Arts & Entertainment
A non-binary Cuban artist is born again in Spain
Nonardo Perea suffered persecution in his homeland
MADRID, Spain — Nonardo Perea lives in Michel’s body. He uses it at will to be vulgar, angelic or diabolical, male or female. Nonardo can be whatever he wants. Michel, shy and withdrawn, hides behinds that alter ego that lends him his face and hands to show the world his claims as an artist.
Nonardo is an invention that comes to life in photographs, video art, performances, stories, installations, journalistic articles, ceramics, and whatever other format is possible, since Nonardo long ago lost any limits. His mind lost that ability as he reinvented himself as an empirical artist, as no one ever gave him the opportunity to attend art school.
He has been greatly misunderstood, mainly because his pieces overflowed with eroticism and Cuba is still too prudish to appreciate his queer art and his other works the regime has labeled as “politically incorrect.” Michel and Nonardo were discriminated against by society and the dictatorship that governs the country and represses anyone who does not agree with its dogmas.
Nonardo nevertheless overcame those barriers and began creating, without anyone’s guidance. He was first a writer and received some tools once he graduated from the Onelio Jorge Cardoso Literary Training Center in Havana. He won several competitions, such as the 2017 Franz Kafka Prize for his work “Los amores ejemplares” and the 2012 Félix Pita Rodríguez Prize for the novel “Donde el diablo puso la mano.”
In the visual arts, where he is usually very restless, he won the third prize for photography at the GendErotica Festival for “La casa por la ventana 2014” with his Vulgarmente Clásica project. He participated in the Bienal 00, organized by independent artists, with his “En la cama con Nonardo” project and presented Vulgarmente Clásica at Madrid’s La Neomudéjar Museum in 2019.
Nonardo belongs to the San Isidro Movement, a group of independent artists and intellectuals who fight for a democratic Cuba. That battle has also been fought through his art and in pursuit of LGBTQ rights, such as marriage and adoption rights for same-sex couples, and an end to gender violence that remains a problem on the island.
Due to his work and political activism for a truly democratic Cuba, Nonardo suffered police harassment and Cuban state security agents threatened him with jail. Fearing for his life, he took refuge in Spain, a country where he feels he has been reform and from which he speaks with the Los Angeles Blade.
LOS ANGELES BLADE: Those who follow your art on social networks and off of them know you as Nonardo, but few know that your real name is Michel. How and why was Nonardo Perea born?
NONARDO PEREA: I remember starting my writing career and I needed another name that was not so common. I did a big search and I didn’t like any of them. I wanted a unique name if possible. One afternoon I was sitting in the living room of my house with my father and I told him about the need for a name. It was he who proposed Nonardo. At first it sounded a bit ugly to me, but then with Perea it seemed a little better. It had strength. I liked it because it began with “no”, denial, and was followed by “nardo”, flower, that is, Nonardo had a lot to do with me. Since then I started using it for all of my work, both literary and audiovisual.
BLADE: How does your artistic training take into account that you are an empirical creator?
PEREA: My artistic creation from the beginning was always very complicated, taking into account that I had to abandon my studies at an early age for inclusion reasons, so I have no academic training; then add to that that I am a very obvious gay. At one point in my teens I was seen as a person who was too feminine. The fact of looking like a woman was a problem when trying to fit in a macho and homophobic society. Where I first tried to break through was in writing. I started by attending literary workshops, where I won several contests quite quickly. I was never exempt from criticism and rejection of the themes that my narrations addressed, which almost always focused on LGBTQ issues and dirty realism. Many times I felt that being the way I am made many uncomfortable. But despite the rejections and bad times that I lived in various periods of my life, I continued doing narrative, and I also began to write articles about social issues for the Havana Times digital newspaper. Then, over time, I had the opportunity to apply to a video journalism workshop in Prague organized by the People in Need organization, and thanks to a woman I love very much, Clara González, who saw some potential in me, I was accepted to participate in the course, in which I learned some video editing, and received help with equipment that helped me to start doing audiovisual work with better quality. All my creative works have been done empirically, and above all I am an artist who works based on improvisation.
BLADE: You have ventured into artistic genres as different as writing, journalism and acting. How do you define yourself as an artist and why?
PEREA: I am a person who cannot be inactive. I spend every day of my life thinking about doing something new. Sometimes I have so many things on my mind, and the fact that I can’t do everything I want to do makes me feel a bit frustrated. I have no words to define myself, I can only say that in some way my creative processes have helped me to cope with the life that I had to live, everything I have done and do has served as a way of escape from reality and everyday life, I could no longer live without creating.
BLADE: In a recent interview you precisely declared that your art was a process of liberating yourself. What exactly do you free yourself from when you create?
PEREA: I free myself from the day-to-day, the everyday, my fears and censorship.
BLADE: In most of your visual works you work with your own image. Why?
PEREA: I use myself as an artistic object because in Cuba I lived in solitude for a long time. I somehow isolated myself and created a space of comfort in my home, a place where I felt more free. The confinement somehow helped me to stay away from society that did not tire of making me feel bad about my obvious homosexual condition in much of my youth. My literary proposals and art in general, on the other hand, were not taken into account. I always perceived that most people underestimated me, and proposing someone to collaborate with me on erotic photographs without receiving anything in return was complicated, and still is. I have control over my body. If I want to undress in a photo or in a video, even if I feel sorry, I strip myself of complexes and do it. If I want to take a photograph that is too vulgar, I also do it. I do not have to request permission from anyone to do so. I don’t put up barriers. I take a risk, then I think that they say what they want. I understand that I am doing a job where I express my personal and social problems, as a human being.
BLADE: You identify yourself as an androgynous person. How many difficulties has that brought you considering that you have lived most of your life and developed your work in Cuba, a country where macho and homophobic ideals still predominate?
PEREA: I consider myself a non-binary androgynous person, because I do not identify with any sex. I can feel at ease as a girl as well as a boy. I have no problem with male or female pronouns. I do not like to victimize myself, but I can tell you that the road has been very difficult, and it has been not only for me, but for many other gays and lesbians who have chosen not to hide their sexual identity in their lives and have had to fight against the world. Being who I am in Cuba has not helped me much in terms of being able to be recognized for my work, but being who I am has helped me to strengthen myself and to understand that I do not need the approval of any institution to continue creating. I am a Cuban artist and like it or not, a large part of my work was created in Cuba.
BLADE: Many Cuban artists prefer to separate their creations from politics and even refuse to give their true judgment on the situation on the island. However, your work has a high dose of activism against the dictatorship and in defense of LGBTQ rights. What consequences, professional and personal, has being an artist labeled by the Cuban regime as “counterrevolutionary” brought you?
PEREA: The main consequence is that I had to go into exile; leave the country where I was born, abandon my mother and family, my friends, my dogs and a lifetime. But I think it had to be that way. There was no other way than to say goodbye, because under no circumstances was I going to allow my creative processes to stop, and above all I was going to continue doing my activism. I know that perhaps I was not going to be able to withstand so much pressure from state security agents, who wanted me to collaborate with them to expose my colleagues from the San Isidro Movement. If I returned to Cuba right now, I don’t know what my life would have been like from that moment on. If being a counterrevolutionary means saying what I think, and being in favor of oppressed minorities, and being against a dictatorship that has left Cuba and its people in a nameless misery for 61 years, then I am a counterrevolutionary and with great honor. I have nothing for which to thank that country, where I was always seen as a freak, and what little I got was thanks to my effort and dedication, because while in Cuba I received criticism and obstacles for everything, for this reason they are collecting what they sowed with me, they do not expect roses from me.
BLADE: In Cuba, to be accepted as part of the official LGBTQ movement you have to share the ideology of the dictatorship, the same one that put equal marriage to a popular vote and represses independent activists. In your opinion, what are the dangers of “politicizing” the struggle of the Cuban gay movement?
