiliated sports teams. There is specific wording in the law that says 1'()'0-.04(3),-(3(41)94)1-8437(4?(-)50.(4;)-(78-?<(33)0B) 1'(9-)3187()0B)1-84391904;).8:()1'(.),-(?93,03(?)10)5944947)

and create an unfair playing field—even if transgender people take ender-Affirming Hormone Therapy AHT . &94?38F)X(>0Y;)8)1-8437(4?(-)50.84)84?)31+?(41)81)D093() *181()]49@(-391F;)811(.,1(?)10)O094)1'()3>'00<23)>-033=>0+41-F) 1(8.)6+1)583)?(49(?;)591')1'()3>'00<)>91947)1'81)'(-),8-19>= 9,81904)@90<81(3)1'()<85G)X(>0Y;)8<047)591')8)>937(4?(-)'97') school athlete identified in court documents as Jane Doe, filed 8)3+91)8-7+947)1'81)1'()T_89-4(33)94)W0.(423)*,0-13)">1U)@90<81= (?)601')0B)1'(9-)>043191+19048<)-97'13)+4?(-)1'()IA+8<)J-01(>= 1904)/<8+3()0B)1'()\`1')".(4?.(41G Block noted during the briefing, Lindsay, unlike B J, is a F0+47)50.84)94)>0<<(7(;)84?)3'()'83)401)'8?)6<0>:(-3G)*'() 3+,,-(33(?)1(31031(-04()8B1(-),+6(-1F)81)1'()38.()19.(;)83)$) .(41904(?;)3'()583)401;)B-84:<F;)700?)(40+7')10).8:()1'() 1(8.;)84?)'83)O+31)6((4),<8F947)><+6)3,0-13GU)M(78-?947),-0= >(?+-8<)>04>(-43;)'()8??(?;)T]4<9:()01'(-)>83(3)5'(-()8),8-= 1F)'83)30+7'1)10)943+<81()8)B8@0-86<()O+?7.(41)B-0.)-(@9(5;) 5() 06@90+3<F) 1'94:) 1'() ?(>93904) 6(<05) 4((?3) 10) 6() @8>81(?)

6(>8+3()9123).001GU D<0>:)5(41)04)10)3,01<97'1)1'81)601')W(31)L9-79498)@G)DGJGQG) 84?)&911<()@G)X(>0Y)8-()><(8-<F)3+,,0-1(?)6F)#91<()$K;)+3947)1'() /0+-123)?(>93904)94)Z[Z[)94)D0310>:)@G)/<8F104)/0+41F)83)1'() 68393G)$4)1'81)>83(;)1'()/0+-1)B0+4?)1'81)1'()/9@9<)M97'13)">1)0B) \ab`),-01(>13)401)04<F)04)1'()68393)0B)3(Y)84?)-8>(;)6+1)8<30) 04)3(Y+8<)0-9(4181904)84?)7(4?(-)9?(4191FG T#'(-(23)06@90+3<F)84)0@(-<8,)04)1'()A+(31904)0B)5'(1'(-;) 83)8)7(4(-8<).811(-;)1'()*+,-(.()/0+-123)-(8304947)94)D03= tock applies to Title I ,” Block said. Bostock says you can’t fire 30.(04()B0-)6(947)1-8437(4?(-G)$)1'94:)91)3'0+<?)70)591'0+1) 38F947)1'81)8)3>'00<),-94>9,8<)>8421)(Y,(<)30.(04()B0-)6(947) transgender either. Despite that, the states are trying to argue 1'81)D0310>:)?0(3421)8,,<F)10)#91<()$K)81)8<<GU

