#it's very fun actually because when the playlist is in its true form (by date-added rather than alphabetical as I've got it now)

[ereborne]

Song of the Day: December 26

"Decay" by Kxllswxtch

[melpomenecokr]

﹟ ♡  THIS MONTH IN MUSIC  :  MAY 2019.

                                  ♡♡♡

May was a month that happened and I guess we need to talk about it. 

As barren as the month seemed for impressive releases, there were a few diamonds in the rough, thank God, and as I’m sure you’ve figured out by now, it’s my job to bring them to light, and talk about why these hits stood out among the many (many) misses this month of May had to offer. All complaints aside, I present to you my top five musical recommendations for the month of May. 

Just as they always are, links for purchase and streaming services will be provided at the end of each segment for their respective release. Please remember to support these artists and their music so we can hear more from them in the future. 

#005. “DDU-DDU ddu-ddu (뚜두뚜두)” - SINGLE BY ETUDE♡ (습작) RELEASE DATE: 03 MAY 2019

You all often like to joke with me that I am, for the most part, boy group illiterate, so it may not come with much shock when I say I’ve only knowingly heard a few songs from this group in the past. I tend to listen to almost anything and everything that drifts into my recommended or that I stumble across while browsing MelOn and the like, and I believe that’s how I discovered ETUDE♡ existed in the first place. In the case of “DDU-DDU ddu-ddu” (like the professionals we are on this blog, we’re going to shorten that to just “DDU-DDU” from now on, thank you), however, I actually sought this release out after seeing the video teaser the day prior, because it seemed very intriguing -- and for once, I wasn’t deceived. 

(Just to preface, we’re only going to be talking about the title of this release since this is not an in-depth review, but I would definitely recommend listening to the other two songs, if you’ve got the time.)

“DDU-DDU” is a pop-rap song heavily influenced by trap and EDM with its heavy bass and almost peculiar-sounding beat. Right from when the song starts and the group screams their name into your ear on the first beat drop, you get the sense this is going to be a power anthem about how great and capable they are and how they’re better than everyone else; and as eye-roll worthy as that sounds, that’s actually what makes the title track of this single so great. It knows exactly what it is and it accomplishes its goal perfectly with gutsy raps and surprisingly solid vocals. 

The aforementioned raps are really where this song finds its footing because the chorus isn’t much, but that’s perfectly fine, because with a song like this, the chorus doesn’t have to be groundbreaking. The first rap is delivered by member Yejun, with a slow and suavé kind of flow to it; the kind of rap you would expect to play while the final boss of a video game or the big bad of an action movie makes their first appearance. The punchlines are a little weak, but I think the way this rap flows in itself makes up for that in earnest, it just sounds so good, you don’t really care much about what he’s actually saying. Then, the second rap, delivered by member Saint, follows the chorus and it’s the antithesis of what the preceding rap was; it’s fast-paced, hard-hitting, and really drives home the point of the whole song. I still don’t know that ‘that ddu-du ddu-du du’ is but I fully believe I was hit with it. 

Not to undermine the vocalists, though, because they really did an outstanding job, despite this type of beat and vibe being more fitting for rappers. The main vocalist, Seongwoo, stood out to me because of the way he sang his lines. It’s hard for a lot of k-pop vocalists to portray bravado and confidence with their voices because they are trained to sing in very distinct ways, but he captured that vibe perfectly while still managing to sound stable and light. “DDU-DDU” is the kind of song you play when you need a confidence boost, no doubt about it, and it’s definitely made its way onto my playlist. 

Listen to “ DDU-DDU ddu-ddu (뚜두뚜두)” here and stream the music video here.

#004. “BLAME IT ON YOUR LOVE” - SINGLE BY CHARLI XCX AND LIZZO RELEASE DATE: 15 MAY 2019

These two getting together was completely unexpected on my part, but it was the match made in Heaven that I never saw coming. A snippet of this song actually leaked sometime last year, which had many living in the XCX-verse on the edge of their seats waiting for the project to come back ‘round, and Charli and Lizzo made quite a wave on Twitter when they announced they were doing this piece together. Though I was definitely thrown, I was excited; both artists have a way of being so wonderfully simple and straightforward with their lyrics, but combine that with complex arrangements and composition and messages that it leaves you trapped between two different feelings, and it’s great when music can evoke that strong of a response. 