PEREA: The danger is in seeing how it becomes politicized. While in Cuba, I never stopped going to the marches staged by CENESEX (the National Center for Sexual Education) and I will not forget how Mariela Castro (CENESEX’s director and the daughter of former Cuban President Raúl Castro) herself politicized those mini-carnival marches with slogans in favor of the five spies imprisoned in the Empire (a reference to the U.S.), and with cries of “socialism yes and homophobia no.” I do not remember seeing any gay or lesbian carrying a sign demanding equal marriage, or demanding freedoms, or a law against gender violence. It is really pathetic considering that the system itself is the number one cause of the persistence of homophobia and constant abuse of people from the community, mainly transgender people, in Cuba, a country where your rights are constantly violated, either because of race or sexual orientation. Those marches were politicized by CENESEX itself in favor of a supposed socialism, which has never worked and will never work because that is a hybrid between communism and underdeveloped capitalism, and we all know that it is nothing other than a dictatorship, and of the crudest in history because it has managed to last for 61 years. If Mariela Castro and all her loyal followers politicize the march for their benefit, I don’t see why the community cannot independently arm its own fight in favor of the most basic rights of the LGBTQ community in Cuba.
BLADE: In what way has the forced exile that you have faced in Spain changed your work?
PEREA: Right now I continue to do what I want to do, regardless of being in Spain. I still feel that I am in Cuba. My vision as an artist has not changed much. I’ve only been here a year and seven months, although I believe that wherever I am, in some way my work will be linked to that of the island because I have not yet cut that umbilical cord that links me to the place where I was born and took my first steps. It is true that one acquires other mechanisms of creation and invoicing in the work while abroad, but at the moment I do not think that the focus of my work has changed much because of being in another country. Of course, here in Europe there are other problems that I may be able to take advantage of, but be that as it may, they will be appreciated from the perspective of an exiled Latin American artist.
BLADE: On a personal level, what has it been like to be a gay immigrant in Europe?
PEREA: I am very grateful for Spain, mainly for Madrid, which is the place where I have lived since I arrived in 2019. At the moment, I have not felt discriminated against because of my sexual orientation or because I am a foreigner. I have received emotional and legal support from the NGO Rescate, which welcomed me and where I have received the care that I never had in my own country. With all the social and political problems that may exist, it is in this country where I have somehow been able to know what true freedom is.
BLADE: What can we expect from Nonardo Perea in the near future?
PEREA: I am in another difficult moment in my life right now, because I cannot find a job, and I do not receive any money for my artistic work, so what I do is for the love of art and because I cannot stop building my own world. The COVID situation has managed to make things more difficult, not only for me but for everyone, but taking into account that I am an exile and that I have been here for a short time, it is very complicated. Even so, I eventually continue to make video art for the Vulgarmente Clásica audiovisual project, which I have been doing for several years. And more recently I started with a new project, “Maricón Tropical: Living in Madrid”, this one is a bit more comprehensive not to call it ambitious because I insert various artistic manifestations: Performance, audiovisual, literature, drawing and photography, and it is focused on my new life as an exile in Madrid, everything seen from a self-referential point of view, as are almost all my proposals.
BLADE: If you had to create a work that describes your life right now, what would it be like?
PEREA: I consider that my life, my true life, has started now, what it was before was not. For the purposes I was born on March 19, 2019, when I set foot in Spain. All the past is left behind. I want to imagine that the past was a bad dream. My “Maricón Tropical: Living in Madrid” project is a work that somehow reflects that past, which is unfortunately impossible to forget and it is also good that people know what that other life was like, but I focus more on the present, my current problems as a person who faces a new life as an adult who feels like a newborn. I can only tell you that my life’s work is in progress.
Theater
Actor Ben Ubiñas is a whole different ‘Creed’
The young actor talks about starring in Theater4All’s inaugural production of ‘Crone Creed’ at El Portal
Making a name for yourself in Hollywood has become more challenging. You’re competing with influencers for starring roles, and many of the only available jobs are in verticals. And yet, there is an underlying culture of appreciating art and fostering creativity in Los Angeles that is unlike anywhere else in the world. Lucky for Ben Ubiñas, who is poised to star in a new role at the historic El Portal Theatre.
Ubiñas is playing the villain in the world premiere of Crone Creed. Crone Creed is a supernatural drama that spans centuries through the eyes of Vita, a young woman whose life is shattered by religious violence and betrayal in medieval Europe. She takes a vow to help protect humanity from the corruption of religion and the elite as part of an ancient lineage of women known as the Crones. She is reborn throughout history, using her powers to battle a rival faction known as The Fallen.
Ubiñas plays Yanni, her brother, who also gets reborn as a member of The Fallen and fights his sister throughout time.
This production is the inaugural play of Theater4All’s collaboration with the El Portal Theatre to celebrate its 100th anniversary season. Theater4All is a nonprofit theatrical company dedicated to expanding access to live performance for audiences across Southern California. From their website, “the organization works to reduce financial and structural barriers through targeted, subsidized ticket programs, educational outreach, and dedicated student matinees.”
While his past credits sound like a very interesting poem, with roles in Dominate Me Please, Mafia King, Sneak Me In Your Closet: Lost in Deja Vu, Oops My Rich Husband is Faking Coma, and Virgin’s Bad Boy Roommate, it’s clear from speaking with Ubiñas that he has his eye on the prize and loves what he does. He took some time to tell us about his role and his love of acting.
How would you describe Crone Creed?
It’s bonkers. You have to show up ready for anything. Everything happens. There is legitimately very little that doesn’t happen in this play.
How about your character Yanni?
Yanni is one of those guys who gets access to power, lets it corrupt him immediately, and then just starts having fun. He’s like a little earthworm in a big suit of armor. I love playing villains.
What is it like playing out a supernatural story on stage?
Fantasy on stage is so much fun. I feel like a child on a playground, except there’s this massive production bringing that play to life. Like this gigantic machine- lights, sound, everything- kicks into gear to help me live my delusion.
How does it feel performing at the historic El Portal?
I’m really glad we’re in a bigger venue. It’s a big play, with big effects and big performances. I think it’ll fill the space.
Can you tell me more about Theater4All?
The El Portal has this air of mystique around it. I know they want to make theater as accessible as possible to as many people as possible, and I’m happy to participate in furthering that goal.
How does it feel starring in the first Theater4All Production?
It takes a lot of trust to hire an actor to originate a role, particularly in a company’s inaugural production. I feel that trust every day as we all work together to bring this play to life. It’s something I take very seriously, and something I really want to honor.
What is your dream role?
English live-action Colonel Mustang [from the anime Fullmetal Alchemist]. Hopefully I’m old enough by the time they make it.
What is fun about playing a supernatural character?
It really is make-believe. It’s the adult version of playing Barbies, where no matter how fantastical the circumstances, you are still 100% committed to the reality of the situation. It’s much easier when you’re a kid, but it’s really a very similar task.
What are your career goals?
All I’ve ever wanted was to be a working actor. I always have this urge to keep moving the goalpost on myself and never be satisfied, but really I just want to be able to keep doing what I’m doing. That said, a soap opera, because of job security.
What about LGBTQ culture are you currently obsessed with?
I’m loving how loud the music is getting. I had Slayyyter “crank 2” as my alarm for a hot minute, but that had to stop. I was getting stressed.
Crone Creed is written by Founding Producing Artistic Director John Epstein, Casey Morgan, and T. Theresa Scarano, and directed by Marc Morgenstern. It premieres September 30th at the El Portal Theater, running through October 17th. You can purchase discounted tickets and learn more about the organization at www.theater4all.org.
Movies
‘Scorch Marks’: Brandon Shypkowski and Chris Salvatore play out post-apocalyptic ex drama in new horror film
The two leads talk about the demonic ex issues of their new film
Everyone can feel like their ex is a demon, and the new film Scorch Marks explores just that. Brandon Shypkowski plays Beckett, a man just trying to survive the end of the world while being haunted by a demonic apparition of his abusive ex-husband (Eating Out‘s Chris Salvatore). It’s hard enough trying to survive a cataclysmic event, but it’s worse when dealing with your unresolved relationship issues and a demon infestation.
Set to premiere on Dekkoo, an LGBTQ subscription streaming service, on October 1st, this film also features Peter Stickles (Shortbus), Tiffany Shepis (Star Trek: Picard), and the winner of Season 1 of Dragula, Vander Von Odd.