9:)4$%'./';-4-<-* W'9<()W(31)L9-79498)@G)DGJGQG)84?)&911<()@G)X(>0Y)(Y8.94()#91<() $K)84?)1'()IA+8<)J-01(>1904)/<8+3(;)/'9<(3)@G)*8<8P8-)(@8<+81(3) 1'()<(78<91F)0B)8)/0<0-8?0)X0+3()">1)6844947)>04@(-3904)1'(-= 8,F)+4?(-)1'()_-(()*,((>')/<8+3()0B)1'()_9-31)".(4?.(41G) The Free Speech Clause has five parts, but this case focuses 04)1'()-97'1)10),-8>19>()1'()-(<97904)0B)04(23)>'003947)84?)1'() ,-0@93904)1'81)1'()3181().8F)401)(3186<93')8)-(<97904G)/04@(-= sion therapy is defined in this case as any practice that chang(3)6('8@90-3)0-)7(4?(-)(Y,-(339043)0-)3((:3)10)(<9.9481()0-) -(?+>()3(Y+8<)0-)-0.8419>)811-8>1904)0-)B((<9473)1058-?)94?9= @9?+8<3)0B)1'()38.()3(YGU $4)/'9<(3)@G)*8<8P8-;)c8<(F)/'9<(3;)8)<9>(43(?)>0+43(<0-)5'0) identifies as a Christian, has argued that HB , also :4054)83)1'()TJ-0'9691)/04@(-3904)#'(-8,F)B0-)8)H940-)">1;U) @90<81(3)'(-)_9-31)".(4?.(41)-97'13G)/'9<(3),-8>19>(3)TB891'=94= B0-.(?U) >0+43(<947) 1'81) 3((:3) 10) T-(?+>() 0-) (<9.9481() +4= 5841(?)3(Y+8<)811-8>19043;)>'847()3(Y+8<)6('8@90-3;)0-)7-05) 94)1'()(Y,(-9(4>()0B)'8-.04F)591')d1'(9-e),'F39>8<)60?FGU)*'() 6-0+7'1)B0-58-?)8),-(=(4B0->(.(41)<853+91)8789431)1'()3181(;) 8-7+947) 1'81) 1'() <85) '83) .8?() '(-) -(B-894) B-0.) ?93>+33947)

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0(*%0+6+(1')$)0,-(,)#$ 0(*%0+%7%3.,)8% SHANA WONG SOLARES swong@losangelesblade.com, 808-386-0872 '(-9%,)$5+1)-%3,#STEPHEN RUTGERS srutgers@washblade.com, 202-747-2077 x 8077 $(,)#$(*+(18%-,)0)$5 RIVENDELL MEDIA sales@rivendellmedia.com, 212-242-6863 (1')$)0,-(,)#$ PHILLIP G. ROCKSTROH prockstroh@washblade.com, 202-747-2077 x 8092 3-%(,)8%+1%0)5$:!-#1.3,)#$ MEAGHAN JUBA production@azercreative.com 1)0,-)/.,)#$ CHRISTOPHER JACKSON, 562-826-6602 All material in the Los Angeles Blade is protected by federal copyright law and may not be reproduced without the written consent of the Los Angeles Blade. The sexual orientation of advertisers, photographers, writers and cartoonists published herein is neither inferred nor implied. The appearance of names or pictorial representation does not necessarily indicate the sexual orientation of that person or persons. Although the Los Angeles Blade is supported by many fine advertisers, we cannot accept responsibility for claims made by advertisers. Unsolicited editorial material is accepted by the Los Angeles Blade, but the paper cannot take responsibility for its return. The editors reserve the right to accept, reject or edit any submission. A single copy of the Los Angeles Blade is available from authorized distribution points, to any individual within a 50-mile radius of Los Angeles, CA. Multiple copies are available from the Los Angeles Blade office only. Call for rates. If you cannot reach a convenient free distribution point, you may receive a 26-week mailed subscription for $125 per year or $5.00 per single issue. Checks can be sent to Phil Rockstroh at prockstroh@washblade.com. Or send him an email to request directions to make a payment online. Postmaster: Send address changes to the Los Angeles Blade, PO BOX 60664 Washington, DC 20039. The Los Angeles Blade is published bi-weekly, on Friday, by Los Angeles Blade, LLC. Rates for businesses/institutions are $450 per year. Periodical postage paid at Los Angeles, CA., and additional mailing offices. Editorial positions of the Los Angeles Blade are expressed in editorials and in editors’ notes as determined by the paper’s editors. Other opinions are those of the writers and do not necessarily represent the opinion of the Los Angeles Blade or its staff. To submit a letter or commentary: Letters should be fewer than 400 words; commentaries should be fewer than 750 words. Submissions may be edited for content and length, and must include a name, address and phone number for verification. Send submissions by e-mail to gpalomera@losangelesblade.com.