“Blame It On Your Love” is no exception to this formula these two ladies employ in completely different ways, and their radically different styles come together with a harmony that makes this such a good, and unique song. I wouldn’t be against them forming a duo or doing a collaboration album, to be honest.

Anyway, “Blame It On Your Love” is an eccentric pop song about nervous jitters and different wavelengths making a relationship difficult -- the feelings seem unrequited but it’s hard for Charli to tell because she can’t get close enough to the object of her affections without turning into a nervous wreck, and sabotaging herself when it comes to opening up. Charli’s vocals are broken and slow and create a sense of nervousness and tension that the listener can resonate with, while Lizzo is confident and straightforward (as always) while delivering her short verse near the end of the song. She seems to be giving a completely opposite message than Charli, but because her high-energy rhymes are so different from Charli’s cautious vocals, it works. It’s not detached, either -- it doesn’t seem like it comes out of nowhere, as the production sets the dong up perfectly to have Lizzo give Charli this reality check. Her banter-like ad-libs really make this song so fun and enjoyable, too; despite Lizzo’s contributions seeming relatively small on the surface, she really did her part to make this song the summer-night anthem that it is. 

Overall, I really enjoyed this release, as I knew it was going to be great the moment they announced via social media that they were working together, even if I didn’t immediately know what to expect. I hope these ladies collaborate again in the future; I think when wildly different artists come together and vibe the right way, it can make a memorable spectacle. We need more of that. Some artists are way too full of themselves these days. 

Listen to “Blame It On Your Love” here.

#003. “DEDICATED” - STUDIO ALBUM BY CARLY RAE JEPSEN RELEASE DATE: 17 MAY 2019

If I could only recommend you one underrated artist to stan this year, it would be Carly Rae Jepsen. This is the first time I’ve discussed her on my blog for a while because she sort of fell off the radar after “Call Me Maybe” had the whole world singing in 5-syllable sentences for the better portion of 2012, however she came back onto my life on a better note when “Cut To The Feeling” was pretty much the Pride Anthem of last year. I went back and listened to pretty much everything I had missed from her and when I tell you this girl is not only talented, but pretty much dedicates her career to true retro-esque pop music, I mean it, and I couldn’t mean it more. While I’m sure none of us were as excited to hear “Dedicated” as my best friend’s boyfriend, there was a lot of anticipation surrounding Jepsen’s fourth studio album via her cult following. Now that it’s here, I can verify it was not only worth the wait, but that it didn’t disappoint in the slightest. 

Carly (I’m going to call her by first name for the rest of this segment because I feel foolishly close to her) has the energy and ambition of a pop star with the innocence and modesty of the girl-next-door, and I absolutely love that about her. As much as I need to hear a good, old-fashioned pop song about having sex with a stranger in the back of a stolen SUV every now and then, there’s something so refreshing about Carly’s innate curiosity about love and how desperately she wants to experience it as a young (33 is young, shut up) woman with a big heart. I believe “Dedicated” is the clearest glimpse into her world she’s ever given, and with that, the songs I would like to highlight from this 13-track (not counting the bonus tracks) wonderland of an album are “Now That I Found You”, “Right Words Wrong Time”, and “Real Love.” 

If you haven’t heard “Now That I Found You” by now, I want you to know that I am deeply disappointed in you. This song is everything you’d expect from CRJ and more -- the retro vibes, the high-energy, the stellar vocals and the addictive lyrics blend together to make this not only the song of the summer, but the song of every summer. The delivery of the lovesick lyrics is so earnest and bright that it not only puts you in a great mood, but makes you want to go outside and dance in the rain, regardless of who’s watching, or your high chances of catching a cold. This is exactly the kind of pure, unadulterated pop that Carly delivers consistently without getting stale; it’s so easy to get lost in her world that you won’t even realize 3 minutes and 20 seconds has gone by and you’ll want to replay it 20 times on your drive to work or while sniffing melons at the supermarket. I know this sounds oddly specific, and that’s because it is. I listen to every piece I review 3 times over at least, and this was one of the easiest songs to follow that rule with to date. 

