a&e features
Witness to the horrors in Chechnya
It’s a film that makes you want to look away but doesn’t let you do it.
HOLLYWOOD – In an era when documentaries often seem geared more toward a slick and buzzy “docu-tainment” style than to the unfiltered presentation of real-world facts and experiences, “Welcome to Chechnya” blasts you in the face like a gust of icy wind.
A harrowing look at the “underground railroad” that sprung up within Russia to help the victims of the notorious “gay genocide” being perpetrated under Chechen leader Ramzan Kadyrov, it’s a film that makes you want to look away but doesn’t let you do it. It conveys the unthinkable trauma of living in a constant state of terror while making a desperate, clandestine run for your very life; more than that, it permits us to put a human face – albeit a digitally altered one – on the crisis.
Part of the film’s impact undoubtedly stems from its subject matter, but it’s at least equally due to the artistry of its director, David France. It’s not the first time he’s been behind a heavyweight LGBTQ documentary. The longtime journalist made his directing debut with “How to Survive a Plague” in 2012, documenting the early years of the AIDS epidemic with an activist’s passion in a film that won him a host of awards and nominations for a several more, including an Oscar.
Now, “Chechnya,” which premiered at last year’s Sundance Festival and was released by HBO last summer, has made the shortlist for this year’s Academy Awards, raising the possibility for a second chance at taking home the coveted statue. Yet Oscar gold was not what France had on his mind when had a conversation with the Blade about the film earlier this week. Rather, he wanted to discuss the people it’s about.
France, like everyone else, had been appalled by the tales coming out of Chechnya in 2017. “We all read the stories,” he tells us now, “but it wasn’t until I read Masha Gessen’s New Yorker piece about the work that ordinary Russians were having to take upon themselves that I became really fascinated.”
He is referring to the network of LGBTQ activists that mobilized in the absence of outside help to extract refugees in daring escapes, hide them in safe houses across Russia, and work with groups around the world to get them out of the country. In “Welcome to Chechnya,” he follows a handful of these accidental heroes, as well as several of the survivors they protect, as they orchestrate and enact spycraft that would be right at home in an episode of “The Americans.” In the process, he shines a light on more than just the atrocities being committed against queer people in Chechnya. He also illuminates a level of courage that most of us have never had to muster up.
“That’s what drew me in,” France says. “The fact that ordinary citizens took it upon themselves to intervene, to try and save lives, while the rest of the world was doing so little about it.”
“It’s not like they had been already doing this work,” he explains. “Olga [Baranova, one of the activists who appears in the film] was running a community center that had an annual arts fair – that’s the extent of her training for the kind of cape-wearing heroics that you see her carrying out.”
With his cameraman and producer Askold Kurov, France spent months in the underground, chronicling the efforts of the activists and the stories of the survivors under their care, and getting plenty of first-hand experience with the kind of fear under which they had to willingly chosen to live, day after day.
After all, getting out of Chechnya wasn’t enough to make anyone safe; Chechen authorities were willing to stop at nothing to make sure nobody had a chance to expose what was going on, up to and including tracking down, recapturing, and maybe even killing any potential witnesses – and anyone who stood in the way was putting themselves in peril, too.
“I remember going on one of the extractions,” he relates. “We were getting ready to make a run with a couple whose location had been found out. We had only a few hours to get them to the airport, and then we got word of a rumor that a group of assassins had been dispatched to prevent them from leaving the country. We had one bodyguard, with one sidearm, with us.
“That kind of unbelievable peril is what hung over, and what still hangs over, every aspect of the work these ordinary Russian activists have taken on for themselves.”
It’s also what made it a challenge to film the refugees, for whom anonymity was a matter of life or death.
“I wanted to show what they looked like,” he tells us. “The pain that they wore on their faces, the hope – and certainly the fear. And most of them wanted the world to know what had happened to them, to expose these crimes – but they also understood what it would mean for them and their families if they stood up publicly and revealed their truths. They were terrified, and here I was asking them to let me film them anyway and then figure out how to solve this problem later.”
There is still a touch of awe in his voice as he says, “Remarkably, a couple of dozen people agreed to let me do that.”
He continues, “There were people, of course, who couldn’t take that leap with me. There was one person who was nervous even about me filming other people in the shelter. These were people who had just escaped the most horrific abuse and torture, and violation from their own families. They were hiding from their brothers and their uncles, from their own fathers. That dislocation of familial love was so traumatic to everybody there that some of them were just on a very sharp edge – unable to reckon with the past, unable to find security in the present or see hope in the future. You see that in the film with one of them, who even attempts suicide. For those people, it was a difficult arrangement to have me shooting even on the other side of the shelter house. I understood that and I tried to be very respectful.”
The challenge of maintaining privacy would eventually be surmounted by new, state-of-the-art identity protection software, a high-tech touch that France – savvy storyteller that he is – was able to parlay into one of the film’s most dramatic and unexpected moments. A considerable amount of screen time in “Welcome to Chechnya” is devoted to an anonymous refugee who has escaped from his tormentors into the network, where he is reunited with his family and his boyfriend of ten years; a turning point comes when, despite being poised for removal to another country, he chooses to go public with his story and make an official complaint to the Russian government.
As he makes that decision, the false features realistically rendered over his real ones melt away before our eyes, revealing his unaltered face – and with it, his true identity. It’s a powerful effect, and it’s our official introduction to Maxim Lapunov, whose subsequent appearance before a Russian court to tell his story is captured in the movie. Unsurprisingly, his claims are dismissed, and the need to get him and his loved ones out of the country becomes even more imperative.
In talking about Lapunov, the awe returns to France’s voice. “Maxim’s moral courage is unmatched. It was really clear that his life was going to be fucked up for the foreseeable future, no matter what he did. The courage that he showed was the courage to throw his body in the way to make sure that other people don’t get treated the way that he was treated – to save people’s lives. He could have gone anywhere in the world, and just nursed his post-traumatic memories in safety, but instead he went back into the fire.
That was remarkable. I watched him make those decisions, I watched him take on that risk, I watched him bring his family along on that journey and win their allegiance in these choices – these are human dramas like you see in Hollywood films that actually are taking place in the queer battle against the crimes in Russia.”
He segues into a similar expression of respect for David Isteev, another activist prominently featured in “Chechnya.”
“When you look at his face, you just get this incredible sense of high alert and of moral purpose. It makes me think of the stories we have heard from the Holocaust, of citizens who would otherwise have been untouched who reach into some deep reserve to do something. That’s him. And being in the presence of that was one of the most remarkable experiences of my life.”
If it sounds like he has bonded with his subjects, it’s because he has. Being embedded in the shelter network for such an extended period of time, he and Kurov became part of the underground themselves. “We were no longer visitors from outside,” he says. “We were experiencing what they were. I spent nights full of terror inside those safe houses, when rumors were flying about people who might have been seen, locations that might have been revealed, dangers that might have been heightened – I felt that with them. We huddled together, and, in a way, I became part of their journey.
“I do feel personally attached to those people having been through that with them. It’s something like the bond of warfare that you read about. I would do anything for David. I would do anything for Maxim and his family.”
The real emotion apparent in these professions of kinship is surely one of the reasons why the documentarian is still, more than six months after his film’s debut, eager to talk about it. The people with whom he developed these strong bonds are still very much at risk.