2023 GLAAD Media Awards

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678!9:;<<=!#>?<=@A>@BC! D;=BA!@ED>F>AG!>BD7!@B! @HHIB>JKD!L@=DM P=*$.&=#("2=*#%$3*'#J*"0-$;*K#:=*$1'#2&3"#-&3# this showcase of AA I art became one of the biggest 0&DD4",.@#&=)$",K,")#*;*".'#,"#%( #$%&'()%*(+,-. !"#$#%&'#(")*+*'#",)-.+,/*#'.$01*2#3,.-#0&4".+*''#%56789#0+4:'#$"2#*;*".'<#.-*=*>'#"*;*=# :**"#$#?$=.@#A4,.*#+,1*#!"##$%&'(#$)*')+.

For more than five years this showcase of Asian American and acific Islander AA I $=.,'.=@#-$'#:**"#$#?,++$=#&/#.-*#B7%(#A4**=#'0*"*C#(#0&D:,"$.,&"#&/#0&DD4",.@#/4"2=$,'*=# and nonstop party, the event which takes place - times throughout the year promises a raging dance oor and a stage filled with the best AA I talent Angelinos could ask for.

Starting in , it quickly gained national attention whether it be a visit from openly A4**=#E&4.-#(',$"#,2&+<#%$=$#F$G#&/#H$.'*@*<#&=#2&"$.,&"'#&/#/=**#?=&240.#/=&D#D$1*4?# moguls like atrick Starr, it has risen to become one of the most celebrated evenings of 04+.4=$+#.$+*".#,"#.-*#0&4".=@C#64.#:*@&"2#:*,")#$#/4"<#,"0+4',;*#",)-.#&4.<#3-$.#.=4+@#'*.'# !"##$%&'(#$)*')+#$?$=.I#!.'#/&4"2*=<#("2=*#%$3*'#J*"0-$;*K<#'$.#2&3"#3,.-#.-*#%(#6+$2*# to describe how this pulse-pounding evening of communal unity began the way most great things in life do: a queer person being extra.

Back in , I was a freshman in college,” Said enchavez, reminiscing on the first .,D*#.-*@#-&'.*2#!"##$%&'(#$)*')+C#L!#-$2#.&#2&#$#+*$2*='-,?#?=&G*0.#M.&#0=*$.*#$#0&DD4",.@# program and I asked myself, What do I care about?’ I thought about my organizing roots, my queer Asian identity, and how I’ve been dancing since I was a kid, and thought, What’s a blend of all three of those things?’” And thus, the fundraiser was born, with the writer $"2#0&DD4",.@#&=)$",K*=#.4=",")#$#-&D*3&=1#$'',)"D*".#,".&#&"*#&/#.-*#D&'.#?&?4+$=# queer parties in LA. Cultural nights aren’t uncommon in Los Angeles numerous clubs, from recinct DTLA to Beaches, boast evenings curated for specific identities and racial groups. But enchavez’s goal was always to create something different, an evening of inclusivity that supports its patrons long after A hits and they’re ushered out of the door. They clarify that profit was never the goal, saying We’re using nightlife as an accessible way for people to get involved within community organizing with of ticket proceeds at every single show always going to a nonprofit.” It’s a sel ess mentality something almost entirely unheard of in the club scene that has provided numerous organizations with vital funds — a type of support that these groups, and those they serve, need more than ever.