“Right Words Wrong Time” is the second-to-last song on this album, and I think that was done with a concerning degree of intention. It’s a slow, melancholic track about a relationship that just isn’t working because the two lovers are on two different wavelengths. It rings consistent with Carly’s desire for passionate and confident love, as she’s frustrated with her lover for not prioritizing her enough to know what she really seeks in their relationship until its too late. I was considerably surprised by this track, but I think it works so perfectly for this album’s overarching layout and themes because it teaches the listener that you should never settle in a relationship, and you should know when you’ve given enough chances. It’s not a song you could break out in a full-choreographed dance to at any given time, but it doesn’t need to be for the message it’s trying to convey. Carly’s soft vocals and the simple, tastefully-repetitive beat amplify what she’s saying in a way that really resonates with the listener, which is exactly what the lyrics of this song demand. It works perfectly. 

Remember that point about “Right Words Wrong Time” intentionally being toward the end for a reason? Well, “Real Love” ends this album and that same concept must have been employed here, too, because this song ties this album together so perfectly, it could honestly work as a formal outro. It sums up what Carly has always been about, wanting “real, real love” in a cold and unforgiving world when she doesn’t know who to trust or who is telling the truth. It’s such a wholesome desire that I think most people can relate to in one way or another, because at the end of the day, a lot of humans just want real, honest relationships that give them a reason to get out of bed on a particularly tough day, or to reassure them that they’re worth something when the world gets them down. This energetic pop song and earnest ballad hybrid showcases just how much CRJ makes music for normal, everyday people who aren’t glamourous rich pop stars constantly feeling like they’re the best. It’s so honest and I can feel how naked she must have felt writing and putting out a song like this, and it shouldn’t go without appreciation. 

Listen to “Dedicated” here and stream the music video for “Now That I Found You” here.

#002. “90s BXTCH” - SINGLE BY KKUMA (꿈아) RELEASE DATE: 26 MAY 2019

If I had been on top of my game this month, this song almost certainly would have missed the cutoff date to be included in this list -- so I guess my turmoil was a blessing in disguise (though it could have always been included in next month’s, I know, but I like to be optimistic sometimes). 

Kkuma is one of those artists that, even if by some tragedy you don’t like her, you have to respect her because of how iconic her style is, what she stands for, and the fact that she’s probably produced some of your favourite Korean artists’ biggest hits. She’s really been outdoing herself this year by releasing so much music after leaving her fans with very little the last year and a half, and nothing she’s put out has been bad. Period. 

(The reason I haven’t been reviewing them all individually is because I’m nearly certain that she’s gearing up to release an album this year, by the way. I’m not a fake stan, I promise). 

“90s BXTCH” stood out to me this month because of how utterly Kkuma it is -- she’s basically pioneered the 90′s aesthetic in the Korean music industry and she knows that with a song like this, from the descriptions of classic 90′s aesthetics and imagery to the way this song sounds like it could have been ahead of its time during its release in 1996. The chorus references “Sade,” though I’m not entirely sure if it’s referring to the solo artist or the band she was in that was named after her -- either way, Sade is a 90′s icon known for her soulful vocals and unique style, and Kkuma mirrors that in 2019 in a way that is indescribable. It’s a perfect allusion.  

As the single description states, the track is an ambitious mix of 90′s R&B and contemporary hip-hop, and it works so beautifully, showing that old trends really never die because they always come back in one way or another. Kkuma makes it clear through this song that while she’s a simple woman, she isn’t basic; she enjoys the finer things in life but they’re not all she cares about. The song has an underlying message about being true to yourself no matter what everyone else is doing, and also that it’s a beautiful life when you mind your own business and do things your own way. The seamless blend of vocals and rap is done so well that it’s nearly undetectable when she’s switching from one to another, and I love that this woman literally has no rules when she puts out a song -- that she can do whatever she wants and still make something incredible. 