The biggest horrors in “Welcome to Chechnya” are only glimpsed briefly in dark and blurry videos intercepted from the web by the network, or described in the stories of torment, humiliation and brutality told by the survivors, but they cast a dark enough shadow over the imagination to make us want to believe they are safely in the past.
Unfortunately, as France is quick to remind us, LGBTQ persecution in Chechnya is still very much “an ongoing humanitarian crisis.” Just last week, two refugees were kidnapped from the network by Russian authorities and returned to Chechnya, an incident that brought the situation there back into the headlines.
“These were two very young men, one of them twenty, and the other seventeen – not even a man,” relates France. “They had been abducted last summer in Chechnya and tortured, they barely got out alive. They were rescued and extracted by the network and were being held in a safe house while the work was being done with foreign partners to try and get them out. Now they are back in detention in Chechnya. It’s a very volatile situation.”
Yet it’s also a situation in which, perhaps ironically, he sees a hope that has been scarce for the past four years.
“The United States, in this new administration, has expressed great concern for those two kids and demanded information on their safety,” he points out. “The European Court for Human Rights has demanded access to them, and safe passage for them to get back to the safe house where they were being held.”
For him, it’s a call to action. “The Russian LGBT network is on the ground, still fighting this fight,” he says. “We can urgently throw our voices behind their efforts with regard to these two youngsters – we could save their lives. There are petitions, but that’s not enough. We know from watching these activists’ work that it’s essential, it’s extensive, and as you can imagine, it’s costly. They cannot raise money within Russia, so they’ve asked people who see the film to help them by donating.
There’s a donation page on the movie site. We’ve just watched almost $200,000 move through there, in the six months since the film came out, and that money goes to the Moscow Community Center, Olga’s group that runs the shelter system, to the Russian LGBT Network that does the extractions and runs the global hotline for the crisis – and it also goes to Maxim and his legal case, which is still percolating through, and showing great progress in, the European courts.
“So, I think there’s hope, but we have to act urgently. I think what’s shocked us all, in the last few years, is how easily we can lose ground. All this progress that we’ve made over the last thirty or forty years can be reversed in a heartbeat, and that’s what’s happened in Russia, and Russia has led the way in this dramatic reversal of queer progress, all across Europe. It’s going to take a lot of people coming together internationally to stop that, but it is possible.”
He’s a realist in his expectations, though. “We can’t hope for is regime change in Chechnya or in Russia. Those are not practical, immediate goals. But we can force Ramzan Kadyrov in Chechnya to stop this. He is a puppet of Putin’s. If we make it politically untenable for Putin not to intervene there, then he will lift up the telephone and say to Kadyrov, ‘Stop it.’ That’s all that it takes. It’s that simple. We haven’t gotten there because we haven’t had the kind of global leadership that can bring collective pressure on Putin to do that. I think we’re in a place where we can now.
“Even just watching the film is an important step. The Russian government has said repeatedly that this is not happening, that there’s no evidence, even – ridiculously – that there are no queer Chechens. They say that no one has come forward, but Maxim did that, officially, and they rejected his claims. The people protected by the digital technology we deployed in the film have also spelled out their stories, so they are witnesses. And we’re all witnesses, now.”
The passion creeps back into France’s voice as he recalls, “That was my promise to the people in the network, when I said I wanted to film with them, that I was going to help make this so that everybody in the world knows what’s happening.
“Anybody who sees the film becomes a witness, and it becomes an act of resistance just to talk about what you see in it.”
a&e features
From Drag Race to Dvořák: Thorgy Thor takes the Hollywood Bowl for Classical Pride
This Thursday, the Hollywood Bowl will host the nation’s first Classical Pride, spotlighting LGBTQ+ artists of today and those who have made lasting impacts across centuries of music.
Thorgy Thor is reimagining what a symphony concert can be – queerer, louder, and way more fabulous. Classical music has always been a little gay; Thor is just making it official.
This July 10th, the Hollywood Bowl will be shaking things up with something a lot more fabulous than their usual line-up: Classical Pride, a star-studded celebration of queer excellence in classical music. Conducted by Oliver Zeffman, the program fuses Bernstein and Tchaikovsky with the glittering premiere of Pride Songs, reminding audiences that even the most straight-laced and serious-faced composers had secrets, some of which wore capes and wrote love letters to their (clears throat) roommates.
Enter Thorgy Thor, violinist, drag icon, and reigning monarch of orchestral mischief. Known from RuPaul’s Drag Race and her genre-busting “Thorchestra” shows, Thor is not only crashing the classical music party but redecorating it as she does. Armed with a Juilliard-level command of the violin and a wardrobe that would make Marie Antoinette feel modest, Thor’s been turning symphony stages into something that looks a lot like Studio 54 with better acoustics.
Ahead of her Hollywood Bowl debut, our publisher Alexander Rodriguez caught up with Thor to talk about shattering stereotypes, confusing classical purists, and why drag queens might just be the saviors of a dwindling symphony scene. Spoiler: there will be feathers, fan clacks, and at least one moment of unexpected depth. Because when Thor shows up with a violin and a vengeance, everyone listens, whether they planned to or not.
Some people associate Pride with dance and club music—but not classical. Why do you think that is, and why is it important to change that?
There’s a lot to unpack there. First off, I’m one of those people who definitely associates Pride with music – club music, dancing, parades, rainbow colors, joy. But not many people think of classical music in that context. I’ve been a classical player my whole life, and I’ve also marched in Pride parades. I celebrate both.
The truth is, a lot of people just don’t have access to the history of queerness in classical music. But it’s there. Some of the most prolific composers and conductors – Copland, Tchaikovsky, Bernstein – were gay. Back in the day, let’s be honest, probably everyone was a little bit queer. And since they’re not here to argue it, we get to speculate.
Classical Pride shows are important because they start to bridge that gap. It’s about giving people – especially younger folks – access to stories and voices that have always been part of this tradition but were hidden or unspoken.
How did growing into your identity affect your relationship with music and performance?
I was always immersed in music. My parents supported me with lessons, and I played in orchestras all through school – concertmaster, regional competitions, all that. I was always in the front. But something felt incomplete.
Coming into my queerness, I realized sitting quietly in an orchestra just wasn’t enough. My mind always imagined more – characters, colors, lights, theatrics. I’d be playing Tchaikovsky and thinking, “What if there was a drag artist miming with fans right now?” I needed more than just the music; I needed performance, spectacle, fun.
So I started pushing the dress code. I once showed up in a tux with the pants cut into shorts and bright magenta socks – and the orchestra was not into it. I’d say, “Why do men have to wear stiff bow ties when women get to wear flowy chiffon?” I wanted to challenge tradition, even if it meant getting in trouble. And I often did. But I realized that standing out was inevitable – so I decided to embrace it.
Now, funny enough, Thom Browne and Tom Ford are putting out tuxedos with shorts and high socks. I was just ahead of the trend. You’re welcome.
Why do you think celebrating classical music is important to the queer community right now?
Honestly, orchestras are struggling. Some are shutting down. Audiences are aging. There’s a perception that classical music is stuffy or boring, but it’s not. It’s powerful. It’s emotional. It moves people.
