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Gay Men’s Chorus of Los Angeles’ ‘Holiday Spectacular’ kicks off its 40th year

Advocacy and music continue to touch lives



GMCLA’S first performance was held Dec. 16, 1979 at the Scottish Rite Temple in Los Angeles. (Photo by Fred Camerer)

On Dec. 15 and 16, for the 40th year in a row, the Gay Men’s Chorus of Los Angeles will take the stage to perform its annual holiday concert. GMCLA’s “Holiday Spectacular” (called “supremely magical” by the Los Angeles Times), brings audiences heartwarming, traditional songs alongside unexpected surprises. From raunchy reindeers to sexy Santas, each year the chorus “sleighs” the stage in every way. This year’s “Holiday Spectacular,” taking place at the Alex Theatre (216 N Brand Blvd., Glendale) is themed “Calling All Angels” and promises to be as heavenly as ever.                                                           

But GMCLA is so much more than an organization that provides one of Los Angeles’ most beloved holiday traditions. GMCLA sings for a world free from homophobia and all other forms of discrimination, and all of these aspects of what it does—brotherhood and community, concerts and performances, arts education programs—have at least one thing in common: they carry the message that all people should be able to live their lives as their authentic selves, free from discrimination and persecution.

Conductor and Artistic Director Joe Nadeau, said, “GMCLA is part of an international association of LGBTQ Choruses called GALA Choruses. GMCLA’s work with young people has inspired many other GALA choruses to create their own youth programs, which is making a huge impact across the country. Former Conductor of the New York City Gay Men’s Chorus, Gary Miller once said, ‘If you want to sing, join a chorus. If you want to change the world, join a gay chorus.’ Over the past 40 years, GMCLA has lived up to this statement and helped make the world a better place for not just our members, but for everyone who is able to experience our voices.”

Members collectively spend thousands of hours volunteering each year. Executive Director Jonathan Weedman said, “The one thing about GMCLA that strikes me the most is the incredible dedication and commitment that the Membership has not only for performing, but equally to give back to their Community, to making our world a better place to live. They are true Citizen Artists.”

Through youth music education programs, the Chorus has also reached more than 55,000 at-risk teenagers in underserved areas of Los Angeles County with a message of acceptance, understanding and inclusion. To help carry out its mission of education, GMCLA launched the Alive Music Project (AMP) in 2007, introducing its outstanding music to high school and middle school students.

Today, GMCLA also offers 12-week choral music education programs for youth in juvenile detention centers (in partnership with the Arts for Incarcerated Youth Network) and in public schools (in collaboration with the Partnership for LA Schools). With these programs, GMCLA brings a safe space for communication, an artistic outlet and an open forum for free expression to young people who would otherwise have none.

One member of the Chorus who has seen firsthand GMCLA’s growth and recalls various times when GMCLA has been by his side, is 24-year member and retired pastor and therapist Steve Pieters. Steve first reflected upon the height of the AIDS crisis, during which members were dying almost weekly and GMCLA became a light of hope and support system. “Two or three times a month we would have memorial services at the end of rehearsal for the fellow who died that week,” Pieters said.

While HIV/AIDS treatments improved and the steady march lessened, Pieters continued fighting his own battles, including AIDS and bouts of what was deemed terminal cancer, during which his GMCLA family always remained by his side, as in 2012. “They visited me in the hospital and then at home as I was recovering. They were so encouraging to me. Everything from bringing me groceries to just keeping me company watching TV…I knew I had all these wonderful men at my back,” he said.

In 1979, the original 99 members of GMCLA gathered at West Hollywood’s Plummer Park, marking the birth of this Chorus family. A few months later, founding director Harold Kjellberg led GMCLA through its first major event, the March on Washington, D.C. This helped lay the foundation for GMCLA’s mission that we still see today, most recently with Dos Coros, Una Voz, in which the Chorus sang with Coro Gay Ciudad de México, battling hurdles such as homeland security to put on a concert that promoted unity and love during divisive times.