L(#+&.#&/#!"##$%&'(#$)*')+#,'#,"#=*'?&"'*#.&#.-,")'#.-$.#$=*#-$??*",")#,"#&4=#0+,D$.*#=,)-.# now,” The creator explained, delving into how the event has evolved in response to the increasingly hate-filled political climate. They detail how, with discriminatory voices becoming more and more vocal, it’s become even more important for L BT folks to have plac*'#3-*=*#.-*@#0$"#/**+#.=4+@#'$/*#,"C#L,!"##$%&'(#$)*')+ is a space of healing — it’s so hard to be out in the world, but when you come in here , you’re swaddled with the warmth of knowing that you are accepted and seen.” They go on to describe how they’ve done things

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like host an emergency party” quickly after the last election or prioritize donating funds to programs supporting the L BT -youth the current administration is targeting, all the 3-,+*#*"0&4=$),")#$..*"2**'#.&#.$1*#.-*#?=&42#A4**=#*"*=)@#&/#.-,'#'-&30$'*#,".&#.-*,=# own communities. It’s a kind of valuable, affirming organizing that reminds locals of their ?&3*=#3-,+*#'4??&=.,")#"4D*=&4'#*''*".,$+#0$4'*'N$"2<#$'#J*"0-$;*K#?=&42+@#$2D,.'<# it’s only possible because of him.

Whether it’s booking talent, reserving a venue, or purchasing every visual aspect of the show with their own money, the organizer works almost completely by themself to en'4=*#*$0-#!"##$%&'(#$)*')+#,'#.-*#:*'.#,.#0$"#:*C#%,1*#*;*=@#$2;&0$.*<#("2=*#-$'#D&D*".'# of burnout, of wondering if this is all worth it and if they should just take a break — but their community keeps them going. Whenever it feels too hard my go-to is always to think about my ancestors and the people that have come before me,” they explained. I’m Indigenous and Filipino, and both cultures have deep histories of struggle, violence, and queer erasure. They’ve overcome a lot, and I can, too.”

7-=&4)-&4.#.-,'#0&";*='$.,&"<#&"*#.-,")#A4,01+@#:*0$D*#0+*$=O#%&'#(")*+*'#-$'#"*;*=# '**"#$#?$=.@#+,1*#!"##$%&'(#$)*')+. While many advocates are only now realizing that their community’s joy can be merged with the ongoing fight against discrimination, enchavez has understood this since day one and curated an event centered around this revolution$=@#'*".,D*".C#!.>'#3-$.#0=*$.*2#.-,'#'-&30$'*#/&=#$=.,'.'#3-&#$=*#.&&#&/.*"#&;*=+&&1*2<#$# fundraiser for organizations who fight tirelessly every day, and, perhaps most important &/#$++<#$#.,D*#/&=#84**=#?*&?+*#,"#%&'#(")*+*'#.&#=*D*D:*=#.-$.#.-*@#$=*#"&.#$+&"*#,"#.-*# ongoing fight for justice. !.>'# .-,'# D,'',&"# .-$.# .=4+@# '*.'# !"##$% &'(#$)*')+% $?$=.C# 6*0$4'*# $'# J*"0-$;*K# D$2*# 0+*$=<#@*'<#.-*'*#$=*#/4"#?$=.,*'#$"2#$#0*+*:=$.,&"#&/#,2*".,.@C#64.#.-*@>=*#$+'&#$#=*D,"2*=O# ,"#.,D*'#3-*"#:*,")#%56789#,'#?&+,.,0$+<#"&.-,")#,'#D&=*#=$2,0$+#.-$"#4"$:$'-*2#A4**=# G&@C