When I perform my “4G” show with symphonies, I always have to win over the orchestra first – they’re incredibly disciplined and talented, but also very skeptical. They’re like, “We just played with Hilary Hahn and Renée Fleming… now who’s this?” But then the show starts, and they see how serious I am about the music and the drag. And afterward, they often say, “That was the most fun I’ve had in 15 years.”
I ask the audience, “Who’s here because of RuPaul’s Drag Race?” Half cheer. Then I ask, “Who’s here because they have season tickets and don’t know who I am?” The other half cheers. That’s the goal: to bring these two very different groups together, laughing and feeling something powerful – together.
What’s your approach to blending these two audiences, drag fans and classical music fans, in one space?
I break the fourth wall. I talk to the audience. I do the first-ever live symphonic walk-off competitions – with Beyoncé, Lady Gaga, feather boas, and fans. I ask, “Who’s 65 and wants to werk?” I get kids up there. I give people drag names. It’s fun, inclusive, and unexpected.
A lot of classical audiences aren’t used to being asked to breathe, let alone unwrap a lozenge. So I set the tone from the top: “Relax, this isn’t that kind of concert.” It creates a space where different generations and communities can laugh together. That’s what I’m proudest of.
Has the current political climate affected your work?
Definitely. Just last month, I was scheduled to perform with the International Pride Orchestra at the Kennedy Center. Then, suddenly, we got dropped – after our president publicly tweeted that he didn’t want any “gay shows” at the Kennedy Center. He threatened to fine them something like $400,000.
Now, he doesn’t run the Kennedy Center, but the pressure worked. They canceled us. It was heartbreaking. Did I respect the decision? Not really. But I understood – they had a whole season to think about. Still, it hurt.
The good news? We moved the show to the Strathmore Theater, and it was incredible. Sold out. The audience showed up, loud and proud. The press was global – Germany, Italy, everywhere. That was beautiful and sad at the same time. That this is what’s making international news. But the show was triumphant.
Tell us about your new show, “Music and Fashion.”
It’s a wild ride – from Bach to Beyoncé. It’s funny, visual, historical, and super interactive. I do about 15 costume changes, some on stage, some on video. We start with a caveperson banging sticks and move through every decade – 1920s, Beatles, Taylor Swift, you name it.
It’s about moments where music and fashion collided and changed everything. From Marie Antoinette to Madonna, and how that relationship evolved. It’s smart, it’s campy, and I’m incredibly proud of it.
What can we expect from your appearance at the Hollywood Bowl’s Classical Pride show?
I’m one part of a bigger lineup that includes Anthony Roth Costanzo, Jamie Barton, Pumeza Matshikiza – some amazing talent. I’ll be performing a cheeky and sexy tango on violin by Jacob Gade, with a little twist in the middle.
I’ll also be doing a live on-stage interview with conductor Oliver Zeffman. Usually conductors show up, wave the baton, and vanish. But I want people to know who’s up there. I warned Oliver I’ll be asking him some left-field questions—and I’m not telling him what they are. It’s going to be fun, a little uncomfortable, and very entertaining.
What does the future look like for queer artists in the arts under this administration?
I’m going to keep doing what I do – being visible, being joyful, and doing it all with color, humor, and discipline. Just existing in this space is an act of rebellion. I don’t need to be political in every show. The work speaks for itself.
Queerness has always been in classical music. I think hundreds of years ago, people were more open than they are now. Today, it’s wild how threatened people get by others simply being happy. I don’t know what’s coming in the next ten years, but I’ll be here, still playing, still dressing up, still making people laugh.
What’s your message to the community this Pride season?
Dare to be different. I get kids coming up to me saying they never thought they could love classical music and be queer at the same time. But they can. You can love two seemingly unrelated things – and do them both fully.
Usually the people who are “too weird” or “too different” are the ones who change the world. And eventually, everyone copies them anyway.
Catch Classical Pride at The Hollywood Bowl Thursday, July 10th at 8 pm. Tickets here.
a&e features
Latina Turner comes to Bring It To Brunch
This fiery Latina drag queen is making her debut at Bring it to Brunch
Get ready West Hollywood. There’s a Colombian heat wave about to hit this weekend. Latina Turner will join the cast of Rocco’s Bring It To Brunch hosted by Cake Moss, this Saturday at 1 p.m. Los Angeles Blade is a proud media sponsor for this fab brunch.
Latina Turner has been doing drag for more than a hot minute and she’s performed all over the nation, bringing her signature humor and killer looks everywhere she goes. We chatted with Turner as she applied her lashes and sipped a cocktail.
What was your first exposure to drag?
My first exposure to drag was when I was 18. I was in Atlanta where I saw Stars of The Century, [which is] the premier, all Black drag show of the South.
How did you come up with your drag name?
My drag name is an homage to my Latin culture and one of my favorite queens Tina Turner, but also to my sense of humor—very tongue-in-cheek, if you will.
What was your first professional gig, how did it go?
My first professional gig was actually for a car commercial. I had been doing drag for 15 minutes, but they had me listed as “real drag queen.” I said if it was real enough for them, it’s real enough for me. I got to test drive a brand new car in full drag and thank god I had that wig pinned in. My lashes were gone with the wind, earrings flew off, but the wig was on.
What sets your drag apart from other queens?
Drag is all about self-expression and artistry. As an artist and creative, my drag is about the delusion of the illusion. In my mind, I could walk down Santa Monica Blvd and not be clocked, but when I perform, it’s about the theatrics and the humor. I also learned to really connect with my audience, something I don’t see too often done. I also bring my Colombian roots and American South upbringing into my character. I think being a first generation, [we] are exposed to two different cultures that don’t normally intersect and the humor from both languages is so…ME!
What do you love most about the drag culture in Los Angeles?
The queer culture of L.A. has always been about resilience from the original gay rights riots at the Black Cat in Silverlake, to the [U.S. Customs and Immigration Enforcement] (ICE) protests. Drag queen culture isn’t just about the aesthetic and performance style, but also about community and attitude. WeHo queens have this hard work and constant hustle about them, DTLA queens are some of the most creative and entertaining queens and the Eastside queens are some of the most beautiful and hardworking entertainers in the business. No matter what the zip code is, L.A.’s queens and kings have an innate love and passion for performance and to grow as artists and the community really allows you to grow and explore your art.
How can the gay community best support our drag community?
The gay community really needs to understand that drag queens are written in the D.N.A of ALL of gay culture. We as drag queens are under so much pressure to look a certain way and though Drag Race has given the art of drag an incredible amount of visibility, not all drag is “Drag Race” drag. I need you to think of a time when you needed that extra bit of support, whether it was at a bar and wanting to talk to someone, show that same love to these queens. Tip them, share their art and continue to uplift them. Without the drag queens—both young and old—we wouldn’t be the community we are today and we will only continue to thrive if we all rise.
What is your favorite part of doing drag?
Apart from looking fierce and making some cash money, I love the feeling of rocking a performance that you have put so much time and thought into. I think as a drag queen, we overthink some details or we do certain things just for us, so that feeling of “I killed it” is such a high.
What is your least favorite part of doing drag?
My least favorite part of drag….oooof! I think that for me, the tucking (especially tucking the right way), the shaving, and the cost. It hurts my body and my pocket! But hey, beauty is pain, and my drag is never comfortable.
What is your favorite pickup line?