The beat of the song is just as relaxed and confident as the lyrics, and given that Kkuma writes and produces her own music, I’m not surprised by this, though I am impressed by how in-tune she is with her own aesthetic and her own music. Kkuma prioritizes aesthetics a lot in both her visuals and sound, and “90s BXTCH” is like the final boss as all of that culminates and she shows you exactly who she is and what she’s about in just one song. It takes strength, confidence, and self-awareness for an artist to do that, and Kkuma’s got all of that and more. I really hope to see this included on a future album of the same caliber. 

Listen to “90s BXTCH” here and stream the music video here. 

#001. “DUSK V. DAWN (황혼 대 새벽)” - REISSUE ALBUM BY NINEBANG (나인뱅) RELEASE DATE: 03 MAY 2019

If you’ve spent more than five minutes on my blog at any given time after NINEBANG’s debut in May of last year, this probably is no surprise to you. Especially when his age bracket and status as a rookie is considered, NINEBANG is one of the best artists out there right now, and the best male vocalist in the industry, by far. I was elated to see that his second mini-album “Eclipse” was being repackaged into a full-length album, and boy am I satisfied with the new material sprinkled into an already-great work. 

Whenever K-pop artists do repackage albums, I get a bit nervous that they’re either going to add bland remixes or re-hash the same song structure they had in the initial release, or completely destroy the synergy of the original release, if it had any to begin with. As much as I admire NINEBANG, I couldn’t evade those worries with him, and I was pleasantly proven wrong as the new material fits like a glove among the original material in terms of themes and structure. Whoever arranged this tracklist deserves a gold medal, as I especially appreciated how the new songs weren’t just tacked onto the end like an afterthought. 

So, that considered I want to exclusively focus on the new material, as I reviewed “Eclipse” in the past. The songs I have selected to pitch to you are, of course “WANT”,  “Artistic Groove”, and “Nightdrive.” 

Starting with the title track, “WANT” is perhaps the best of this dark, sultry image NINEBANG is exploring with both this album and it’s initial release. It’s a contemporary R&B and Pop hybrid, drawing the listener into NINEBANG’s sultry charms and powerful yet versatile voice. The lyrics are actually pretty simple and somewhat repetitive, but the way they are delivered makes this song the great listen that it is. I actually recommend you watch live performances of this song, too, because they are really something. I’ve never been a good dancer but watching someone not only outsing the industry but move so fluidly while doing so is beyond my realm of understanding. Anyway, “WANT” does its job to make you horny but it also incites this sense of curiosity in the listener, too; like the feeling you get when you know you’re about to indulge in a sinful pleasure but you wonder what the consequences will actually be, and if they’ll even be worth worrying over in comparison to the pleasure itself. This song spells out temptation with bold letters between NINEBANG’s seductive vocals and the spell-like lyrics. It’s not a listen for the faint of heart, but it’s a great song by a great artist, and that’s always worth your time.

Next is “Artistic Groove,” and if you thought “WANT” was a little dirty, we’re just getting started. This song is packed with innuendos and suggestive tones, to the point where my eyebrows were almost flying off my face the entire time I was listening to it. It’s so good, though; the way he lays out his sexuality and sensuality for the listener to explore. It, in turn, can make the listener feel confident and sexy, on top of being the kind of song you just have to move to. It makes a fleeting attraction feel like something deep and profound, like the excuses you make in your head before a hookup, and while that can be a little dangerous for the weak-willed (like me), it’s the kind of unapologetic self-expression and view into the artist’s mind that I like to see in music. I like to know that I’m listening to a person sometimes, and not some untouchable god, as much life as that can give me, too. 

Finally, let’s end this segment right by talking about Nightdrive. I actually wasn’t sure how I felt about this song the first time I listened to it, but it grew on me by the second time, and by the third, I was belting out the chorus to my neighbours’ dismay. This track features another great vocalist, June of GEMINI, who you may remember from last months’ TMIM post. I can tell these two are friends because they work together really well; their singing styles are pretty different and wouldn’t work together in even a slightly different setting, but they made them work in this suave R&B track about a blossoming attraction in the confined space of a car. The way the verses and bridge build up to the loud and funky chorus via both the lyrical structure and the arrangement of the song itself is so smooth and easy on the ears, while it simultaneously builds anticipation in your chest, and I really enjoy getting invested in a song like that. Their chemistry is really what makes this listen so enjoyable, because I honestly feel as though if anyone else released this song, it wouldn’t have been that great. It just goes to show how specific music can be. 