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Hunnam’s Ed ein inspired sycho,’ Silence of the Lambs’ ./*01$,*2%+'*3(,4 !"#$%&'()%*+"%$'+",'$%$'(-(%&(-(%./-(.0*%1+-(%$'.)%()+",'%-(./2/34(%1+)#$(-#%+)%*+"-% 56%#7-(()8%9*.)%:"-;'*%'.#%#(-<(0%";%.)+$'(-%+)(= >+-$").$(/*8%")/3?(%1+#$%+4%$'(%+$'(-#8%$'3#%+)(%3#%)+%/+),(-%.%$'-(.$%@%A"$%$'.$%0+(#)B$% 1(.)%'(B#%#$+;;(0%$(--34*3),%"#=%>+-%$'(%$'3-0%3)#$.//1()$%+4%'3#%C:+)#$(-D%.)$'+/+,*%#(2 ries, urphy profiles notorious murderer and bodysnatcher Ed ein, whose crimes in a -"-./%E3#7+)#3)%$+&)%0"-3),%FGHI#%.)0%JKI#%A(7.1(%/(,()0.-*%3)%$'(%.))./#%+4%#(-3./%?3//(-% lore though, with only two confirmed murder victims, his body count barely qualifies him .#% +)(=% L(<(-$'(/(##8% '3#% )+$+-3($*% #;-(.0% 3)$+% ;+;"/.-% 7"/$"-(% $'-+",'% $'(% 3)#;3-.$3+)% they provided for some of the most iconic fictional serial killers in our popular imagination.

M)%4.7$8%3$B#%$'(%-(.7'%'3#%'(3)+"#%.7$#%'.#%(N$()0(0%$'-+",'%$'(%1.)*%#7-(()%.)0%/3$(-2 ary villains that have been based upon him first and most famously orman Bates, the deranged cross-dressing murderer at the center of both obert Bloch’s novel and Alfred O3$7'7+7?%1+<3(%<(-#3+)%+4%CP#*7'+D%@%&'37'%#((1#%$+%A(%1+#$%+4%3)$(-(#$%3)%C:+)#$(-Q% The Ed ein Story,” which uses the fictionalized narrative of its titular anti-hero’s life as a springboard to explore the re ection of his crimes through the stories and the characters that would come to be in uenced by him, as well as their impact on some of the people &'+%7-(.$(0%$'(1=%5'.$B#%.%;(-4(7$%.),/(%4+-%.%:"-;'*%#(-3(#%@%3)%$'3#%7.#(%&-3$$()%A*%M.)% Brennan and mostly directed by ax Winkler because it allows plentiful opportunities to indulge the queer entertainment mogul’s penchant for campy re-enactments of true and not-so-true Hollywood.

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In the first of its eight episodes, we meet ein Charlie Hunnam in the early s, living on the family farm he shares with his mother Laurie etcalf and brother Hudson z . As 3$%;/.*#%+"$%3$#%<(-#3+)%+4%$'(%(<()$#%$'.$%&+"/0%#'.;(%'3#%4"$"-(%1.0)(##%@%;.-$37"/.-/*%$'(% tyrannical ravings of his puritanically religious mother, and her efforts to instill her vitriolic hatred of sinful impulses especially involving sex into her sons it also offers fast-for2 ward” glimpses of what’s to come for Ed, whose quiet and seemingly timid demeanor 1.#?#%.)%3))(-%/34(%$'.$%3)7/"0(#%.%4.#73).$3+)%&3$'%#'-")?()%'(.0#8%7.))3A./3#18%.)0%$'(% gruesome atrocities of the azi Holocaust.

It’s a gripping introduction, invoking the elements of ein’s story that would become #(-3./%?3//(-%C$-+;(#D%@%$'(%.A"#3<(%";A-3),3),8%$'(%03##+73.$3+)8%$'(%,-"(#+1(%C#+"<()3-#D% .)0%#?3)%#"3$#%3)$()0(0%$+%4((0%.%4.)$.#*%+4%$-.)#4+-1.$3+)%@%.)0%/.*#%$'(%/.)0%.'(.0%&3$'% the stylistic choice to blur the lines between reality, delusion, mythology. At the same time,

it quickly establishes a precedent of veering into speculation, depicting certain events ?3//3),#%$+%&'37'%'(%)(<(-%.013$$(0%.)0%&(-(%)(<(-%;-+<()8%.%4.A-37.$(0%-+1.)7(%&3$'%.% young neighbor Suzanna Son , and other departures from the territory of docudrama” into that of sensationalized fantasy” in a manner that makes it hard to separate truth from fiction.