One time, I went up to this guy and asked him, “Do you have any kids… would you want mine?” It was all about the eye contact and body language, LOL.
How do you unwind after a night of drag?
My favorite unwind rituals are a hot shower, a full body scrub, a good moisturizer and retinol, a glass of wine and a sativa pre-roll with my feet up in my comfiest shorts. Untucked and unbothered.
What do you think the future of drag culture looks like?
The future of drag is so exciting! I love that drag is evolving, both aesthetically and performance-wise. Please, baby queens, for the love of God, clean your lace, pluck your hair lines. Marsha didn’t throw a brick for you to look like one.
What can we expect from your appearance at Bring It To Brunch?
This is my Bring It To Brunch Debut! I’m excited to bring a fun, sexy and entertaining vibe to this show! I’m going to give you fashion, exciting and upbeat performances, [all while] smelling like a million bucks.
How has doing drag most changed your life?
I think drag has really taught me so much not just about myself but also how I want to move in the world. Drag has taught me time management, communication skills and skills that are extremely transferable and useful in my day to day job and life. I also love that my drag has taught me how to love myself. Without my drag I wouldn’t have gotten to celebrate my culture or my thick and juicy behind.
Favorite song to perform to:
My absolute favorite song to perform is either “Private Dancer” by Tina Turner or “Nasty Girl” by Inaya Day—both are such strong numbers, but so different and strong!
Craziest drag memory:
My wildest drag memory was last year! I had just performed with Kesha for WeHo Pride and was ready to hit the bars. I was in a ‘lil mall dress and pumps and this girl who had clearly been drinking all day, comes up to me at the bathroom and asks me for a tampon, LOL! I was like, girl you have to be wasted to not see this beard popping through my makeup.
What is your message to the community this Pride season?
Pride started as a riot. Pride is a constant fight and though we are so incredibly lucky to be LGBTQ and even DL in L.A., we have to continue to honor those who came before us and to create a future for those who haven’t had the same luxury of freedom and authenticity. Pride isn’t just getting with hot guys and going to parties it’s about embracing and loving those around us. So get off Grindr and get to the polls! Then you can get all the trade!
Catch Latina Turner at Bring It To Brunch, this Saturday at Rocco’s in West Hollywood.
a&e features
Los Angeles Black Pride raises community consciousness uplifting Black, queer talent
Here is a slice of Pride rooted in ownership, not optics
When most people think of Pride they more often than not relate it to parades parties. Far too many often forget that it is also a platform. Los Angeles Black Pride (LABP) isn’t just raising the flag. They are raising community consciousness at a time when white, mainstream aesthetic often enjoys borrowing from Black, queer culture without acknowledging the appropriation at hand. LABP does the work to flip the script.
This year, the celebration takes a bold economic stance. Visibility is cute, but viability pays the bills.
BLQ+MKT: Not Your Average Pop-Up
Enter BLQ+MKT, LABP’s unapologetically Black, queer vendor marketplace that’s one part business expo, one part cultural homecoming and all of the parts hustle. It’s not just about selling candles and tees, no matter how hard those candles do slap. It’s about building an ecosystem where Black LGBTQ entrepreneurs are seen and supported. This marketplace is not a low-key side attraction — it’s the main stage for economic empowerment.
By centering queer-owned brands, LABP is addressing a long-overdue market correction. Black LGBTQ folks represent a whopping $113 billion in spending power. That’s not just an audience, it’s a full-on economy. And yet, less than 10% of advertising content reflects this reality. BLQ+MKT says what the mainstream won’t — put some respect and revenue on our names.
Lakeyah: Headliner meets head-turner
Speaking of showstoppers, LABP will feature none other than Lakeyah – rapper, baddie, and blueprint for how queer-centered entertainment can drive community dollars. Her presence isn’t just a vibe, it’s part of a larger economic strategy. When you book talent that reflects the community, you do more than just fill seats. You circulate wealth, amplify voices, and make it very clear who this party is really for. She opens for Saucy Santana at this year’s Saturday night main event.
The Business of being seen
LABP is turning Pride into praxis. By shaping spaces where artistry and ownership meet, they’re shifting the focus from being seen to being paid — and paying it forward. This is about building power without waiting around for permission. Applause is adorable. Ownership changes everything.
Come for the music, the joy, the lewks that will leave zero crumbs. And while partaking in all of the Pride, take a closer look. Every booth at BLQ+MKT, every track Lakeyah drops, carries the architecture of a future rooted in Black queer autonomy. In LABP’s world, Pride isn’t solely a performance. It’s a goddamn power move.
To purchase tickets or for more information, head to http://losangelesblackpride.org/
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On the Fringe: Branden Lee Roth takes on Hollywood
Fresh off his performance in Bat Boy: The Musical, actor Branden Lee Roth is back onstage with yet another show — this time at the Hollywood Fringe Festival in. The show is not only a cabaret-style celebration of the composer’s lesser-known works, but also an opportunity for Roth to perform his powerful vocals and emotional depth.
Tomorrow, the show will have its last two showings at the Hollywood Fringe Festival at 2p.m. and at 10p.m.
“Bat Boy was one of the most challenging [shows] I’ve done — both physically and vocally,” said Roth. The story’s message stuck with him: a character on a profound journey of acceptance and belonging. With such a demanding role — and one carrying so much emotional weight — the pressure was on for Roth to deliver. To make matters more intense, he had little time to prepare.
“I had to jump into the role with minimal rehearsal time,”said Roth. “But the cast and crew were so supportive.”
As the show concluded, he described the performance as a show that will “stay with me forever.”
Now, audiences have yet another chance to see Roth perform — this time in a completely different musical world, but one with just as much passion. Lost & Found offers a rare glimpse into the deep cuts of Frank Wildhorn, the Broadway composer behind Jekyll & Hyde and The Scarlet Pimpernel. However, audiences shouldn’t expect the usual hits.
“The music itself will be something most audiences haven’t heard,” explained Roth. “The show is set up as a cabaret-style with a full band to back it up in an amazing venue.” And it’s not just the instruments or venue that shine.
Roth describes the vocals as “pretty epic.”
Set at The Cat’s Crawl, a speakeasy-style venue, Lost & Found embraces the stripped-down intimacy of cabaret. “Each song stands alonewith no scenes in between outside of some hosting.” It is evident that the opportunity to see Lost & Found live is a chance to really live in the music. There are no flashy sets or scenes between songs — it is purely storytelling through song.
This is Roth’s first time performing in the Hollywood Fringe Festival and he is fully embracing the experience. “The Fringe is an annual celebration of theatre in Hollywood. It’s a really awesome opportunity for creatives and artists to showcase their talents,” he said.
As an openly LGBTQ artist, Roth is no stranger to the challenges of navigating identity in a sometimes rigid or problematic industry. “Being part of the LGBTQ community and being in the arts hasn’t always been an easy journey.” He explains that it took him time to feel confident —specifically when pursuing roles that might not have identified with him. However, Roth recognizes that powerful stories transcend one’s personal identity.
“I start by finding where [a character and I] are similar and build from there.”
Roth encourages folks to get their tickets with only one day left.
