Fais Do Do

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.

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. 

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. 

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. 

Clothespin Fever Press was a small lesbian press based out of Los Angeles. It was co-founded by Jenny Wrenn and Carolyn Weathers in 1985 and was active until 1996.

Circus of Books was a West Hollywood adult bookstore specializing in gay pornographic magazines and VHS tapes. Owned and operated by a heterosexual Jewish couple, it became an unlikely yet extremely popular cruising destination for gay men across Los Angeles, and is the subject of the documentary Circus of Books, directed by the owners' daughter.

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.

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.

Robert Henry Mizer (Bob) Mizer was born on March 27, 1922, in Hailey, Idaho. Known for his stellar skills in photography, he produced Physique Pictorial. In 1945, Mizer experienced a pivotal achievement in his career: the creation of the Athletic Model Guild, his studio space where the magic of his photography came to life.  His photographic works altered the course of the gay rights movement by encouraging individuals to participate in gay pride and to strive for profound change. 

BLK Publications is located at 5903 S Corning Ave, Los Angeles, CA 90056. BLK Magazine was a magazine designed to educate and inform the Black LGBTQ community in Los Angeles that hadn’t yet been informed about issues that related to their community, particularly during the height of the AIDS crisis. Created by Alan Bell in 1988, BLK Magazine aimed to not only be the best black gay news publication, but the best magazine altogether. Designed in the vein of Newsweek and TIME, BLK Magazine aimed to be a source of mainstream news for everyone to enjoy as well as provide a safe methods for the Black LGBTQ community to communicate. At the time, the community had only limited ways of interacting or learning from one another, so the purpose of BLK transcended just news to be an avenue for the community to flourish.

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.

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.

ONE, Incorporated, moved their offices to 2256 Venice Boulevard in 1962. ONE Magazine was published out of these offices for the remainder of its run, until 1967.

ONE Magazine was a nationally-distributed publication put out by ONE, Incorported, a homophile organization based in Los Angeles. The magazine was published from 1952 to 1967, surviving threats from the police and federal government to provide news, essays, fiction, and more to gay and lesbians across the United States.

The Ladder was among the earliest lesbian publications in the United States. It was published by the Daughters of Bilitis, a lesbian organization based out of San Francisco with a large chapter in Los Angeles. The magazine ran from 1956 through 1972.

Vex is a venue famous for being a hotspot for Latinx members of the punk scene, particularly during the Chicano punk movement of the late 1970s. 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. 

Vex is a venue famous for being a hotspot for Latinx members of the punk scene, particularly during the Chicano punk movement of the late 1970s. 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. 

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. 

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. 

Queercore originated in Toronto in the 80s with the creation of a zine called “J.D.s”. Founded by G. B. Jones and Bruce LaBruce, J.D.s was motivated by their personal experiences of adversity amidst the mainstream punk scene. 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. Artists involved in the queercore scene in Los Angeles in the 90s include Best Revenge (Spitshine Records), IAMLoved, Nick Name and The Normals (aka Kent James), Vaginal Davis, Limp Wrist, Three Dollar Puta, and Sean DeLear. While the heyday of queercore was the 1980s and 1990s, queer punk did not begin or end with queercore. Important predecessors to the queercore movement include Jayne County, punkster-turned-folkster Phranc, and the films of Divine and John Waters. Likewise, today the spirit of queercore continues with its its post-punk, riot grrrl, and indiepop contemporaries including Shopping, Wolf Girl, G.L.O.S.S., Peaches, Martha, ONSIND, Gravy Train!!!!, Colour Me Wednesday, Guttfull, and PWR BTTM. Zines like Shotgun Seamstress and films like The Lollipop Generation (G.B. Jones, 2008) have also carried on the queercore torch of its predecessors Scutter and Spew2.   

Queercore originated in Toronto in the 80s with the creation of a zine called “J.D.s”. Founded by G. B. Jones and Bruce LaBruce, J.D.s was motivated by their personal experiences of adversity amidst the mainstream punk scene. 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. Artists involved in the queercore scene in Los Angeles in the 90s include Best Revenge (Spitshine Records), IAMLoved, Nick Name and The Normals (aka Kent James), Vaginal Davis, Limp Wrist, Three Dollar Puta, and Sean DeLear. While the heyday of queercore was the 1980s and 1990s, queer punk did not begin or end with queercore. Important predecessors to the queercore movement include Jayne County, punkster-turned-folkster Phranc, and the films of Divine and John Waters. Likewise, today the spirit of queercore continues with its its post-punk, riot grrrl, and indiepop contemporaries including Shopping, Wolf Girl, G.L.O.S.S., Peaches, Martha, ONSIND, Gravy Train!!!!, Colour Me Wednesday, Guttfull, and PWR BTTM. Zines like Shotgun Seamstress and films like The Lollipop Generation (G.B. Jones, 2008) have also carried on the queercore torch of its predecessors Scutter and Spew2.   

Vice Versa was the first lesbian magazine published in the United States. It ran for nine issues, released monthly from June 1947 to February 1948. Edythe Eyde—known by her pen name, “Lisa Ben,” an anagram of “lesbian”—published the magazine. She typed it by hand at her job at RKO Studios and wrote most of the content herself, which included book reviews, short stories, poetry, and more.

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.