5'.$8%+4%7+"-#(8%3#%$'(%;+3)$=%:+#$%+4%:"-;'*B#%7-31(%.)0%'+--+-%#'+&#8%3)%#+1(%&.*% +-%.)+$'(-8%(N;/+-(%$'.$%#.1(%)(A"/+"#%/3)(8%&'($'(-%CA.#(0%+)%.%$-"(%#$+-*D%+-%)+$=%5'(% C:+)#$(-D%#(-3(#%3#%.)%30(./%<('37/(%4+-%(N;/+-3),%$'(%A+")0.-3(#%A($&(()%;(-7(;$3+)%.)0% reality, offering characters and situations so distorted beyond everyday experience that (<()%0+7"1()$(0%$-"$'#%4((/%/3?(%;.-$%+4%.)%.A#"-03#$%;/.*=%M)%$'(%#(.#+)B#%#(7+)0%(;32 sode, the scope expands with the inclusion of another plotline, a few years beyond ein’s eventual capture and imprisonment, that takes place during the filming of sycho,” intro2 ducing both director Alfred Hitchcock Tom Hollander and star Anthony erkins Joey ol2 lari in an equally speculative exploration of the way these collaborators were may have been affected by the artistic process that took them into ein’s monstrous head.

E(%&+)B$%0(/<(%4"-$'(-%3)$+%$'(%(<()$#%$'.$%4+//+&%0"-3),%$'(%-(#$%+4%$'(%#(-3(#8%(N7(;$% to say that it goes on to follow ein’s presence in pop culture through his cinematic rein2 carnations in The Texas Chainsaw assacre” and Silence of the Lambs,” and that, as with 1+#$%:"-;'*%#'+&#8%$'(-(B#%.%?3)0%+4%/"-30%,/+##%$'.$%()<(/+;#%$'(%()$3-(%$'3),8%.%#(/427+)2 sciously elevated style that magnifies half-truths and mythology alongside the tragedies $'.$%#;.-?(0%$'(1= 5'.$8%'3#$+-37.//*%#;(.?3),8%'.#%A(()%$'(%7+)$-+<(-#*%.-+")0%:"-;'*B#%C:+)#$(-D%#'+&#8% sparking debate about exploiting the memory of victims for the glamorization of their killers.

M$B#% ./#+% $'(% #.1(% 7+)$-+<(-#*% $'.$% '.#% #"--+")0(0% .//% #"7'% #$+-3(#% 3)% ;+;"/.-% 7"/$"-(8% &'($'(-%;.-$3.//*%$-"(%+-%()$3-(/*%4.A-37.$(0=%O3$7'7+7?%4.7(0%$'(%#.1(%7-3$373#1%&3$'%CP#*2 7'+8D%*($%'(%./#+%1.0(%.%4+-$")(%.)0%7(1()$(0%.)%./-(.0*231;-(##3<(%/(,.7*%&3$'%.%1+<3(% that redefined not just the horror genre, but the boundaries of popular cinema itself. He &+"/08%)+%0+"A$8%'.<(%.;;-(73.$(0%$'(%3-+)*%+4%#((3),%'31#(/4%;+-$-.*(0%'(-(%.#%.%7-(.2 ture driven perhaps by some of the same twisted desires as ein, simply because he un2 0(-#$++08%4-+1%*(.-#%+4%(N;(-3()7(%.#%.%1.#$(-%1.)3;"/.$+-%+4%."03()7(#8%$'.$%$'(%1+#$% effective use of filmed storytelling can only be achieved by showing us the darker corners +4%+"-%3))(-%/.)0#7.;(#%$'.$%&(%&+"/0%+$'(-&3#(%;-(4(-%$+%3,)+-(= In terms of presentation and performance, The Ed ein Story” successfully inhabits a gritty noir-ish space that evokes both the pulpy true crime stories of ein’s day and $'(%C#/.#'(-%1+<3(D%.(#$'($37%+4%+"-%+&)R%$'(%<3+/()7(%3#%)+2'+/0#2A.--(08%.)0%$'(-(4+-(% difficult to watch, which in itself will likely be enough to ensure that it’s not a show for every taste. Though Hunnam is disappointing as ein his affected, one-note take on the 7'.-.7$(-%3#%.%4.-%7-*%4-+1%P(-?3)#B%()0(.-3),/*%.&?&.-0%A+*3#')(##%.#%$'(%-(./2/34(%?3//(-B#% fictional stand-in in sycho” , but many of the other cast members deliver outstanding turns - most notably the gifted etcalf, who makes ein’s mother arguably more mon2 strous than her notorious offspring.