“I think audiences are going to really enjoy themselves and leave humming a few new songs to themselves,” he said. You can watch Lost & Found: The Unsung World of Frank Wildhorn at The Cat’s Crawl during the Hollywood Fringe Festival. Tickets are available here, and fans can use the discount code BRANDEN at checkout. To keep up with Roth’s performances, follow him on Instagram at @brandenleeroth.
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A king rises in Vico Ortiz’s new solo show
With a little bit of ‘astrology woo-woo-ness, a little bit of magic woo-woo-ness, drag and fabulosity,’ they tether together the story of the relationship between them and their mother
Nonbinary, Puerto Rican icon, comedian, actor and activist, Vico Ortiz, 33, binds and weaves awkward childhood moments, family expectations, Walter Mercado and the love of their life embodied by a household mop, to tell the story of the rise of a king.
During the peak of Pride month, Ortiz gifted the Los Angeles queer and trans communities with a spectacularly queer, solo show featuring themself in their quest of self-discovery, a profound sense of connection and reconnection with their femininity and masculinity through growing pains and moments of doubt. This is a show that Ortiz describes as “wholesome, but burlesque.”
King Vico Ortiz rises
The show, which premiered on June 12, details Ortiz’s childhood, vignetting and transforming through their most formative years and through canon events that led them to their gay awakening, such as watching Disney’s Mulan (in Spanish) and the moment Ortiz cut their hair in honor of the scene where Mulan cuts hers off. Ortiz took the audience on a journey through their inner monologue during the moments in their childhood and into adulthood, where they not only come to terms with their identity, but also learn to understand the internal battle their parents went through as they watched their king rise.
Though Ortiz mostly only acted prior to writing and producing their first solo show, they finally took their opportunity to do things a little differently. Last June, their friend Nikki Levy, who runs a show called Don’t Tell My Mother, coached Ortiz to dredge up childhood memories and tether them in a way that could be told and understood by an audience as a show about queerness and self-discovery.
“[Levy] started asking me those questions that dig deeper into the emotional journey of the story, not just ‘hehe’ ‘haha’ moments, but there’s something a little deeper happening,” said Ortiz in an interview with the L.A. Blade. This is when they asked Levy to help coach them through the process of putting the story together in a way that Ortiz imagined it, but also in a way that made sense to the audience.
Ortiz says that with a little bit of ‘astrology woo-woo-ness, a little bit of magic woo-woo-ness, drag and fabulosity,’ they tether together the story of the relationship between them and their mother.
“Astrology had a huge influence in my life growing up from the get-go,” said Ortiz. “I was born and [my mother] printed my birth chart.” The Libra sun, Sagittarius rising, Scorpio moon and Venus in Virgo, says they have always known their chart and that not only did astrology play a huge role in their life growing up, but so did astrologer-to-the-stars Walter Mercado.
The solo was partly influenced by their mother and partly influenced by the iconic, queer, androgynously-elegant Mercado, who famously appeared on TV screens across homes in Latin America and the United States for a segment on that day’s astrological reading.
Seeing Mercado on that daily segment shaped Ortiz’s view of gender and began to understand themselves in a new-found light — one in which they saw their most authentic self.
“Seeing that this person is loved and worshipped by all these people who are like: ‘we don’t care that Walter looks like Walter, we just love Walter,’” said Ortiz. This is when they realized that they too, wanted to be loved and adored by the masses, all while fully embracing their masculinity and femininity.
Closing Night of ‘Rise of a King’
The closing night show of ‘Rise of a King’ was a reminder of how unpredictable life can be and how darkness comes in on some of our brightest moments. Ortiz brilliantly pulled off an improv monologue during a 15-minute power outage. Though it was unpredictable, it was on theme. Ortiz owned the stage, going on about childhood memories that shaped them into who they are today and how they have reconnected with the imaginative child that once told the story of a half-butterfly, half-fish.
The rest of the show went according to plan, immersing the audience in a show that took us straight into the closet of Ortiz’s parents and where Ortiz not only discovered, but learned to embrace who they truly are — to the first moments they embraced the king within and outwardly began to show it to audiences, and eventually their mother.
The set, designed by Jose Matias, functioned as a walk-in closet that transforms throughout the show against the backdrop of drawings of Ortiz and their family memories projected on a big screen on the stage.
Ortiz’s original, solo-show had its world premiere at FUERZAfest in New York City, then its west coast premiere at L.A.’s own Hollywood Fringe Festival.
Follow @puertoricanninja for more updates on their upcoming work.
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Los Angeles Black Pride: Where trailblazers get their flowers and the next generation gets the blueprint
If you’re looking for receipts, meet three creatives whose glow-up journeys began with LABP and have not lost momentum since
Let’s get one thing straight… or should I say, gay. At Los Angeles Black Pride (LABP), queerness shines brighter than the glitter under the spotlight and struts fiercer than any size 11 stilettos. LABP has long been the beating pulse of Black queer excellence in the City of queer Angels, not just a party but a proving ground. A space where legends are honored, careers are catapulted, and chosen family comes together.
This year’s theme, Legacy & Leadership in Action, is not another Pride month mantra. It’s a whole mood. It serves a reminder that we will not stand idly and wait for our recognition. We create it. And if you’re looking for receipts, meet three creatives whose glow-up journeys began with LABP and have not lost momentum since.
Before they were booked and busy, they participated in Los Angeles Black Pride, a place where Black queer excellence rises, where glam meets grit and where legends are born.
Ebony Lane – Beating Faces and Breaking Barriers
You know when someone walks into a room and suddenly everyone checks their posture? The person walking into that room is Ebony Lane. A Trans make-up artist (MUA) whose brushes do more than blend — they command. Lane’s artistry is lush, precise, and glistening with resilience. She’s made her name crafting unforgettable looks for film, fashion and fierce femmes who command the world’s attention.
But before the gigs, the gloss and the gag-worthy lewks, there was LABP, a space where Lane Lane found alignment between her artistry and her identity. As a longtime fixture in the Crenshaw beauty scene and a pioneer in L.A.’s ballroom and pageant community, Lane has used her platform to uplift young Black and trans folks by encouraging them to carry themselves boldly in their own truth. Her presence at LABP was never just about beauty but visibility and leadership. Today, Lane doesn’t just beat faces, she beats the odds flawlessly.
Berkley The Artist – The Soundtrack to the Revolution
Grammy-nominated and gloriously ground-breaking, Berkley The Artist is proof that soul hits differently when it’s sung with purpose. Blending funk, truth, and a whole lot of Black queer excellence, Berkley’s music is equal parts hype and healing. Before the world heard his music, LABP passed him the mic.
As a performer who’s graced both intimate community stages and major music platforms, his rise in the music industry is deeply intertwined with spaces like LABP, that amplify Black queer expression. His artistry both entertains and empowers. Whether through healing lyrics or community-centered collabs, his work is a love letter to liberation.
KJ – The Lens That Loves Us Back
Some people take pictures. KJ tells stories with a camera. The creative force behind My Black Is Gold, KJ’s photography turns everyday Black queer life into poetry for the eyes. His work feels like a love letter and a clapback all in one — soft and defiant all at the same time.
He first learned to capture folks in their full power at LABP.His work, now featured in exhibitions, digital campaigns and community projects, centers the intersection of softness and strength that is so signature to Black queer life. LABP provides a creative ecosystem where self-definition thrives.