The two leads took some time to chat about dealing with ex drama, society’s obsession with the apocalypse, and how queer people can save the world.
How would you describe Scorch Marks?
Chris Salvatore: Scorch Marks is like the queer horror Gerald’s Game set against the end of the world, with a haunting ex-lover from a very toxic relationship. At its core, it’s about this very human need to find people who make us feel seen, like we belong, and how that need can become dangerous when love starts to blur into control and isolation.
Brandon Shypkowski: The Notebook, but with more blood. Give or take an apocalypse.
What was it like playing out the end of the world?
Salvatore: Surprisingly fun! Obviously the circumstances in the movie are terrifying, but as an actor it gives you permission to go to these really heightened emotional places.
Shypkowski: It was so much fun. We had a stellar team and steadfast captain in [writer/director] Brendan Haley, so I felt like I could really go for it. And this film came at a really turbulent time in my life, so I poured it all into the film. I keep making the joke that filming Scorch Marks was cheaper than therapy and twice as effective. And, yeah, I’ll stand by that.
Why do you think people are obsessed with apocalyptic movies?
Shypkowski: In this economy? They might as well be documentaries. I kid…sort of. I think people have always been fascinated with the end of days: the rapture, Y2K, the end of the Mayan calendar. I think people have a timeless and maybe morose fascination with the apocalypse.
Salvatore: I think there’s something fascinating about imagining the “What if?” Especially now, when the world feels so wild. Who are you when there are no rules anymore? Who do you become when survival is the only thing that matters?
Chris, how did it feel playing a demonic ex?
Salvatore: Honestly, kind of liberating. Joel is obviously doing some pretty terrible things, but I never wanted to approach him as just “the demonic ex” or the villain. I had to find the part of him that genuinely believes he loves Beckett. I think what makes him disturbing is that love and control exist at the same time. He doesn’t necessarily see himself as the bad guy, which made him much more interesting to play.
You spent much of the film in makeup as a demonic character; what was that like?
Salvatore: It was definitely exciting. It was my first time wearing prosthetics. There were days where I spent a lot of time in the makeup chair before we even started shooting, but it was also really helpful because once I looked in the mirror and saw Joel transforming physically, it immediately helped me get into a different headspace.
So much of this movie hinges on your relationship. What was it like playing a toxic couple?
Shypkowski: Luckily, I had hands down the best scene partner. Chris and I spent a lot of time rehearsing and getting to know each other. We built this trust where I think we both felt free to try things, and that safely let me do my best work. We could really go all in because we cultivated this deep respect for each other. Chris is also insanely talented – that certainly helped. It was just sort of the perfect storm (pun intended), and I consider myself incredibly lucky.
Salvatore: It was intense, but that was also what made it so rewarding. I think toxic relationships are complicated because the person hurting you isn’t necessarily hurting you every second of the day. Sometimes they’re also the person making you feel the most loved or understood. Playing on that contradiction was probably one of the most interesting parts of the film for me.
How much of your real life experiences did you put into your portrayal?
Salvatore: I think you always bring pieces of yourself into a character, even when their circumstances are completely different from your own. You use memories of loving someone, losing someone, hurting someone, screwing up, being too harsh, being too soft. It’s all universal. The light and the darkness in all of us. The pain of shame lies just below Joel’s rough exterior. I think most gay men can relate to that even if it doesn’t turn you into an abusive demonic ex- husband.
Shypkowski: Pretty much the entire emotional life of my character comes from my experience. Obviously, I’ve not lived through the apocalypse haunted by visions of an ancient deity. But I certainly mined every past relationship in my life and used them to build my character. I think that specificity is the only way I can approach these characters. Specificity makes it feel alive and honest, and I can only hope that comes through on screen.
Is there any crazy ex-drama that you brought to the set?
Salvatore: Definitely. One ex in particular has informed this and many works of art in the past. Gotta redeem those trauma miles!
Shypkowski: Oh, I’m sure. And listen, my exes could probably make their own apocalypse films based on me. But I think the nuance of our worst moments in a relationship- the arguing, the bartering, the crying all add to an authentic portrayal of the very toxic relationship in this film.
So the film is set during an apocalyptic event; any thoughts on how the gay community can save the world?
Salvatore: No pressure! I think queer people have always been incredibly good at creating community and chosen family, especially when the world hasn’t necessarily made space for us. There’s something really powerful about that. If there’s anything the gay community can teach the world, maybe it’s that you don’t have to be related to somebody or even completely understand their experience to show up for them. We’ve survived a lot historically because people took care of each other. I think the world could always use more of that.
Shypkowski: Too many to count. Mostly involving infiltration of coffee shops and seizing maritime trade, so…halfway there, I guess. On a serious note, I think it all starts with being kind and embracing every letter in LGBTQIA+. Especially our trans family; they need our support most right now.
Are there any fun behind-the-scenes moments you’d like to share?
Shypkowski: Yes. I’d like to take this opportunity to formally apologize to Nick, our sound guy, for whispering absolutely vile things into the mic in between scenes to see if you could hear me. You could, and I’m sorry.
Salvatore: What’s funny is that we were making this incredibly dark, intense movie, but there was actually so much warmth and laughter behind the scenes. Credit to our director, Brendan Haley, for curating an amazing set. You almost need that when you’re working with material this heavy. Some of my favorite memories are honestly just the moments between takes when everyone would break character, and suddenly we were laughing about something completely ridiculous after filming this emotionally brutal scene. It created a really special atmosphere because I felt incredibly safe with the people I was working with, which allowed me to go much further emotionally when the cameras were rolling.
Why do you think queer people love horror?
Shypkowski: I think there is a lot of crossover between horror films and the experience of otherness. Feeling like you don’t belong or even just having to survive in a world that is unkind is something we all know to some degree. And I can’t speak for all queer people, but most of the queer people I know are well acquainted with themes like grief, shame, isolation – things that show up over and over again in horror.
Salvatore: I think queer people understand what it feels like to be told there’s something about you that exists outside what society considers normal. Horror has always been fascinated with outsiders, transformation, secrecy, identity, and people trying to survive in worlds that don’t always understand them. There’s also something cathartic about horror. It takes fears that can be difficult to talk about and turns them into something physical that you can confront. And honestly, queer people also just have great taste.
You can check out Scorch Marks on Dekkoo starting October 1st.
EMMYS
LA Blade was on the scene celebrating television’s biggest stars and luxury brands
Television stars, nominees, presenters, and VIP talent gathered to discover an impressive lineup of luxury, wellness, beauty, travel, fashion, culinary, and lifestyle brands.
We can’t believe it’s been a week since LA Blade was on the scene, preparing for the Emmys in the best way we know how, by rubbing elbows with celebs and luxury products at the Sun Rose Hotel in West Hollywood.
Hollywood’s awards season energy was in full swing as television stars, nominees, presenters, and VIP talent gathered at the GBK Brand Bar Pre-TV Awards Lounge, an exclusive gifting experience celebrating the entertainment industry’s biggest night. Among those in attendance were Emmy® nominees Carols-Manuel Vegas, Supporting Actor nominee for Paradise; Dale Dickey, Supporting Actress nominee for Widows Bay; Hanelle Culpepper, Director nominee for Exodus; Jeff Kober, Guest Actor nominee for The Pitt; Lauren Weedman & Christopher MacDonald, both Guest Star nominees for Hacks; and Oscar Nunez, whose Miss You, Love You was nominated for a TV Movie along with Hacks star and EMMY® presenter Katy Sullivan. Stars from Emmy®-nominated shows included Aliyah Mastin, Krys Marshall, Percy Daggs IV, and Yolonda Ross from Paradise; Alexandra Metz and JB Tadena from The Pitt; Dan Bukatinskey from Hacks; Dani Brown, Dylan Aguilar, and Emma Miller from EMMY winning Love on the Spectrum; Arlan Ruf from DTF St. Louis; Lena Hall from Your Friends & Neighbors; Edwina Findley from The Residence; and Noah Fearnley from Love Story. The celebration also welcomed previous EMMY® winners & nominees Adina Porter, Anthony Anderson, Angela Bassett, Kardeem Hardison, Terrence Terrell, Tara Lipinski, and Obba Babatundé. Also gifted were EMMY® nominees Alan Cumming and Daymond John.