S/$31.$(/*8% .;;-(73.$3+)% 4+-% :"-;'*B#% )(&(#$% 4+-.*% 3)$+% $-"(% 7-31(% 1*$'21.?3),% &3//% 7+1(%0+&)%$+8%.#%&3$'%.)*%+4%$'(%+$'(-#8%.%1.$$(-%+4%$.#$(=%5'+#(%&'+%.;;-+.7'%3$%&3$'% .)%(*(%$+&.-0%3$#%7.))*%(N.13).$3+)%+4%;+;"/.-%1(03.B#%+A#(##3+)%&3$'%7-31(8%<3+/()7(8% .)0%")#;(.?.A/(%'+--+-%13,'$%'.<(%.%A($$(-%$31(%&3$'%3$%$'.)%$'+#(%'+;3),%4+-%.%1+-(% objective, centered, and fact-based document of ein’s legend.

M)%.)*%7.#(8%3$#%()$(-$.3)1()$%.;;(./%3#%@%;(-'.;#%3-+)37.//*%@%")0()3.A/(R%.4$(-%.//8%#(-3./% ?3//(-#%;-+<30(%.)%./1+#$%3-+)7/.0%,".-.)$((%+4%;"A/37%3)$(-(#$8%7.--*3),%$'(%(<(-21*#$(-32 +"#%?(*%$+%&'.$%1.?(#%.%;(-#+)%C(<3/D%.)0%$'(%7'.)7(%$+%(N.13)(%+"-%+&)%-(/.$3+)#'3;% &3$'%$'(%0(.0/*%31;"/#(#%A('3)0%$'(3-%7-31(#=%E'($'(-%+-%)+$%*+"%.;;-(73.$(%$'(%#'+&B#% 0(/3A(-.$(/*%(N;/+3$.$3+)%$+)(8%+-%$'(%#+1($31(#%+<(-2$'(2$+;%7.1;%+4%3$#%;-(#()$.$3+)8%+-% (<()%$'(%#((13),/*%,-.$"3$+"#%)"03$*%.)0%<3+/()7(%$'.$%#(-<(#%$+%")7+14+-$.A/*%$3$3//.$(%"#% $'-+",'+"$8%*+"B-(%A+")0%$+%A(%0-.&)%3)= M)%+$'(-%&+-0#8%*+"%13,'$%)+$%/3?(%3$8%A"$%*+"%&+)B$%A(%.A/(%$+%/++?%.&.*=

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FIL

67889:7;!#<=7>!?@ABC!!"#$$%&'%()*%+,#-*.%/&01234 DE77;!;7=;7C78?@?9<8 Latest version of iconic story a love letter to humanity’ #$%&'&()%*+,)-. !"#$% "#&% '"()#"*+% &#,'-."*)% /*0% +,'+),1&% 0/*2)%&2)*)&3%"#4&%*,%5,*0)'%#$/#%,*)%,6%#$)% standout films this awards season is iss of the Spider Woman.” riginally a bold novel published by Argentine writer anuel uig "*%789:3%"#%5/&%/0/;#)0%"*#,%/%;./-%/*0%#$)*% a screenplay. In , the film earned four Academy Award nominations, with William Hurt winning Best Actor — the first ever /5/'0)0%6,'%/%;,'#'/-/.%,6%/*%,;)*.-%<1))'% character. =)*% -)/'&% ./#)'3% "*% 788>3% #$)% &#,'-% 5/&% turned into a Broadway musical starring the "2,*"2% ?$"#/% @"()'/3% /*0% 5,*% &)()'/.% =,*-% Awards. Fast forward to : for this new version, Jennifer Lopez and Diego Luna both play dual roles in the film, which also stars newcomer, Tonatiuh.