These artists are proof that LABP doesn’t just celebrate Pride but cultivates legacy. It’s a space where Black queer brilliance isn’t just exhibited but elevated. It’s where identity and artistry work together. From makeup chairs to music stages, the impact of LABP is alive in every brushstroke, every beat, and every shot. As we honor these artists and uplift the next generation, one thing is clear — the future is Black, the future is queer, and at Los Angeles Black Pride, it is beautifully unstoppable.
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Cumbiatón returns to Los Angeles right in time for Pride season
‘Que viva la joteria,’ translates roughly to “Let the gayness live”
Healing and uplifting communities through music and unity is the foundation of this event space created by Zacil “DJ Sizzle Fantastic” Pech and Norma “Normz La Oaxaqueña” Fajardo.
For nearly a decade DJ Sizzle has built a reputation in the queer POC and Spanish-speaking undocumented communities for making the space for them to come together to celebrate their culture and partake in the ultimate act of resistance — joy.
Couples, companions, comadres all dance together on the dancefloor at Cumbiatón. (Photo courtesy of Cumbiatón).
Cumbiatón was created during the first Trump administration as a direct response to the erasure, racism, homophobia and xenophobia that was engrained into the administration’s mission for those first four years. Now that the second Trump administration is upon us, the racism, homophobia, transphobia and xenophobia are tenfold.
This event space is a ‘party for the hood, by the hood.’ It is led by women, queer and trans people of color in every aspect of the production process.
The recent fires that burned through Altadena and Pacific Palisades made DJ Sizzle decide to step back from marketing the event in Los Angeles, an area where people had just lost their businesses, homes and where their lives were completely thrown for a loop.
Now they’re back, doubling-down on their mission to bring cumbias, corridos and all the music many of us grew up listening to, to places that are accessible and safe for our communities.
“I started Cumbiatón back in 2016, right after the election — which was weirdly similar because we’re going through it again. And a lot of us come from the Deferred Action for Childhood Arrivals (DACA) movement. We were the ones to really push for that to happen along with the DREAM Act.”
DJ Sizzle says that she wanted to create a space out on the streets to celebrate life and come together, because of how mentally and physically taxing it is to be a part of the marginalized communities that were and still are, a major target for ongoing political attacks.
Edwin Soto and Julio Salgado pose for a photo at a Cumbiaton event in 2024. (Photo courtesy of Cumbiatón).
“We need these spaces so that we can kind of refuel and rejoice in each other’s existence,” said DJ Sizzle. “Because we saw each other out on the street a lot, but never did we really have time to sit down, have a drink, talk, laugh. So I found that music was the way to bring people together and that’s how Cumbiatón got started. It was honestly like a movement of political resistance through music.”
DJ Sizzle is an undocumented community organizer who aims to not only bring awareness to the issues that her communities face, but also to make space to celebrate the wins and bond over the music that brings people in Latin America, East L.A., Boyle Heights and the Bay area together.
Julio Salgado, a queer, visionary artist and migrant rights activist from Ensenada, Baja California with roots in Long Beach and the Bay Area, connected with DJ Sizzle over their shared passion in advocating for immigrant rights.
“Cumbiatón was created during the first [Trump] administration, where you know, a lot of people were really bummed out and so what Sizzle wanted to create was a place where people could come together and celebrate ourselves,” said Salgado. “Fast-forward to the second [Trump] administration and we’re here and feel a little bit more like: ‘oh shit, things are bad again.’ But, things have always been bad.”
Salgado is involved with Cumbiatón through his art. He is a mixed-media artist who creates cartoons using his lived experience with his sobriety journey, undocumented status and queer identity.
With a background in journalism from California State University, Long Beach, Salgado documents what activists do in the undocumented spaces he has been a part of throughout his life.
In 2017, Salgado moved back to Long Beach from the Bay Area, and at the time he started doing political artwork and posters for protests against the first Trump administration, but because the nature of that work can be very tiring, he says that he turned to a more uplifting version of his art where he also draws the joy and unity in his communities.
When he and Sizzle linked up to collaborate during that time, he thought he could use his skills to help uplift this brand and bring it to the forefront of the many events that saturate the party landscape.
DJ Sizzle doing her thing on stage, giving the crowd the music they went looking for. (Photo courtesy of Cumbiatón).
“We are familiar with using the dance floor as a way to kind of put the trauma a little bit away just for one night, get together and completely forget,” said Salgado.
Coming from an undocumented background, Salgado and Sizzle say that their experience with their legal status has made them very aware of how to go about the ID-check process at the door for their events.
“When you’re undocumented, you have something called a [High Security Consular Registration (HSCR)] and it’s kind of like your ID and many of these heterosexual clubs would see that and say it was fake,” said Salgado. “But at the gay club, they didn’t care.”
Just being conscious of what that form of ID looks like and knowing that it’s not fake, helps many of the hundreds of people who come through for Cumbiatón, feel just slightly more at ease.
Edwin Soto, who is another community activist and leader in the undocu-queer community, is also involved in the planning and organizing of the event.
In the long journey of making Cumbiatón what it is now, they say that they have all been very intentional about who they bring in, making sure that whoever they are, they also understand the experience of being undocumented and accepted anyway.
“Something that Sizzle and the team have been very intentional about is making sure that [the security at the door] knows that someone might be using their consulate card,” said Soto.
Bringing together this event space is no easy task, considering the fact that their events are deeply thought out, intentional and inclusive of not just people of color, but also people with differing abilities and people who do not reflect the norm in West Hollywood clubs.
“We created the space that we were longing for that we did not see in West Hollywood,” he said. “[Cumbiatón] is what life could really be like. Where women are not harassed by men. Where people are not body-shamed for what they’re wearing.”
When it comes to their lives outside of Cumbiatón and partying, Sizzle says that it does get exhausting and planning the event gets overwhelming.
“It is really difficult, I’m not going to lie,” said DJ Sizzle. “We are at a disadvantage being queer and being undocumented because this administration triggers us to a point that, anyone who is not a part of those identities or marginalized communities would ever be able to understand,” said Sizzle. “There are times where I’m just like: ‘I’m going to cocoon for a little bit’ and then that affects the marketing and the communication.”
Usually, the events bring in hundreds of people who are looking for community, safety and inclusion. (Photo courtesy of Cumbiatón).
That’s a little bit about what goes on behind the scenes — which really shouldn’t come as a surprise for anyone who is out there fighting for basic human rights, while also making the space to party and enjoy themselves.
“I’m really trying to find balance and honestly my life raft are my friends and my community,” she said. “Like, being able to share, being able to have this plática, and be like ‘bitch, I see you and I know its fucked up, but we got each other.’”
Cumbiatón was made with the purpose of making space to include and invite the many different people in these communities who are otherwise sidelined in broader conversations and in party scenes where they are not as inclusive or thoughtful about their attendees.
“How beautiful is it to be queer and listen to rancheras and to norteñas and cumbia, and to just own it,” said Soto.
To join Cumbiatón at their next party, visit their Instagram page.
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Best of LGBTQ+ LA 2025
Los Angeles Blade honors the best of the city as selected by our readers
The Los Angeles Blade celebrated its eighth annual Best of LGBTQ+ LA Awards with a spectacular show at The Abbey in West Hollywood on May 22, honoring the community’s best and brightest as selected by you, our readers.