Additional celebrities in attendance included Alanna Ubach, Lela Rochon, Danielle Kennedy, Dylan Aguilar, Britani Bateman, Patrick Gallagher, Moe Jeudy-Lamour, Sandra Vergara, Kadeem Hardison, George Ferrier, Golnesa “GG” Gharachedaghi, Sophia Banks, Sarah Ann Mayer, Blake Kennedy, David Alan Grier, Karen Huger, Kapil Talwalkar, LaMonica Garrett, Felix Solis, Franco Lo Presti, Jonah Wharton, Joseph Yomtubian, Raphael Luce, Tom Sandoval, Wendy Braun, Nadége August, Rachel Stubington, and many others, who stopped by to enjoy the festivities, discover new brands, and experience an impressive selection of luxury products, travel opportunities, wellness offerings, beauty products, culinary treats and unique celebrity gifting experiences.
Among the most talked-about activations were 4 featured brands. Tequila Alto Canto showcased its premium tequila, crafted at 9,000 feet above sea level in the Sierra del Tigre mountains of Jalisco at the world’s highest tequila distillery, using traditional methods and wild fermentation. Mushroom Body Jewelry brought handcrafted luxury to the lounge with its family-owned, U.S.-made 14k and 18k gold body jewelry, gifting guests a handcrafted piece from its collection. Dr. Alyssia Benford, CPA, MGA gifted copies of Best Case Scenario, a forensic deep dive into leadership, empowerment and breaking barriers. Paradero Todos Santos offered guests a taste of its 160-acre, design-driven Baja California Sur property, with qualifying recipients receiving luxury accommodations in a One Bedroom Villa or Suite.
The lounge also featured an exciting mix of beauty, wellness, personal development, food, technology, fashion and lifestyle brands. Apex Regenerative showcased personalized regenerative medicine and longevity protocols, while Ann Sommer Coaching gifted exclusive fear and self-trust resources. Cheetah Ridge offered this year’s nominees an unforgettable luxury South African safari experience, and C.R.E.A.M Luxury Coffee gifted premium small-batch specialty coffees. David Corbin gifted his latest bestselling books, while Dr. Vanita Rattan showcased skincare created specifically for melanin-rich skin and DCM Beauty featured its luxury three-step skincare system. DJ Dazzler brought high-energy music and entertainment expertise to the lounge, while Eme’s Baked Goods showcased premium gluten-free and nut-free treats. HiFiMAN introduced its premium wireless audiophile technology, and Ike’s Love & Sandwiches and Hibachi House generously offered a $1,000 gift voucher. Jardins d’Arménie highlighted its 35-year-aged Armenian Royal Brandy, Jessica Wagstaff shared her personal-growth book, Manifest Who You Are, and Lorenzi Estate Wines showcased premium Temecula estate wines. Milena Los Angeles featured handcrafted eco-friendly luxury candles, Nuropod by Parasym showcased advanced wearable neuromodulation technology, Panama Blue Water offered luxury still and sparkling hydration, PHILIP B. gifted premium botanical hair, scalp and body bundles, Sailrock South Caicos offered an exclusive barefoot-luxury Caribbean escape, and Thyseed showcased innovative baby feeding products.
And what was one of our favorites? Well, starting off the day with three samples from Tequila Alto Canto was definitely a highlight. Getting to meet the owners and staff was a treat.
Philanthropy remained an important part of the GBK Brand Bar experience. Ministerios Buscando La Sonrisa De Un Niño highlighted its mission to provide a safe, nurturing home and educational opportunities for children in need in Mexico, while She Ready Foundation showcased its work providing resources and support to youth impacted by the foster care system.
Gavin Keilly, CEO of GBK Brand Bar, has helped raise and secure more than $10 million for over 50 charities since 2002, continuing GBK’s longstanding commitment to combining celebrity experiences with meaningful philanthropic initiatives.
See you next year!
a&e features
Are you ready to ‘Rock Out’ with Dustin Lance Black?
The filmmaker speaks about his new documentary, queer punk rock, and Dolly Parton.
It’s hard to imagine modern music without the LGBTQ+ community. Whether it’s the wild rhythms of pop or the beautiful tones of R&B, almost every genre owes a huge debt to this culture and how it sculpted this industry into the global powerhouse it is today. Every musical style has been shaped in some way by queer people throughout history, a fact that is especially true for rock, punk, and heavy metal.
These three genres are explored beautifully in Dustin Lance Black’s Rock Out, a four-part docuseries that shows how queer folks of the 60s and 70s continue to shape the music that audiences love today. It delves into the closeted musicians, gay managers, and LGBTQ+ fans who helped shape contemporary music, finally remembering the queer people that so many want you to forget. And all of this hard work can be owed to one person: Dustin Lance Black’s brother, Marcus.
“Rock Out started with a question that my brother asked me,” said Black, speaking about the project with the LA Blade. “He was really into rock and roll, punk, heavy metal — he really surprised us when he came out. He was feeling like an outsider, even in the gay community, and he’d asked, ‘Are there gay people like me, who are into this kind of music and this scene?’ I…I told him I didn’t know.”
Unfortunately, these feelings of living as an imposter led to Marcus taking his own life at a young age. It was a loss that continues to shape Dustin and his career as a filmmaker, with the man creating many award-winning queer films like Milk and Rustin to inspire new generations with the stories of those who came before. But while he’s worked on various projects documenting LGBTQ+ narratives, none have been as personal as Rock Out, with this exploration of queer people in music honoring Marcus and the many other young people struggling to find somewhere they belong today, with Black explaining, “I think that [Marcus] not having a place in the music that was the center of his world led to his early death. And this [documentary] was an opportunity for me to answer the question: were we there? Is there a place for us there now? And if we were there to begin with, what did we do? And the answers were so shocking to me.”
These answers are shown across Rock Out’s four episodes, with Black taking film crews across the United States and the UK to discover the queer stories that kickstarted punk, heavy metal, and rock so many years ago. He discovered how queer ‘transgression’ was key to many artists’ success; audiences were drawn to musicians who shirked societal norms. From the flamboyancy of Prince to The Beatles’ signature hairstyles, so many performers adopted queer mannerisms to attract fans, with the documentary showing how these legendary images were crafted by queer people working in the background. People who knew that, if their real identities ever came out, they’d be immediately blacklisted and booted from the industry they’d dedicated their lives to.
“I mean, Little Richard, who is the father of rock and roll, would eventually come out — but the backlash was so strong, he would go back in!” Exclaimed Dustin. “Jobriath was one of the biggest talents, but he tried to play as an openly gay rock star, so no one bought the records. The documentary…it does start off sad, because some of these artists tried to come out before the world was ‘ready’ to receive them. But [Rock Out] also tells the story of how queer people finally broke through.”
It’s a bittersweet evolution that Dustin documents through a mixture of never-before-seen archival footage and interviews with musicians from that era — including Dolly Parton, with Rock Out featuring one of the final interviews the country singer gave before her passing in August 2026. Black spoke about what an honor it was to speak with her, saying, “She was managed by Sandy Gallin, a gay man, and she talks about what an advantage it was to have a gay manager at the time. It was really moving to hear the interview, because she supported LGBT people very early on…I think we owe her. It will be very hard to find someone to fill her shoes.”
It’s through conversations like these and highlighting the music industry’s many LGBTQ+ changemakers that Dustin Lance Black hopes to honor his brother, with Rock Out sending a very important message to all watching: yes, you belong. In fact, not only do you belong, but by tracing the roots of heavy metal, punk, and rock, he discovered that any LGBTQ+ fan should be proud, knowing that their queer ancestors made these songs the chart-topping genres they are today. He hopes that this documentary assures them that they are not alone in their love for this music, saying, “Loneliness and isolation can lead to young people making some pretty dire decisions. And what helps prevent that is having easily accessible stories of foremothers and forefathers who came before, so that you know we have always existed, and that they were fighting for them. Fighting for them to have a better life.”