GMCLA has become synonymous with artistry and advocacy. GMCLA singer, Chair of GMCLA Board of Directors, and Mayor of West Hollywood John Duran explained: “Art advocates for a point of view. Art can accomplish things more subtly…and can appeal to people’s hearts rather than their heads. GMCLA has been very involved in moving the cause of equality for LGBT people forward over the decades. It continues to do so now in schools, in juvenile detention facilities, in community concerts around the county.”

Jerwin Monje is one member who appreciates the advocacy work he is able to do as a GMCLA member. Speaking about the Alive Music Project (AMP), in which chorus members sing and share stories about coming out with students during an anti-bullying assembly, Monje said, “It was so powerful being able to say that to kids and have kids come up to me after saying that my story resonated with them or that they could relate to it, and that they were proud I had the courage to be able to tell my parents that I was gay.”

Monje also teaches for GMCLA in juvenile detention centers. “No other chorus is doing this. We’re really spearheading and piloting this movement to bring acceptance, to bring music to these kids who really need it, who need an outlet.”

The program is having a significant impact on teenagers who participate. One said, “I felt like I belonged somewhere for once in my life.” Another said, “We learned to collaborate with each other,” and yet another: “It inspired me to not be afraid of being heard.”

Men come to GMCLA to sing, to find their tribe, to inspire the next generation—or some combination thereof. Anthony Archibold, a preschool teacher, said that upon joining GMCLA not only did he find a family, he found himself. “They built me up. They made me more confident. They allowed me to wake up and say, ‘You’re gay, you’re black, and it’s okay.’ It gave me a family….it changed my life tremendously. I’ve never had so many gay friends who cared. It changed my life because it showed me that who I am is ok. Who I am is beautiful. What I am is love” Archibold said.

One favorite moment Archibold has had with the Chorus, he described in detail. “It was the holiday concert. The lights were dim and they were blue…and the song was ‘We are a family.’ We’re all on the stage and we’re swaying and tears welled up in my eyes because I thought about how I’m so far from home, literally on the other side of the country. ‘We are family, like a branching tree reaching out toward the sky.’ We’re holding each other, we’re swaying, and we’re singing, and I think that’s my favorite memory because at that point, I felt like I’m exactly where I need to be.”

Experience the holiday concert on Dec. 15 at 2 p.m. and 8 p.m. and on Dec. 16 at 2 p.m. Tickets range from $20-$90. Visit to purchase tickets and for more information.

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Former LA Blade Editor Karen Ocamb, journalist of the year awardee

The AIDS crisis was her entry into the movement for LGBTQ equality. She had worked in LGBTQ and independent media for nearly 30 years



Karen Ocamb, journalist of the year awardee 2020 at the Los Angeles Press Club gala (Photo by Troy Masters)

LOS ANGELES – Former Los Angeles Blade editor Karen Ocamb was awarded Journalist of the Year for 2020 at the 63rd annual Los Angeles Press Club’s Southern California Journalism Awards gala, which was held Saturday evening at the Millenium Biltmore Hotel in Los Angeles.

The Los Angeles Press Club was founded in 1913 and honors journalists through its annual National Arts and Entertainment Journalism Awards and SoCal Journalism Awards.

The annual gala is held to celebrate the best of Southern California journalism and features and honors journalists working in all media platforms of print, radio, television or digital (online). Ocamb won in the category of ‘print’ with a circulation under 50,000. Her fellow nominees were Lina Lecaro, LA Weekly and Hayley Munguia, Long Beach Press-Telegram.

The LA Press Club judges noted in their decision bestowing the award, “Karen Ocamb’s passionate reporting of the struggles of the LGBTQ community and journalists covering LGBTQ issues during the pandemic earns her a Print Journalist of Year award.”

