Vex

Luces Revista/Magazine was a Spanish-written safe space for queer Hispanic women throughout the 1990’s that stressed the importance of identity, expression through art, and the distribution of resources during the S.I.D.A. (A.I.D.S.) epidemic. “Luces” translates to “lights", highlighting the intention for the magazine to serve as a beacon of hope and positivity; a light to those surrounded by the darkness of oppression. Luces magazine emphasized and prioritized creation, independence, and motivation.

Mr. T's Bowl was a venue notably used to host queercore punk bands during the 2002 first installment of the zine-inspired music festival, Scutterfest. 

Bienestar was a Spanish-written newsletter educating readers on the state of HIV/AIDS in Latinx communities-- emphasizing that heterosexuals were also impacted. In addition to providing comprehensible medical information, Bienestar included hope testimonials from infected community members alongside daily support activities/services for anyone interested. Listed is the newsletter's original address from 1995, although it changed throughout the newsletter's course.

Chicos Modernos was a Spanish-written comic series emphasizing the importance of practicing safe sex. Illustrated by Joey Terrill, author of queer Chicano publication Homeboy Beautiful, the comic was published between 1989 and 1992 by The CORE Program funded by the L.A. County Dept. of Health Services. The comic promoted and spread knowledge about safe sex during the A.I.D.S. pandemic, such as who was at risk of infection and how to take safety measures-- all while maintaining culturally-relevant comic elements. This information was extremely useful given the time frame and targeted demographic. Moreover, the comics were published solely in Spanish during the height of the A.I.D.S. pandemic-- a time in which Hispanic communities lost thousands due to the virus. Chicos Modernos became not only a source of entertainment, but an indirect health resource. The address listed belonged to The CORE Program, 1990's.

Homeboy Beautiful was a short-lived and influential queer Chicano publication of the late 1980’s authored by Joey Terrill. With two existing editions and only 100 copies produced, Homeboy Beautiful fostered a sense of community within the queer Chicano scene by presenting relevant cultural content, such as featuring the problems in los barrios (neighborhoods) and highlighting the homo-homeboy lifestyle that was specific to how local Chicanos approached homosexuality. Included in both editions are “Ask Lil Loca”, a segment serving as a "letters-to-editor" feature, fashion tips relevant to cholo/a culture, art entries, and “exposés” such as a homo-homeboy party or a gang-planned kidnapping. This magazine served as safe space for Chicanos in the predominantly white gay scene. Address listed was author Joey Terrill's P.O. Box for mail art submissions.

Located at the American Hotel, Al's Bar was a hotspot for downtown Los Angeles' art and music scenes. At the time of its closing in 2001, Al's Bar was known as Los Angeles' oldest punk club. Bands and singers that played there over the years included: Beck, DNA/Arto Lindsay, Ry Cooder, The Fall, Fear, Hole, Hüsker Dü, Imperial Butt Wizards, Los Lobos, Social Distortion, Mighty Joe Young, Nirvana, The Party Boys, The Residents, Sonic Youth, Urge Overkill, Wall of Voodoo, and Dwight Yoakam.  

The Coconut Teaszer was a Hollywood nightclub known for hosting a weekly after-hours club that offered a performance platform for queer Chicanx punk bands from 1992-2003.

One of Los Angeles’s most famous and longest-running discos, Circus Disco was a huge club with a focus on Latinx people. Located originally at 6648 Lexington Avenue in Hollywood, like many gay spaces, it was slightly outside of the heart of Los Angeles, but attracted thousands of gay men nonetheless. 

The Smell is a famously all-ages LGBT-friendly music venue with a legacy of hosting queercore performers since its opening in 1998. Queercore, not exactly a subgenre of punk, but rather a divergent response to the sexism and homophobia of the punk scene, sought to not only dismantle these prejudices amidst the punk scene but also speak out against the growing conservatism of the gay and lesbian mainstream. 

Fais Do Do was an East. L.A. music venue that hosted the final night of Scutterfest 2002, a music festival formed out of the punk rock queer zine Scutter. Scutter was self-published by Chicano queer and Los Angeles native Rudy Bleu, who formed the magazine to create a relatable space for other queer people of the punk rock scene. 

Fais Do Do was an East. L.A. music venue that hosted the final night of Scutterfest 2002, a music festival formed out of the punk rock queer zine Scutter. Scutter was self-published by Chicano queer and Los Angeles native Rudy Bleu, who formed the magazine to create a relatable space for other queer people of the punk rock scene. 

The Gauntlet II was a leather bar that notably hosted queercore showcase "The Freak Show" and welcomed queercore bands throughout LA to perform as regulars. Queercore, not exactly a subgenre of punk, but rather a divergent response to the sexism and homophobia of the punk scene, sought to not only dismantle these prejudices amidst the punk scene but also speak out against the growing conservatism of the gay and lesbian mainstream.