It’s a message that people like Marcus need to hear, and it’s one that Dustin gives to audiences with every song, single, and note of Rock Out.
Rock Out premieres on Revry on September 20th, 2026.
Music & Concerts
Ross Alan gives permission for queer joy with new album, ‘Audible Serotonin’
The non-binary sensation opens up about their country disco album
As a nonbinary person, Ross Alan is a gender bender and transcender. They’re bringing that spirit to music with their new country-disco album, Audible Serotonin, released on August 28th. Yes, you read that correctly: a blend of country music and disco?!?
“This album is my love letter to queer joy. After years of writing heartbreak ballads and trying to fit into a box, I wanted to create something that celebrates the healing power of music, freedom of expression, and existing unapologetically; all things I’ve struggled with in the past.” Alan says of the album.
Queer joy is important now more than ever. Alan shares, “At a time when the world has never felt heavier, joy and release through music can become an act of resistance. As a non-binary artist, I believe visibility and representation don’t always have to come through our struggle—it can come through celebration, fearlessness, community and a really good song.”
Alan took some time to chat about the new album, music, the loss of Dolly Parton, and proves you don’t have to decide on a gender or a genre.
How would you describe the vibe of the new album?
The album is country disco, in line with this world I’m building. That’s the brand, and I’m pushing that identity. But in the last couple of days since its release, I’m realizing the vibe is also this sort of sunset or twilight album. Cold Blooded (2020) was definitely night, and Revelation (2023) was definitely sunrise.
I found the twilight metaphor works to emphasize the duality of the album. There is day and night on it. It’s that sweet time right between day and night where the joy and queer serenity of the sunset meets the mischievous and chaotic fun of the evening. It’s sonically dance-y, but it’s also lyrically deep. So if you wanna feel things and shake ass, this album is for you!
Audible Serotonin is such an amazing name. How did you come up with it?
I came up with the name in 2022 in the pursuit of trying to name the feeling music can give you when the note or lyrics hit just right. Those goosebumps you get from that pleasure are called frisson, which is a French word.
Because I am not French, I wanted there to be a term I could utilize because it was such a big part of my experience with music. You feel validated and connected to something bigger than yourself knowing a musician experienced what you did, regardless of how small or large the feeling.
It’s a little boost of serotonin, but it’s not just physical. It’s emotional and connective; it’s, you guessed it: audible! I tried “Music Serotonin”, “Rodeo Serotonin” and “Sonic Serotonin” and nothing felt quite right until “Audible” crossed my threshold. And to re-reference French: voila!
Country music and disco are a wild combo. What prompted you to unite the two?
At their core, they are both about connection, which we do as queer humans when we seek our chosen families. Country music tells stories about our humanity. I’m from Ohio. Country is who I am at my core, and I ran from it for so long because I didn’t want to live in that box. It felt so obvious.
I decided to stop running and wanted to figure out how to do it on my own terms. Since deciding to pursue this, I’ve been drawn to both genres in such a balanced way. Disco, in the same pocket, invites the celebration of those stories that country tells, which is who I’ve grown to be as I’ve gotten older.
Blending them was a lot less of an uphill climb than I expected, and the union feels so natural to my identity. I wanted to work on this union so people could feel everything without getting stuck in the heaviness. You can experience heartbreak, process hope, render nostalgia, find love, and still dance.
Is this your Joanne era?
As a little monster, I love the reference and consider it a huge compliment, but no. I think Gaga used country as a vehicle to deliver that specific body of work that could not have been driven in any other car. It’s an incredible album, and there is much about it that I admire. But she stepped down and out of that era and hung up her cowboy hat shortly after its release.
Mine is here to stay. Country, which I’ve been avoiding forever, has finally found its way home to me, and I’m not going anywhere any time soon.
I can’t not ask you about the loss of Dolly Parton…
It’s a tragedy. She was, to no surprise as a country artist, a great source of inspiration for me and someone I greatly respected. Her loss is profound in a way I think we very seldom see a loss like this.
I heard about it through a group of friends and got online, and everyone was posting about it. I do mean everybody. Which is so rare to be the type of generational artist that touches every single person. She was infectiously positive, shiny, and glamorous in the same ways I try to be. Positivity and empathy and kindness? They work.
There is a reason not a soul on earth disliked her. And I wish everyone would take notes. You can be kind and campy and funny and sexy and yourself. Should we change the acronym to WWDPD? What would Dolly Parton do?
Why is queer joy so important right now?
I mean, look around. We are living in unprecedented times. The world is heavy, and I personally find all of the tragedy and constant bad news to be draining. I operate with so much empathy, and I am frozen by the reality that I am only one person, and I can only do so much with my time. So I choose to spend that time reminding others that joy is vital. I know it sounds like therapy, but queer joy is vital. I want others to know it’s okay to feel happiness, to let good things in. Especially during this particular album cycle, joy for me was an opportunity to give myself permission. It wasn’t about denial of reality; it was about resistance towards a better world.
What do you want people to feel when they listen to your music?
I want people to leave feeling inspired and more themselves. There are so many rules and expectations in the world right now. I want my music to feel like a permission slip for people to wear what they want, say what they feel, and experience their emotions without remorse. I think the world needs more empathy – full stop. If my music can hold space for the people hearing it to feel, love, and care more? Then I’ll be a very happy musician.
Who are some of your music inspirations?
My influences are wide, and that’s probably why my music is too. I grew up loving so many different artists, and all of them find their way into my work. Country artists like Dolly Parton, Shania Twain, Alan Jackson, Orville Peck, and Kacey Musgraves. Disco artists like ABBA, the Bee Gees, Charley Pride, and Donna Summer.
Of course, my inspirational pop girlies like Chappell Roan, Britney Spears, Gaga, Taylor Swift, and Halsey. But I also find inspiration from artists I know and respect: Adam Mac, Cornelius Versa, Zee Machine, Cain Culto, and so many more. Music is in my blood, and the moment I hear what someone else is doing, it’s a reminder to me that life can be long and fruitful, and I have a lot of time ahead of me to explore genre-bending, collaboration, and expression.
Okay, besides inspirations, who is your definitive diva? As in, which female vocalist inspires you on a profound level?
Gaga is really my number one. She unlocked something in me at a young age. She kind of gave me the permission I seek to give other people now with her creativity, writing, kindness, and compassion.
She reminds me we should aim for excellence, work harder, and believe in the art we make. In a way, I feel like she broke the code. Like she wasn’t supposed to get past the barrier, being the way she is and doing what she does and did. She made it against all odds. So I create now, knowing that there is always a chance to do the same. But in my own way.
Any exciting live performances and events coming up?
Absolutely! I’m performing my new record for the first time at Boomtown Brewery on September 5th with my full band. I’m so excited to play some of these new tracks live. And then I just got booked to headline at Orange County Pride in October, so I’m over the moon about that! And lastly, I haven’t announced details yet, but I’m going on tour for 6 weeks in October, November, and December with this record and cannot wait to take 18 domestic American cities by storm!
The album is available to stream on Spotify, Apple Music, and most global streaming distribution services.
Events
When pageantry meets purpose: Patrick Rush brings us Best in Drag Show
From a smoky WeHo flat to a renowned HIV/AIDS fundraiser, Best in Drag Show’s yummy pageantry has watched itself become a beloved tradition full of heart and hope
What started with a group of friends in questionable drag sardined into a quaint WeHo flat has evolved into one of LA’s most cherished fundraising feats. Best in Drag Show marries Miss America with RuPaul’s Drag Race, complete with swimsuit, talent, interview, and evening gown competitions. But beneath the weaves and wit lies something more meaningful – a community that comes together with the collective goal to raise money and awareness, all while having a fantastic time.