The film takes place in , during ArA gentina’s troubled times two prisoners are forced to share a confined cell in Buenos Aires. alent n Luna , a arxist revolutionA ary, is committed to his political idealology, despite being tortured and deprived by the guards. olina Tonatiuh , a gay window dresser who is in jail because of his sexual orientation, survives the insanity by fantaA sizing about his favorite movie, telling alA entin all the details. While their connection begins as a way for them to emotionally esA cape, it grows deeper, in the most profound way. =$',1+$% &#,'")&3% 2,*6)&&",*&3% /*0% &/2'"A fice, the duo discover unexpected tenderA ness and the possibility of love in a place designed to annihilate the human spirit.

These two men who could not be difA 6)')*#% "*% )()'-% &"*+.)% 5/-3% )()'-#$"*+% "&% stripped away from them in their lives, the politics, class, education, all this stuff goes away, and they start to see themselves as individuals,” said Bill Condon, the Academy Award-winning writer-director known for such films as ods and onsters,” ChiA cago,” Dreamgirls” and Beauty and the Beast,” who was deeply moved as he wrote the script. roducing the updated version of the film was vital to Lopez, who is also an executive producer. I think it’s more relevant than ever,” she said at a recent olden lobes press event.

The idea of a trans or gay character in this movie the kind of divisiveness that we’ve experienced in the world in the past few years. A story about two people who are thrown

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#,+)#$)'3% 5$,% /')% &,% ,;;,&"#)3% 5$,% /')% &,% different from each other. And find the huA manity and fall in love with each other. Who would never probably even find themselves in the same circles. That’s really important to have queer representation in movies. In my own family, I know how important that is for people to see that.” =,*/#"1$3%5$,%&#)/.&%)()'-%&2)*)%$)%"&%"*3% lost pounds for the role.

I think there’s a certain moment that’s $/;;)*"*+% '"+$#% *,5% #$/#% 5)% *))0% #,% ')A mind ourselves that dignity and humanity and love transcend gender,” he said. They transcend sexual orientation. They tranA scend all of those things. And so, yes, we deal with queer themes in our film, but I do think that it is a love letter to diversity. It is a love letter to humanity as a whole.”

Condon loved every version of iss of the Spider Woman,” each of them was revoluA tionary” for its time.

But when you read that novel, it’s taken 1&%#$"&%.,*+%#,%')/..-%2/#2$%1;%#,%5$/#%"#%5/&% saying. And specifically, this was well before the election season and well before we knew what was going to happen. But it was clear that trans people were going to be demonA ized, that they were going to be a part of the conversation it did feel that this was someA thing that was bubbling up and happening.

So that’s what made it feel very urgent.”

Lopez added: The revolution that you’re saying that we need right now is exactly the reason why I think the movie is so importA ant right now for people to see. Because it reminds you that it’s really, at the end of the day, about two people getting along and falling in love, when you really forget about /..%,6%#$)%,#$)'%#$"*+&3%#$/#%5)4')%/..%B1&#%$1A man. And it is about humanity.”

Tonatiuh hopes that the film inspires peoA ple to step up.

We constantly see the news, we see evA )'-#$"*+% #$/#4&% +,"*+% /',1*0% /*0% 5)% 5,*A der, What is it that I can do? I’m just one person.’ But this isolationist mentality is the thing that gets us here. Every one of us has little actions to take and little moments to do. And especially in a moment where LatiA nos in general in this country are experiencA ing massive negative public relations, just attack after attack after attack, it’s really wonA derful to showcase what Latino dignity is and reminding people of, like the talent, the joy that our culture adds to the nited States and the world.”

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