She was also a runner-up in two other categories securing second place in ‘Pandemic Reporting Digital’ (Online) with awardee Jon Regardie, Los Angeles Magazine, “A Month Inside the COVID-19 War Room with Mayor Eric Garcetti” securing first place. (Karen Ocamb, Los Angeles Blade, “Seeking Truth in the War on the Coronavirus”)

Ocamb also secured second place in the category of ‘Commentary: on political, social, cultural, investigative, judicial, economic or other serious subjects.’ The awardees were Ryan Lo and Chandra Bozelko, Reno Gazette Journal, “Klobuchar’s Own Central Park Five Situation” (Karen Ocamb, Los Angeles Blade, “Strong at the Broken Places”)

Ocamb, who now works in media relations for Public Justice, a national nonprofit progressive legal advocacy organization that has been fighting for civil rights, environmental protection and consumer and workers’ rights for more than 35 years, was the founding news editor of the Los Angeles Blade in 2017.

After spending the 1960s as a student against the war in Vietnam, fighting for civil rights and exploring the counter-cultural movement, Ocamb joined CBS News in New York and learned to be a journalist under the mentorship of such icons as Walter Cronkite, Dan Rather and Bob Schiefer. Her final job for the network was producing the 1984 Olympic coverage for CBS News affiliates at TV City in Los Angeles.

Free to pursue her social justice passions and discuss her opinions, Ocamb volunteered on the ballot campaign for West Hollywood cityhood. It was during this time that her friends started dying of AIDS. By the late 1980s, serving as a quasi-healthcare worker was not enough and Ocamb returned to journalism, this time freelancing for Frontiers News Magazine and other gay press publications.

The AIDS crisis was her entry into the movement for LGBTQ liberation and equality. She has worked in LGBTQ and independent media since then, culminating in her position as news editor and reporter for the Los Angeles Blade.

Los Angeles Blade publisher Troy Masters, CNN chief medical correspondent Dr. Sanjay Gupta, and former LA Blade News Editor Karen Ocamb at the 63rd annual Los Angeles Press Club awards gala.
(Photo courtesy of Troy Masters)

In 2019, Ocamb won a special recognition award from LGBTQ media watchdog group GLAAD.

“After initially starting her career at CBS News and producing the 1984 Olympics in Los Angeles, Ocamb joined the LGBTQ press in the 1980s after more than 100 friends died from AIDS,” GLAAD said in a release at the time. “She has since become a leading force and champion for LGBTQ media. She is known for her smart, fair, and professional writing style as well as her staunch dedication to shining the spotlight on underreported LGBTQ people and issues.”

The 63rd annual Los Angeles Press Club’s Southern California Journalism Awards gala held Saturday evening, October 16, 2021, at the Millenium Biltmore Hotel in Los Angeles.
(Photo By Troy Masters)

Editor’s note links to the stories submitted and judged are here, here, here, and here.

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Michael Kearns, the Godfather of LGBTQ+ authenticity

Michael’s work has been described as “collisions of sex and death, of eroticism and grief,” but he has truly dug to an even deeper level



Michael Kearns by Keida Mascaro

HOLLYWOOD – The arc of LGBTQ+ history over the past 50 years has been one of constant upheaval and evolvement. From a period when it was both illegal and insane to be gay, through the achievement of being able to serve openly in the military, to marriage equality and the ability to create families to today’s fight against the tyranny against Trans people, the movement has not stopped to take a breath.

Michael Kearns, the first recognized “out” actor on the Hollywood landscape, has been a visible presence through it all. More importantly, he has always” been visible on the gay scene. In the seventies he epitomized the free love and erotic freedom that many gay men lived. He was featured in classic gay porn movies and did a PR stint as the face of the “happy hustler.”  

“That was my introduction to a lot of people,” Michael told me when we sat down for a chat on Rated LGBT Radio. “I kind of captured the zeitgeist of the times, the freewheeling seventies. We forget that there was that period of time when sexuality was joyful and exciting and thrilling.”

