by Citlalith Pérez Reprising the inaugural community-wide, multi-media homage to “Lucha Libre,” the Mexican wrestling sport characterized by larger than life characters, theatrical showmanship, acrobatic virtuosity and a perennial parade of masked wrestlers, Exodus Events is pleased to present the second annual edition of LA’s most authentic homage to the internationally popular tradition. (Photo courtesy: Santino Bros. Wrestling Academy) Part sport and part made-for-TV entertainment, the classic Lucha Libre wrestling legacy—the unique cultural expression which originated in Mexico and went on to spawn the wildly successful World Wrestling Federation (now the publicly traded World Wrestling Entertainment) media juggernaut—has inspired a growing legion of fans even as it has stoked the imaginations of countless aficionados drawn to its pageantry, near comic book hero iconography and all-American fun. The brain-child of artist Antonio Pelayo, founder of Exodus Events, “La Bulla” b

by Abel Salas Born in Chicago on June 15, 1953, Ana Castillo is a universally celebrated poet, novelist, short fiction writer, essayist, editor, playwright, translator and independent scholar. Her novel, Sapogonia , was a New York Times “Notable Book of the Year” and her first work of fiction, The Mixquiahuala Letters , received an American Book Award from the Before Columbus Foundation. Other award-winning and bestselling novels include Give It to Me, which was the 2014 winner of the Best Bisexual Fiction from the LAMBDA Foundation, So Far From God , The Guardians and Peel My Love Like an Onion .  Massacre of the Dreamers , her classic, award-winning collection of essays celebrated its 20th anniversary with an updated edition released in 2014 and her award winning novel in verse, Watercolor Women, Opaque Men will be re-released in fall 2016 by Northwestern University Press in a deluxe new edition. Calling her “the most daring and experimental of Latino novelists,” Commonw

by William Alexander Yankes The annual French film festival, COLCOA (the abbreviation for City of Lights, City of Angels), that honors the ever-stronger bond between the world’s two film capitals—Paris and Los Angeles—celebrated its 18th year at the Directors’ Guild of America in 2014. Traditionally held after the Oscars, COLCOA devotes just over a week in April, nine days which are anticipated with baited breath all year by cinephiles and Francophiles alike, to showcasing the very best of contemporary French filmmaking. ( Photo courtesy of Gaumont. ) Two years ago, on April 20th, the curtains opened on the first night of the annual festival to a full house. The standing room-only crowd was eager, as always, to spend a week witnessing and celebrating films infused with poetry, humor, candor, pathos, passion, sex and, yes, a most French ingredient, love. On that night in particular, François Truffart, COLCOA director, announced the presence of Claude Lelouch, director of the 1966

By Abel Salas Committed to creating a sound that pays homage to world and soul music in a riveting, infinitely danceable—yet still utterly original—distillation of those global, cross-cultural currents, Cuicani is a five-member collective of singer-songwriters, community activists and educators.  Amidst a growing popular buzz, the quintet makes its first full-length recording debut this month. (Above left to right: Tony Sauza, Marisa Martínez, John Northup and Marlene Beltrán-Cuauhtin. Photo by Farah Sosa) Like long-time powerhouse Chicana songstress, Irma “Cui Cui” Rangel, known as “Cuicani” for over two decades now in the danza azteca community and in movimiento -era theater, art and music circles, the newly minted ensemble also takes its name from the Nahuatl word for “singer.” With “mavens” Marlene Beltrán-Cuauhtin and Marisa Martínez on vocals, Tony “Tone-Irie” Sauza on vocals and guitar, Caitlin Moss on drums and John Northup on bass, the millennial band members draw lyri

by Abel M. Salas The LA Film Festival, produced by Film Independent, the non-profit arts organization that also produces the Film Independent Spirit Awards, unveiled the 2016 Festival poster artwork by Colombian-American Carolyn Castaño yesterday while proudly announcing the selection of Ricardo de Montreuil’s Lowriders   as this year’s opening film. This year’s festival will run from June 1 through Jun 9. “In 2013 we launched a series of LA Film Festival posters designed to celebrate LA artists. Carolyn Castaño joins the ranks of acclaimed artists Ed Ruscha and the late Noah Davis as the 2016 poster artist,” said Mary Sweeney, Film Independent Board Chair. “Castaño’s work reflects and celebrates her deep roots and experiences in the powerful Latina culture of Los Angeles. Film Independent and the LA Film Festival support and celebrate the diversity of unique artistic voices.” Castaño, whose mixed-media installation at San Diego’s New Americans Museum last year went on to show a

By Nancy de Los Santos-Reza & Alex Moros Hispanas Organized for Political Equality (HOPE) held its 25th Annual Latina History Day Conference at the Millennium Biltmore Hotel in Los Angeles on Friday March 11th. The conference drew over 800 women from across California to celebrate the historic accomplishments of Latinas, as well as to participate in educational workshops. This year’s event theme, “Architects of the Future,” encouraged women to become involved in creating the future they want to see. (Left: Hilda Solís) “Latinas have a tremendous amount of economic and political power in California and across the nation, and what better time to celebrate our history and our role as architects of the future then the 25th Annual Latina History Day Conference,” said Helen Iris Torres, Executive Director of HOPE. “Our goal at the conference was to inspire and support Latinas across the state as they recognize how to use that power to make change for themselves, their families, an

by Ona Russell My father can hardly contain himself. Since we spotted the Boyle Heights exit, he’s been craning his neck, shifting in his seat, ordering me to turn this way, not that. He’s eighty-five, but reminds me more of my six year-old grandson at the sight of the Disneyland Matterhorn. Or myself at the Nordstrom’s off ramp. (Photo to left: Samuel Kantor) The visit to Boyle Heights, an area once known for its ethnic diversity, is ostensibly professional for me. I am researching it for my third historical novel, set there in the 1920s. Among other things, my story relies on the premise that despite its melting pot status, strong divisions existed among the various working class groups, especially geographically, with neighborhoods intentionally segregated. But narrative considerations aren’t motivating my dad as we drive up the 5, and his reason for accompanying me certainly has nothing to do with fiction. Indeed, he grew up in the community and is simply excited