The Awards honored our favorite bars, businesses, artists, organizations, and leaders and featured performances by drag queen Cake Moss, musicians Prince Joshua – who took home the awards for Local Musical Artist of the Year and Go-Go of the Year – and Robert Rene, comedian Allison Reese, and West Hollywood poet laureate Brian Sonia-Wallace. Drag artist Billy Francesca and LA Blade publisher Alexander Rodriguez emceed the event.
“We here in LA are excited to reflect our community, so tonight we’re honoring politicians, business owners, nightlife, entertainment, social media, and Billy,” Rodriguez said, opening the show.
One of the biggest winners of the night was queer mogul and “CEO of Everything Gay” Tristan Schukraft, who won LGBTQ Professional of the Year, while the bar he now owns, The Abbey, took Best LGBTQ Bar, and his pharmaceutical-delivery company MISTR took Best LGBTQ-owned business.
“I’m motivated by making change. We have a purpose, and queer entrepreneurs are building a community that makes a difference,” Schukraft said.
Drag artist and activist Pickle, who runs the LA chapter of Drag Story Hour and is West Hollywood’s first drag laureate, gave a moving speech after she was awarded the Local Hero Award, in which she encouraged anyone who’s facing distress to persevere through the darkness.
“Sometimes, just holding on for one more day is all you can do, but that is strength, and you are loved,” she said.
Transgender rights activist, model, and Blade contributor Rose Montoya was honored as Activist of the Year and Influencer of the Year, although she was unable to attend the ceremony.
“This recognition means more than she can express,” said her brother, Prince Joshua, accepting the award on her behalf. “Activism has never been a choice for her. It’s been a necessity. As a trans person, as a person who exists at the intersection of multiple identities, she’s had to fight not just for visibility, but for dignity, safety, and the right to exist. This work is personal. And in a time where hatred is getting louder, in our laws, in our schools, and in our streets, we don’t have the luxury of staying silent.”
Weho Pride notched two wins during the ceremony, including Best Regional Pride and Best LGBTQ Event for its OutLoud Music Festival, which kick off next week.
“We have a big week ahead and hopefully we’ll see you there because Pride starts here, and Pride starts now,” said Jeff Consoletti, Producer of Weho Pride, accepting the award.
The Gay Men’s Chorus of Los Angeles won the award for Best LGBTQ Social Group,
“The Gay Men’s Chorus of LA has been lifting our spirits through song and fighting for community and singing for all our causes since 1979,” said GMCLA Executive Director Lou Spisto, accepting the award. He also noted that the Chorus will honor Schukraft with its Voice Award at its upcoming Dancing Queens Gala June 21 at the Saban Theatre.
Trans Lifeline was awarded Non-Profit of the Year, likely a recognition of the organization’s importance as trans people have come under increasing attack across the country.
“They’ve received an increase in calls to the tune of 300%, so support your trans brothers and sisters,” Rodriguez said, announcing the award.
DJ Cazwell took home the award for best DJ, although a little mix-up had his award read Best Cannabis Retailer, a distinction that actually went to Green Qween. Cazwell spoke about how much he appreciates the community he found after moving to LA from New York.
“I moved here from New York nine years ago and I found a community of DJs who actually support each other here, so I want to shout out the other nominees,” Cazwell said.
That’s a sentiment that was echoed by Best Bartender winner Sumner Mormeneo from Beaches, who moved to LA from Florida.
“My first six months living here was rough. It wasn’t until I got a job at a bar in Weho that it started feeling like home, so thank you,” Mormeneo said.
More than 40 awards were given out in this year’s Best of LGBTQ+ LA. See the complete list of winners.
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Frankie Grande is loud and proud this WeHo Pride
Frankie Grande will be hitting the stage at this year’s Outloud Music Festival at WeHo Pride and is ready to bring the party
Among other queer and ally big names like Lizzo, Alyssa Edwards, Kim Petras and Frankie Grande will be taking center stage on Saturday, May 31, at this year’s OUTLOUD Music Festival at WeHo Pride. In the wake of the queer community’s current political strife, Grande is taking the spotlight, unapologetically and ready to bring the party, celebrating activism and sexuality unabashedly.
Hot off the heels of his recent two hit singles, “Rhythm of Love” and “Boys,” Grande is gearing up for the release of his new album, Hotel Rock Bottom, hitting platforms on June 27. The album is bringing queer aesthetic to the pop genre and is a retelling of Grande’s life as he has gone from party boy to stage, screen, and reality TV personality, to getting married and living a sober family life (dog and all).
We sat for a chat with Grande as he prepares for his WeHo Pride extravaganza. With everything socially and politically considered, Grande is not holding anything back this Pride season.
Pride is recharging and gearing up for battle. I feel like we’re in a place where our community is under attack, and this is the time where we get the microphone so recharge and get ready to be loud and be prouder than we ever have before. We need to show the world that we are not to be fucked with. We got the mic, so let’s use it.
No stranger to taking the stage, Grande promises a spectacle for his Outloud appearance.
I’m so excited. I’ve put so much effort into crafting a very beautiful show, a very gay show, a very hot show. I’ve selected some really fun songs from my album that people are going to get to hear for the first time because the album won’t be out. I’m also doing some fun and clever covers of songs that have inspired me. I’m excited that I’ve mixed it up and it’s going to be really fun and really gay.
This Pride, Frankie’s call to the gay community is clear.
Support our trans siblings. It is more important than ever. Go to your trans friends and be like, “Hey, what do you need? And how can I help?” Because they’re the ones who are directly being scapegoated at this moment. To think that it’s happening to them means it’s not happening to you is crazy. We are all part of the same community. We’re all under the rainbow umbrella, so let’s go support the community that is directly under attack right now.
Grande’s album comes at a time when queer folk could use a little levity and party attitude. He has been a long-time spokesperson for the LGBTQ community. He has used his platform from reality TV to his role as GLAAD board member to incite activism. He knows full well the fatigue that many of the queer community face as we continue to resist a brutal Presidential administration.
You have to find moments of joy. Honestly, that’s a lot of what this album is to me. It’s like, let’s dance around and bop and be silly to boys tonight so that we can hit the ground running tomorrow and go get some legislation overturned. My whole life, I’ve turned to the dance floor during times of stress, and I think we do need to do that. We have to go celebrate. We have to remember why it is so fun to be a huge homosexual and what we’re fighting for. But then we need to go fight. Don’t get so fucked up that you have to be in bed for three days because we actually do need to go to work.
Grande has also become the poster boy for sober party gays. Celebrating 8 years of sobriety, he has been very open about his journey and how it fits into gay culture. Being openly sober has gained momentum in the queer community and many Prides now include dry events. Grande knows the triggers that Pride can include and has some advice to his fellow sober folk.
First of all, sober gays are fun gays, let’s just say that. If you’re triggered, get the fuck out. You know? There are a lot of drugs, there’s a lot of drinking, there’s a lot of partying, and sometimes you’re just not fully ready to be in those environments. And if that is true, then just leave. The people who are drinking and using will have no idea that you left.
Also go find some sober friends to go with. I did everything in sobriety, like linked with my sober BFFs, Salina EsTitties and stylist Mandoh Melendez. They were my bodyguards and they were my shield, and they had more sobriety than I did. They showed me the ropes, and to this day, they’re still sober and my best friends. So, get a sober buddy and GTFO when you’re triggered, just leave.