In the eighties he was visible in mainstream media as a gay man playing gay men characters. In 1983, Michael was cast in a minor role on the Cheers Emmy winning episode “the Boys in the Bar.”  He was instantly recognized for his gay sexual iconic status by LGBTQ audiences, even though the population at large did not know who he was. The casting director who fought for his casting was Stephen Kolzak, who would himself become a prominent AIDS activist before he died at 37 in 1990. Stephen casted Michael to make a statement. He wanted to signal to the LGBTQ community that Cheers had our backs. “He was one of the only ones that had the guts,” Michael remembers.

“There were a lot of stereotypes in television regarding gay portrayals. I was pegged and cast in some of those roles. I did play the stereotype, but rather than a straight guy playing those roles, I brought authenticity. I was real. Straight guys playing gay would always spoof the role. They were always ‘winking’ and signaling to the camera ‘I am not really that way.’  So, the performances are by in large horrible, even with some academy award winners. The actors were constantly saying that it was not who they were—if they weren’t making that clear on the talk shows, they were doing it in the performance itself.’ Michael says.

Michael soon morphed into an HIV positive man playing HIV positive characters, while off camera becoming a visible and vocal AIDS activist. “It was a new kind of cliché. They had to always make me look horrible. The ghastlier the better. They could not have an HIV character who looked normal—as I did when I arrived at the set. Finally, I had enough and refused to do that anymore.” Michael then immersed himself in theater where he found greater character honesty and truth.

 As gay men captured their identities in the 90s as husbands and fathers, Michael was there too—becoming one of the first gay men to adopt a child.  It is that role, as a father, that Michael has said is his greatest.

Today, Michael has been a driving force behind QueerWise, a multigenerational writing collective and performance group. Through QueerWise, Michael gives poetic voice to talent that would otherwise be voiceless. Its members include published poets, writers of fiction and non-fiction, playwrights, singers, musicians, social activists, dancers, actors artists and teachers. 

This weekend, on Sunday October 17th, QueerWise launches its latest work, The Ache for Home. 

“The Ache for Home is a video presentation of heartfelt stories from formerly homeless/unhoused individuals in and around West Hollywood. It was developed through a mentorship program facilitated by QueerWise members. The production represents citizens-turned-writers who share their inspirational stories from those glamorous streets and sidewalks, ranging from soaring self-acceptance to narratives of truth-telling defeats,” states Michael. The production can be seen on QueerWise’s YouTube Channel starting 5pm October 17.

The Ache for Home features a young cis male with a passion for music and art, who finds joy “when I can put a smile on someone’s face and give back”, a retired mixed race bisexual government worker who is a voracious reader and literacy advocate, two trans males share their experiences of living on the street, and a former resident playwright who was homeless for 44 days and nights in the city. “I am thrilled at our inclusion of transmen in this work,” Michael says. “It is a poorly represented community within a poorly represented community.”

On current controversies with media and transgender targeting, particularly the Dave Chappelle issue, Michael remarks, “I am glad it is generating passion. It is bringing up conversation on the plights of black trans women who are victimized at an alarming rate, we should not say victimized… we should say murdered. I am glad we are shedding light on that.”

Michael’s work has been described as “collisions of sex and death, of eroticism and grief,” but he has truly dug to an even deeper level. The Ache for Home takes its inspiration from the Maya Angelou quote, “The ache for home lives in all of us, the safe place where we can go as we are and not be questioned.” Michael Kearns work has always encouraged us to go, and live, “as we are.” He is the amalgamation of eroticism, grief, healing, and appreciating the richness of life itself.

He is the godfather of LGBT+ authenticity. In earlier days, he may have represented sex, he may have walked us through a period of darkness and death into the arms of the creation of the new family. He has now brought us home, and when we look at him, we see a new quality.



Rob Watson is the host of RATED LGBT RADIO, a national podcast and he’s one of the founders of the

A gay dad, business man, community activist and a blogger/writer, Watson is a contributor to the Los Angeles Blade covering entertainment, film, television, and culture with occasional politics tossed in.