Best in Drag Show was originally created by Alexis Pittman, who died of the AIDS epidemic in 1999, and what began as a cute and quaint kiki of close friends became a fundraising event to support those whose lives have been impacted by HIV/AIDS. Today, Patrick Rush keeps the spirit of Best in Drag Show alive and thriving, preserving the essence that made Alexis’ original pageant so beautifully impactful. With every lash and every laugh, Best in Drag Show continues to be a testament to the fact that drag can be just as powerful and uplifting as it is entertaining. We talked with Rush about the early days of Best in Drag Show, its evolution throughout the years, and the significance of remembrance while serving our LGBTQ+ community.
For our readers who may not yet be acquainted with Best in Drag Show, how would you describe this event, and what makes it so one of a kind?
Best in Drag Show is the underdog of drag shows. We are a spoof of the old-school Miss America Pageant, with our “ladies” competing in Swimsuit, Talent, Interview, and Evening Gown.
And I’m using the word “talent” loosely. Sometimes they don’t have any. We are much more like a Carol Burnett skit that goes off the rails. It’s filled with humor (often biting and irreverent) and heart. We are ALL volunteers, and that way, the money we raise goes to where it’s supposed to go.
What was your initial inspiration that birthed Best in Drag Show and how has it evolved from your original vision?
I take zero credit for “birthing” this beast. This was all Alexis Pittman, who died of AIDS in 1999. One night while playing poker with a group of friends (all in the recovery community) at Alexis’ one-bedroom, rent-controlled, and smoke-filled apartment in West Hollywood, Alexis said (in his/her Mississippi accent), “Hey Gurrrls, Miss America’s on TV tomorrow night and I think we should dress up and have our own pageant”.
A handful of guys slapped on some very questionable drag and had a pageant. There were probably 12 people total in the apartment. Mini-Christmas lights created the runway, and so many of the guys were smoking that they set off the smoke alarm. It was a fun night that was repeated the same way the next year.
Many more peeps squeezed into Alexis’ place, and we decided to move it to a bigger apartment the next year. About 70 people showed up, and that’s when we decided to put out a bucket with a sign that said, “Donations for AIDS,” and the audience threw money all night. We raised over $400 and couldn’t believe it. The winner that night was Alexis (he cheated and gave all the judges free highlights the week of the pageant). That was when it officially became a fundraiser.
The next year, a bigger house and $1500.
The next year, an equity waiver theater down a crack alley in Hollywood called the Richard Pyror Theater (I’m not making this up), and we sold it out and raised $5,000. That was the first year we had celebrity judges show up. Nell Carter and Bob Mackie. Bob had so much fun; he designed the outfits for the onstage “Pinkies” that we used for many years.
The growth continued and culminated with us selling out The Wiltern Theatre (2400 seats) in our 10th year (which was the original “Battle for the Tiara”). I think this was 1998. Alexis Pittman died in July of the following year, and we stopped doing the show.
Three or four years later, we were approached to bring back the show and decided to call it “Best in Drag Show”, but we used all the same elements that Alexis had taught us. “Let’s see how little we can spend and how much we can raise”. As of this year, we are closing in on $8 million dollars.
Best in Drag Show has gained significant traction since its premiere. Did you imagine at the time that the event would become what it is today?
NOPE! Not in a million years. It grew slowly and organically year-to-year based on word of mouth. There was no social media when we started… just people talking about how much they loved the show.
What are some of the responsibilities that go hand in hand with hosting? What does hosting this event mean to you?
My #1 responsibility is honoring Alexis’s memory. As a man who is HIV-negative, there’s no excuse for me not to try to do something. Because of my drug and alcohol abuse, I never went to college. So it’s not like I’m going to come up with the cure…but I can write bitchy things to say about our contestants (lovingly, of course).
Hosting this show has changed my life…for the better. I had so much internalized homophobia when I met Alexis, and he was NOT having that from me. He knew I wouldn’t do drag, so he told me to throw on a black tux jacket, write the show with him, and be the host. I had a healthy fear of him, so I didn’t question it.
The irony is not lost on me that men dressed as women made me a better man.
What are the makings of the perfect contestant for Best in Drag Show?
Originality, creativity, and passion. This year is so exciting because it’s our BEST contestants coming back. A “Reheated Rivalry,” if you will. These gals are serious this year in a hysterical way. Ask any of them, and they’ll say, “It’s not about winning”. They’re lying.
Can you recall a memorable Best in Drag Show moment or outtake from yesteryear that is forever imprinted on your mind?
Luckily, I’m at the age where I forget a lot of shit. But some moments are imprinted on my brain. Anyone who knows me and sees this will say, “Patrick loves when a girl falls,” and that’s 100% true.
But Kitten Kaboodle milking a real cow, Lotta Slots coming in on a camel singing “Midnight at the Oasis,” or Candy Cotton getting in the mouth of a real elephant are hard moments to forget. Disclaimer: We no longer allow animals in the show, so simmer down. It was a different time back then.
Grace Land’s evening gown rising into the rafters and her train saying “Elvis has left the Building” is an amazing moment.
How have you seen APLA Health serving these community needs, and how have you seen this change since Best in Drag Show began?
YES! I’ve seen people’s rent get paid, food be delivered, medical and household bills taken care of, and basic necessities of life get covered.
2 years ago, Coleen Sullivan from ABC7 did a segment on us and showed a man in his new permanent apartment. It was powerful. We don’t often get to see the results of what we do.
Drag has always been a formidable form of queer expression and protest. What role does drag play today in our multifaceted community?
Drag is so much more powerful and brave than I am. I love seeing someone in drag who might normally be quiet or shy become a bigger-than-life, fearless spokesperson. The voice of drag is loud and proud in our show.
At a time when drag is increasingly politicized and debated, what message would you like to deliver to those who might not understand the craft?
COME TO OUR SHOW.
LAUGH YOUR ASSES OFF.
You’ll be safer at the Orpheum than in the White House.
After so many years, what keeps you motivated to continue this tradition?
Not to sound like a broken record, but Alexis Pittman and the countless others who didn’t get to be here still. Being of maximum love and service is the only thing that quiets my own noisy head. When I’m working on BIDS, I’m not thinking of myself…which is the best version of myself.
I also want to say that I’m one of MANY volunteers over the years. Hundreds of people have given freely of their time, with little to no recognition. Our backstage crew is full of unsung heroes. The people who feed us. Our production designer, sound designer, stage manager, etc etc etc.- these are the heroes.
© John Paschal/jpistudios.com
What do you hope, if nothing else, folks take away from this year’s Best in Drag Show? What message do you have for someone who is interested in participating, donating, or otherwise?
Laughter. Just come for 2 hours and forget how ugly the world is right now. We have ugly contestants who will make you forget what’s happening in our country. Just kidding; we have some pretty ones too.
My message is: please come and support us. This has been going on for 35+ years, and it’s hard to keep surprising an audience. So, if you’ve been before and think you’ve seen the best, don’t miss this year. You’ll laugh, I’ll cry, and it will be THE BEST of Best in Drag Show ever.
BEST OF Best in Drag Show 2026
The Orpheum TheatreLos Angeles, CA / Sunday, October 4 • Starts at 7 PM
Television
Step into the ‘Crush House’ with JJ Aussie and Josh Moore
The hosts of MenCrush’s new reality series talk about its spicy first season
Have you ever watched a competition show like Survivor or Big Brother and asked yourself, ‘Wow, I wonder what it would be like if this cast was made up of the hottest content creators I’ve ever seen?’ If so, then you’re in luck, because gay streaming platform MenCrush just introduced the next step in reality television with its new series, Crush House.
Set within a beachside villa, Crush House follows a group of queer content creators (many of whom are LA locals) as they undergo wild challenges while voting each other off, with each man fighting to secure the $20,000 grand prize. While it’s the streaming service’s first competition show, this concept isn’t that different from MenCrush’s usual projects; the platform specializes in documentaries on today’s biggest content creators and the sex work industry.
This new reality series is an extension of this mission, offering not just a platform for raunchy fun, but a genuine look into each creator beyond what they show fans online. It manages to combine sexy competition with a genuine view into the ‘OnlyFans creator’ image many people misunderstand. And, if hosts JJ Aussie and Josh Moore have any say, this program won’t just make enjoyable TV, but will revolutionize the way we speak about online sex work and the many people within it today.