Grande is being very vulnerable in his upcoming album Hotel Rock Bottom. Not only is he leaving himself to be compared to other family members in the business, but he is also telling his story on his own terms with music. What is his intent with his album?
My mission with this album is to inspire others to be themselves by being so open and honest. If you just want to listen to the surface value of my album, then you’re going to have a great fun dance time being like, this is so much fun. But if you want to actually go and listen to the lyrics and dissect it, you’ll see that there’s a lot of darkness and a lot of light on both sides of this album. I organized this album into side A and side B, or top and bottom, as we’re calling it on the vinyl. There’s sobriety and using days, there’s good and bad, and highs and lows on both. So, no judgment, it’s all about just be yourself, live your life, live authentically, and you’re going to get through whatever you’re dealing with.
And his message to the queer LA community this Weho Pride?
We’re very privileged and we’re very blessed because we’re in a very liberal and very blue state, so we need to have the best time and show up. But let’s make sure that we’re constantly beaming our love, light, and energy, and thinking about how we can help people in red states who are not going to have a governmentally and a community-supported Pride, because that is a reality these days. Let’s try to figure out how we’re going to help the country while we’re in the most liberal, most protected state in the world, which is fabulous.
Catch Grande onstage at Outloud on Saturday, May 31st. Hotel Rock Bottom will be released June 27th, available wherever you stream your music.
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New Musical Monday’s host to grace the stage for MISCAST
On Monday, Craig Taggart graces the stage at Mumo’s MISCAST segment
Actor Craig Taggart has had a colorful career that has transported him from St. Louis to Los Angeles.
Taggart made his L.A. stage debut in Del Shores’ revival of “Southern Baptist Sissies” and began a decades-long professional relationship that led to his appearance in a variety of “sordid” incarnations: in repertory in 2006’s Season of Shores in “Sordid Lives,” “Sordid Lives: It’s a Drag,” and then on TV’s “Sordid Lives: The Series” where he made his TV debut.
Los Angeles audiences have been privileged to see Taggart take the stage in a number of sketch comedies and hilarious parodies. One of his most popular runs has been portraying Bette Midler for “Rise n’ Shine” with Midler and Juliette Lewis, a surreal morning talk show hosted by the duo, played by comedy partner Chris Pudlo. Nowhere on Earth would these two stars be hanging out on a TV show, but the pairing works and the result is hilarious. We really would love to see the return of this dynamic duo.
Taggart will step into the emcee shoes this coming week while regular MuMo host Darin Sanone is traveling Europe. Taggart will present the very popular MISCAST edition, a fan-favorite segment of Musical Mondays that features actors performing roles that are far from their intended casting. From gender swaps to reinterpretations, MISCAST at Mumo is often hilarious, and many times poignant. We can’t wait.
We caught up with Taggart to talk about the power of musical theatre, his career and his fascination with divas.
What inspired your early love of musical theatre?
The first time I fell in love, I was in the third grade watching my grammar school’s performance of Cinderella…a leading lady — in this case a pre-teen girl — on stage singing a torchy power ballad. Smitten!
What was your first professional appearance on stage? How did it go?
Made my professional debut in The Miss Kitty’s Saloon Show at Six Flags St. Louis. 6 shows a day and getting to ride roller coasters when your shift is over…best summer job I ever had!
What was your journey from St. Louis to Los Angeles? What took some time getting used to?
There’s a saying in St. Louis: “If you don’t like the weather here, hang out for 24 hours. It’ll change. And boy, would it! What sold me on Los Angeles was the temperate climate all year long. Weather in Missouri is all over the map…the consistency of Mother Nature here in L.A. has helped, pun intended, weather the career fluctuations over the past couple of decades.
How has being part of the theatre changed your life?
I wouldn’t say theatre really changed my life. It defined my life, for the most part. It’s where I first experienced community. It’s where I was allowed to be myself and be celebrated for it.
We need more Bette and Juliet! Any plans to see more of these lovely ladies?
Funny you should mention that…we’ve been tinkering with the idea of bringing those broads back. I think a reunion show would be in order. Seems everyone’s getting a reboot these days…why not those gals?
Gender bending roles in the theatre have become very popular. What role would you cast yourself in?
I would throw a Little Mermaid into oncoming traffic to get to play ‘Ursula’ onstage.
What has been a personal triumph for you in your theatre career and why?
I made my NYC stage debut off-Broadway starring in “Wounded” by Jiggs Burgess and directed by my dear friend Del Shores this past year. Being involved with it from the initial zoom readings to its multiple award-winning run @ The 2023 Hollywood Fringe Festival to it garnering a residency at The SoHo Playhouse as its Overall Excellence Award Winner from the 2024 International Fringe Festival…that has been the cherry on the cake of my career on-stage so far.
What was your first exposure to Musical Mondays?
Wow…I honestly can’t recall my first time. Not that it wasn’t memorable–it just seems so ingrained in my DNA that I find it harder to think of a time when I DON’T recall being exposed to MuMo!
What is it about Musical Mondays that the community loves so much?
I’d say it’s due to the unabashed and unapologetic reverence for the genre.
Why is celebrating musical theatre so important right now?
Celebrating is a ceremony of respect…and with so much vitriol and animosity and negativity in the world these days…this artform–which, at its core, is one rooted in a reality where a story is only able to be told in so many words before it has nowhere else to go but through song–to me that is the purest form of joy. The purest expression of the soul. It’s art in multiple forms. It sings. It dances. It uplifts. It inspires. It unites and it’s defiant. In a world that stresses conformity, where we’re witnessing the ostracization of marginalized groups, it’s this beloved universe that decries “I Am What I Am”–with spotlights and sequins and showtunes–which, in my humble opinion, is the best antidote to all the ugliness we’re currently facing. Musical Theatre has got my undying and eternal respect…and it’s not only my job, but my duty and my honor and my purpose to celebrate it.
What can we expect from your upcoming appearance at MuMo?
To quote Miss M herself: “Did I sing the ballad yet? Was it wonderful?”
What do you love most about performing at MuMo?
Being a part of a crowd that wholeheartedly loves this art form like I do.
What is your message to Mumo fans?
No one says it better than Sondheim…so in my best Ethel, Angela, Tyne, Bernadette, Bette, Patty, & Audra…”Hold your hats, and Hallelujah! Mama’s gonna show it to ya!”
MuMo takes place every Monday at The Chapel at The Abbey; Los Angeles Blade serves as a proud media sponsor
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Manchester is vibrant tapestry of culture, history, and Pride
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Two new documentaries highlight trans history
Manchester is vibrant tapestry of culture, history, and Pride
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Embracing the chaos can be part of the fun
From Drag Race to Dvořák: Thorgy Thor takes the Hollywood Bowl for Classical Pride
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Movies3 days agoTwo new documentaries highlight trans history
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Travel1 day agoManchester is vibrant tapestry of culture, history, and Pride
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Theater4 hours agoGeffen Playhouse’s The Reservoir finds queer humor and joy in recovery and loss
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Books1 day agoEmbracing the chaos can be part of the fun
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a&e features4 hours agoFrom Drag Race to Dvořák: Thorgy Thor takes the Hollywood Bowl for Classical Pride