Listen to the show here:

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Book details fight to repeal ‘Don’t Ask, Don’t Tell’

Clinton-era policy was horrific for LGB servicemembers



‘Mission Possible: The Story of Repealing Don’t Ask, Don’t Tell’
By C. Dixon Osburn
c.2021, self-published $35 hardcover, paperback $25, Kindle $12.99 / 450 pages

When Senior Airman Brandi Grijalva was stationed at Tyndall Air Force Base, she talked with a chaplain’s assistant about some problems she had at home. The chaplain’s assistant said what she told him would be confidential. But when she revealed that she was a lesbian, the chaplain’s assistant no longer kept her conversation with him confidential. Grijalva, after being investigated was discharged.

Craig Haack was a corporal in the Marines serving in Okinawa, Japan. Haack, who had made it through boot camp, felt confident. Until investigators barged into his barracks. Looking for evidence “of homosexual conduct,” they ransacked everything from his computers to his platform shoes. Haack was too stunned to respond when asked if he was gay.

In 1996, Lt. Col. Steve Loomis’ house was burned down by an Army private. The Army discharged the private who torched Loomis’ house. You’d think the Army would have supported Loomis. But you’d be wrong. The army discharged Loomis for conduct unbecoming an officer because a fire marshal found a homemade sex tape in the ashes.

These are just a few of the enraging, poignant, at times absurd (platform shoes?), all-too-true stories told in “Mission Possible: The Story of Repealing Don’t Ask, Don’t Tell” by C. Dixon Osburn.

As a rule, I don’t review self-published books. But “Mission Possible” is the stunning exception that proves that rules, on occasion, are made to be broken.

“Don’t Ask, Don’t Tell” (DADT) was the official U.S. policy on gay, lesbian and bisexual people serving in the military. Former President Bill Clinton announced the policy on July 19, 1993. It took effect on Feb. 28, 1994.

Sexual orientation was covered by DADT. Gender identity was covered by separate Department of Defense regulations.

Congress voted to repeal DADT in December 2010 (the House on Dec. 15, 2010, and the Senate on Dec. 18, 2010). On Dec. 22, 2010, Former President Barack Obama signed the repeal into law. 

DADT banned gay, lesbian and bisexual people who were out from serving in the U.S. military. Under DADT, it was not permitted to ask if servicemembers were LGB. But, LGB servicemembers couldn’t be out. They couldn’t talk about their partners, carry photos of their girlfriends or boyfriends or list their same-sex partner as their emergency contract.

It took nearly a year for the repeal of “Don’t Ask, Don’t Tell” to go into effect. On Sept. 20, 2011, Obama, Secretary of Defense Robert Gates and Adm. Mike Mullen, chairman of the Joint Chiefs of Staff “certified to Congress that implementing repeal of the policy {DADT} would have no effect on military readiness, military effectiveness, unit cohesion or recruiting and retention,” Osburn writes.

Before DADT, out LGBT people weren’t permitted to serve in the military. “Don’t Ask, Don’t Tell” was intended to be a compromise—a policy that would be less onerous on LGB people, but that would pass muster with people who believed that gay servicemembers would destroy military readiness, morale and unit cohesion.

Like many in the queer community, I knew that DADT was a horror-show from the get-go. Over the 17 years that DADT was in effect, an estimated 14,000 LGB servicemembers were discharged because of their sexual orientation, according to the Veterans Administration.

But, I had no idea how horrific “Don’t Ask, Don’t Tell” was until I read “Mission Possible.”              

In “Mission Possible,” Osburn, who with Michelle Benecke, co-founded the Servicemembers Legal Defense Network (SLDN), pulls off a nearly impossible hat trick.

In a clear, vivid, often spellbinding narrative, Osburn tells the complex history of the DADT-repeal effort as well as the stories of servicemembers who were pelted with gay slurs, assaulted and murdered under DADT.

Hats off to SLDN, now known as the Modern Military Association of America, for its heroic work to repeal DADT! (Other LGBTQ+ organizations worked on the repeal effort, but SLDN did the lion’s share of the work.)

You wouldn’t think a 450-pager about repealing a policy would keep you up all night reading. But, “Mission Possible” will keep you wide-awake. You won’t need the espresso.

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