The duo sat down with the LA Blade to speak about their new roles as Crush House hosts and what it’s meant to lead this inaugural season. These are new positions for the pair; despite their combined following of 1.5 million fans has earned them a reputation as some of today’s biggest gay content creators, they’ve never gotten the chance to host such a large-scale project. creators. They were excited but hugely nervous to take this on, with Aussie emphasizing, “We were anxious — it was MenCrush’s first time doing a reality show, and it was Josh and my first time hosting a reality show!”
“Once we got into the first couple of days of shooting, we relaxed and figured out that we’ve got this — we took control of the crushes, made sure they felt like we had their back, and we had a lot of fun with it,” he continued. It was an early anxiety that Moore also felt, though he explained that this wasn’t the first time they’d led a creators-only excursion. In fact, fans of their content will know that the men have embarked on numerous spicy vacations over the years, whisking away groups of performers to some beautiful location for days of socializing and nights of filming content. “The goal is to create something that hasn’t been done before,” said Josh, speaking both about their personal trips and his work on Crush House. “We create such a safe environment for everyone, an environment that everyone feels comfortable with.”
It’s a comfort that shows throughout the premiere, with the first episode featuring many blurred moments of the contestants filming content (though the series’ omniscient narrator assures viewers they can watch it uncensored on each man’s socials). But along with these, it also takes the time to zoom in on each competitor, giving them a moment alone to speak about their lives as content creators and why they wanted to join the Crush House cast. This, combined with the ample scenes of the guys discussing why they plan to win the ultimate prize, promises a season full of emotional intimacy as much as physical. JJ stressed that this balance was always a huge goal for the creative team, saying, “We created the show to be fun and entertaining — but I also want people to look at these boys as individuals…as human beings.”
It’s an unfortunate aspect of this work that both men know well; both have faced harmful anti-sex work rhetoric while working in this industry. Moore in particular opened up about how harrowing these experiences can be, with the man’s decade-long career meaning he knows the many nasty ways people will try to weaponize his work against him. He reiterated that despite this, he absolutely loves his job – which is why he’s dedicated to de-stigmatizing the industry through projects like Crush House. He knows that showing the emotional, vulnerable sides of each contestant is key to highlighting the realities of this work, stating, “We wanted to really humanize the creators and let people know that there’s a person behind the screen. There’s a person behind that photo, there’s a person behind the videos that you like to watch. So I just want everyone to remember that when they’re saying nasty comments and whatever, that there’s a human being there.”
“People are so quick to dehumanize us as people and as creators. We’re human beings, [and] we deserve a show just as much as any other person on reality TV…you know, it is a crazy game show, but we also delve deep into the humanity and stories of all the guys.”
The hosts promise that, above all else, Crush House will provide an entertaining — and immensely sexy — watch for any interested viewer. But along with that, the audience will also be granted a deeper look into these creators like they never have before. The pair hope this will help de-stigmatize the profession and finally showcase the monumental effort that it takes to succeed in content today. They’re excited to share this information with a whole new audience, and they can’t wait to earn their contestants a whole new slew of (most likely thirsty) followers along the way.
You can watch the season premiere of Crush House on Friday, September 18th, on MenCrush
Music & Concerts
L.A. DJs Heidi Lawden and FLABBERGAST call for resistance in ‘Children of the Revolution’
The new track draws on queer nightlife, anti-fascist politics and a friendship forged on Los Angeles’ underground dance floors
Los Angeles DJs Heidi Lawden and FLABBERGAST teamed up for “Children of the Revolution,” a new track released Sept. 4 on Berlin label DESSERT. Written and produced by Lawden and Hein Hoven, with lead vocals and lyrics by FLABBERGAST, the track appears alongside a darker, stripped-down “Power Bottom Mix,” by Lawden.
Lawden and FLABBERGAST first connected in L.A.’s queer underground party scene. Lawden co-founded Take It Outside, while Zane Pond, who performs as FLABBERGAST, co-founded VICE Underground. On July 4, 2025, amid ICE raids across L.A., they organized an art installation and protest rave on the Arroyo Seco Walkway near Dodger Stadium, where they debuted an early version of the track while local artists covered the bridge with anti-fascist messages.
DESSERT co-founder Tom Peters visited L.A. in April to DJ at VICE. Before the party, FLABBERGAST played him the track, and Peters expressed interest in releasing it. Lawden, Hoven and FLABBERGAST then rebuilt the track and made the “Power Bottom Mix.”
Ahead of its release, Lawden and FLABBERGAST spoke separately with the Los Angeles Blade about the track, their friendship and queer nightlife as resistance.
What made you two want to work together?
HEIDI LAWDEN: It was unbelievably organic. We gravitated toward one another politically when the ICE raids were really happening in our city. We were very connected over our shared disgust.
FLABBERGAST: We’re both very punk. We believe in anti-fascism. Those things bonded us as really good friends. I said to her after I DJed a party, “Let’s go to the studio on Tuesday.” She was like, “Let’s do it.” We did it, and we made the track in a day.
What were you trying to say politically?
FLABBERGAST: “Revolution,” in the context of the song, is about freeing all people who are under bondage, specifically trans and queer people. We’re not free, and this song is about reminding people of that. It’s all of our responsibility to make noise and fight.
HEIDI LAWDEN: It was a call-out to inspire people to rally, protest, object, and resist. I really wanted it to feel powerful, like a musical air raid siren.
What did each of you bring to the record?
FLABBERGAST: Heidi brought the sound and the euphoria. Everything about her is joyous. My lyrics are more about the protest. And she also includes some of her lyrics at the end. She sang them, which was so beautiful.
HEIDI LAWDEN: My inspiration was really Zane, the things we talked about and musically bonded over. It was wholly inspired by our friendship and our shared views.
Why two versions, and what distinguishes them?
FLABBERGAST: We realized over time that we didn’t want it to be so dark. We wanted it to be uplifting and full of love.
HEIDI LAWDEN: The “Power Bottom Mix” is down-and-dirty beats. It doesn’t reach any kind of crescendo, whereas the full mix has a euphoric ending. The “Power Bottom Mix” is something you could play for 20 minutes on a loop, and it makes you get down and dirty. That’s why the two tracks work so well together if you want to go between the mixes.
The track connects queer nightlife with resistance. What makes the dance floor political for you?
FLABBERGAST: It’s about being in a place you feel safe and liberated. Some people might be hiding, might not be out, and these places are the only places where they can truly feel free. Especially people of the trans experience, they face challenges every day when they go out in public that cisgender people will never have to deal with.
HEIDI LAWDEN: My earliest experiences of nightlife were dancing and not knowing who was going to be there to dance with me the following week. It’s always been an act of resistance. I saw this amazing quote about being in the fight in the daytime and then being on the dance floors at nighttime to remind ourselves what we were in the fight for.
These interviews have been edited for length and clarity.
EMMYS
The 78th Annual Emmy Awards recapped
What the show lacked in queer representation, it made up for in queer coding
Entertainment has been bittersweet for queer people. We’ve lost Dolly Parton, Bob Mackie, and Tim Curry. We’ve seen a 41% drop in queer characters on television due to TV cancellations. So you likely weren’t expecting the Emmys to be a particularly queer affair. And yet, there were some delicious moments that were queer-coded, and many of our favorites were honored.
Mariska Hargitay, who has played our favorite quasi-butch SVU detective for 27 years, hosted the festivities. She took home two Creative Arts Emmys for directing the documentary My Mom Jayne: A Film by Mariska Hargitay, which also took home an award. She started the ceremony with a parody of “I Love Rock-n-Roll” which featured appearances by Jean Smart, Jennifer Coolidge, and gay Emmy winner Jeff Hiller. There were also weird product placement ads for Marriott and United. #recessionindicators
As for LGBTQ representation, Rhea Seehorn won for playing lesbian character Carol Sturka in Pluribus. Alan Cumming took home another Emmy as well for The Traitors, beating out RuPaul and RuPaul’s Drag Race. Drag Race did take home an Emmy for Outstanding Hairstyling For A Variety, Nonfiction, or Reality Program.
DTF: St Louis which followed an infidelity that ended in a muder subplot and featured a unique polyamorous threesome was an Emmy darling and earned Emmys for Linda Cardellini and David Harbour.
There were some historical moments: Matthew Rhys took home two Emmys for Best Lead Actor in an Anthology and Best Lead Actor in a Comedy, making him the first actor to win for two of the main categories in one night. Rob Reiner, who received a posthumous Emmy for his role in The Bear, beat out 2025 darling Connor Storrie. This broke the record for the longest span between acting Emmy wins at 48 years, which was previously set by his father, comedian Carl Reiner.
To honor Dolly Parton, Sally Field (who took home an Emmy) gave a stirring introduction, with Reba McEntire singing a tribute. Macaulay Culkin, Annie Murphy, and Dan Levy paid tribute to Catherine O’Hara, with Culkin pulling heartstrings calling her “mama.”
There was a 50th reunion for Charlie’s Angels with Jaclyn Smith, Kate Jackson, and Cheryl Ladd presenting Outstanding Drama Series. They took a moment to shout out and honor Farrah Fawcett. Sarah Michelle Gellar and David Borenaz had their own reunion, giving out the award for Outstanding Lead Actor and alluded to the sad loss of Nicholas Brendan, Anthony Stewart Head, and Michelle Trachtenberg, who all passed within the last two years. Gellar was also able to make a quick crack about her now-cancelled Buffy reboot.
The ceremony was also very on it and was quick to add Bob Mackie, who passed earlier this week, to their In Memoriam segment.
Here’s the full list of winners as well as notable Creative Arts Emmy recipients.
Lead Actress in a Limited or Anthology Series or Movie
- Sally Field, Remarkably Bright Creatures
Lead Actor in a Limited or Anthology Series or Movie
- Matthew Rhys, The Beast in Me
Supporting Actress in a Limited or Anthology Series or Movie
- Linda Cardellini, DTF St. Louis
Supporting Actor in a Limited or Anthology Series or Movie
- David Harbour, DTF St. Louis
Directing for a Limited or Anthology Series or Movie
- Steven Conrad, DTF St. Louis
Limited or Anthology Series
- DTF St. Louis
Lead Actor in a Comedy Series
- Matthew Rhys, Widow’s Bay
Lead Actress in a Comedy Series
- Jean Smart, Hacks
Supporting Actor in a Comedy Series
- Stephen Root, Widow’s Bay
Supporting Actress in a Comedy Series
- Kate O’Flynn, Widow’s Bay
Guest Actor in a Comedy Series
- Rob Reiner, The Bear
Guest Actress in a Comedy Series
- Betty Gilpin, Widow’s Bay
Directing for a Comedy Series
- Hiro Murai, Widow’s Bay
Writing for a Comedy Series
- Katie Dippold, Widow’s Bay
Comedy Series
- Widow’s Bay
Lead Actress in a Drama Series
- Rhea Seehorn, Pluribus
Lead Actor in a Drama Series
- Noah Wyle, The Pitt
Supporting Actress in a Drama Series
- Allison Janney, The Diplomat
Supporting Actor in a Drama Series
- Tom Pelphrey, Task
Guest Actor in a Drama Series
- Ernest Harden Jr., The Pitt
Guest Actress in a Drama Series
- Shailene Woodley, Paradise
Writing for a Drama Series
- Vince Gilligan, Pluribus
Directing for a Drama Series
- Saul Metzstein, Slow Horses
Drama Series
- The Pitt
Structured Reality Program
- Antiques Roadshow
Unstructured Reality Program
- Love on the Spectrum
Host for a Reality or Reality Competition Program
- Alan Cumming, The Traitors
Directing for a Reality Program
- Ben Archard, The Traitors
Reality Competition Program
- The Traitors
Writing for a Variety Series
- The Late Show With Stephen Colbert
Directing for a Variety Series
- Yvonne De Mare, The Late Show With Stephen Colbert
Variety Series
- The Late Show With Stephen Colbert
Variety Special (Live)
- The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny
Variety Special (Prerecorded)
- The Muppet Show
Directing for a Variety Special
- Hamish Hamilton, The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny
Short Form Comedy, Drama or Variety Series
- Colbert Before Air
Short Form Nonfiction or Reality Series
- Inside The Pitt
Performer in a Short Form Comedy or Drama Series
- Desi Lydic, The Daily Show: Desi Lydic Foxsplains
Directing for a Documentary/Nonfiction Program
- Mariska Hargitay, My Mom Jayne: A Film By Mariska Hargitay
Documentary or Nonfiction Special
- My Mom Jayne: A Film by Mariska Hargitay
Celebrity News
Fashion icon Bob Mackie dead at 87
Designing legend to all the Divas, gone but not forgotten
To those still reeling from the loss of Dolly Parton and Tim Curry, we have another queer icon to add to the In Memoriam of 2026: Bob Mackie. A designer known for being extra, before that was even a thing, has left us with a legacy of looks and an indelible mark on fashion.
The news broke on his Instagram account Monday, September 14th, with the message:
“It is with a heavy heart that we share the news that Mr. Bob Mackie passed away today. He lived his 87 years to the fullest, fulfilling his dream of being a Fashion and Costume Designer, which is all he ever wanted to do. His genius and extraordinary designs will live on forever, continuing to bring beauty into this world.” According to People magazine, he passed away in Palm Springs due to pneumonia.
At 87, Mackie is the definitive designer for divas. Mackie has literally dressed them all, including Diana Ross, Whitney Houston, Barbara Streisand, Dolly Parton, Tina Turner, Bette Midler, Bernadette Peters, and even RuPaul. He’s dressed film and television icons like Raquel Welch, Lynda Carter, Goldie Hawn, and Jennifer Lopez. It’s not just female divas; he’s also done many of Elton John’s famous costumes as well as David Bowie’s.
His first major mark was drawing the first design of Marilyn Monroe’s famous “Happy Birthday, Mr. President” dress. Next, he was an assistant to costume designer Ray Aghayan on The Judy Garland Show. The two would carry on a professional and romantic partnership for 50 years until Aghayan’s passing in 2011.
Mackie then went on to do all of the costumes for The Carol Burnett Show, creating an estimated 17,000 costumes for her show’s 11-year run. This gave him much critical acclaim and notoriety, making him a permanent fixture in the variety show market.
He became a frequent collaborator of Cher, having made her famous midriff-revealing Oscar gown, her “If I Could Turn Back Time” costume, and being her designer for her various television shows, including The Sonny and Cher Show. He even designed costumes for her Farewell Tour. The two are synonymous with him having lent his artistic sensibilities to give her a distinct look. Cher even said in 2024, “He helped me create a different me.”
Mackie has left his mark on fashion with a distinct style of glamorous, over-the-top looks. He received the monikers the “Sultan of Sequins,” the Rajah of Rhinestones,” and the “Guru of Glitter” for challenging the line between costume and fashion with lots of fringe, flash, and over-the-top eye-catching elements. He’s managed to retain a presence not just in entertainment but in the fashion industry for decades. Most recently, one of his outfits was a major plot point for the final season of Hacks.
Mackie has received his share of awards and acknowledgments. In addition to dressing many people for the Oscars, he received three nominations, including dressing Diana Ross for Lady Sings the Blues. He won a Tony Award for The Cher Show. He won 9 Emmy Awards and received 30 nominations for his prolific television work.
Luckily, Mackie’s life was celebrated before his passing, receiving various Lifetime achievement awards including the Geoffrey Beene CFDA Lifetime Achievement Award, being honored by the Television Hall of Fame, and receiving RuPaul’s Drag Race’s Giving Us Life-time Achievement Award. He was the first guest judge on the popular series.
It’s clear that not only was Mackie talented, he was magical. He gave a bit of stardust to countless celebrities, luminaries, and public figures with looks that not only defied expectations but managed to be truly spectacular. He’s part of the glitz we think of when we think of Hollywood, and while often elaborate costumes, the shrewd fashion sense and elegance cannot be denied. Mackie will be missed, but his work lives on in the countless pieces still in circulation and forever captured on film and in media.
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