Listen to “Dusk V. Dawn (황혼 대 새벽)” here and stream its music videos here and here. 

This concludes May’s installment of “This Month in Music”! I hope you found something new or learned to appreciate something you may not have before through these recommendations. Please remember to support the artists by visiting their respective links, and enjoy their music legally. Also, be sure to tell me about your own recommendations from this month in the comments, and feel free to respectfully discuss any of the points I’ve made here, whether you agreed or disagreed. 

Love always, see you next month!  ♡ 

[biofunmy]

The Nightlife Outlaws of East Los Angeles

The Look

Club Scum, a monthly party that embraces punk and drag, is a distillation of the fringe-friendly gay underground on the Eastside.

Photographs by Daniel Jack Lyons

Text by Daniel Hernandez

Produced by Eve Lyons

Let’s get one thing straight, so to speak.

There’s mainstream gay club culture — homogeneous house music, international circuit parties, rainbow flags everywhere, which is fine! — and there is underground gay club culture, which is more like a spider web of alternative scenes. The underground reflects themes and identities, as well as literal geographies, that are usually marginalized, or are, in a word, “queer.”

In Los Angeles in early 2016, two queer club denizens put a party together at a strip-mall gay bar in deeply Latino eastern Los Angeles and called it Club Scum. Far from the posher dance floors of the gay enclave of West Hollywood, the goal of the organizers was to mix scenes that hadn’t often met, even on the widest of webs: drag and punk. They were nervous.

“The first Scum, yeah, some people were leaving, and the manager was worried,” said one of the co-founders, Rudy “Rudy Bleu” Garcia, referring to their venue, Club Chico in Montebello, Calif.

“But at the same time, those punks who took the bus were rolling in late,” added Ray “Hex-Ray” Sanchez, the other co-founder. The pair shared a laugh as they recalled the hint of what was to come. The punks mixed in with goth drag queens and the club’s masc, down-low regular clientele. Something clicked. “By the end of the night,” Mr. Garcia continued, the bar owners said: “‘Wow, this was great, the energy was great, the performers were great.’ And the regulars” — pause — “have the rest of the month.”

More than three years later, this monthly party featuring art and drag performances, D.J.s, go-go dancers and sometimes live punk bands, has become a staple of underground East L.A. night life. The mixture has worked, its founders said, because Scum spoke to a cultural current that was hiding right before them.

“For us, it’s just fun to play X Ray Specs and then Banda Machos, or like, Gloria Trevi to the Germs,” said Mr. Garcia, 41, referring to the sounds of Scum playlists, but also to the musical styles that might echo against one another across city streets in East L.A.

Dress is central to Scum’s subculture. The club’s adherents show up reflecting all kinds of alternative styles, often with a gender-bending or drag bent. Body positivity is functionally boundless. Extravagant face makeup is a norm. Prosthetics are encouraged.

On a recent night in September, the latest Scum night at Chico was going strong. The music and vibe veered — seamlessly — from New Wave, to techno, to traditional Mexican ranchera to hard-core punk. A few people approached me and said they’d never seen me there before, just as a regular said might happen. Inclusivity reigns at Club Scum. I smiled and embraced strangers, informing them that, yes, I was a party virgin.

“Scum is that place where you can be your true authentic weird self,” said Mr. Sanchez, 30, and I knew exactly what he meant. In a way, I’d been to this party, in some form, many times before.

I had a pretty great time living in Los Angeles in my 20s in the mid-2000s.

It was in its last few years in the ranks of megacities that were considered underrated, and, for its sheer vastness, Los Angeles felt like a place where wonderlands for any fancy beckoned from behind discreetly marked doors. There was always something going on, always another room to peek into, always another entrance. In that decade, L.A. was the city of secrets.

I was convinced that in order to really understand the place, I had to get to know as many distinct night life scenes as possible. After dark, I got in my car and went out. I plunged into the neighborhoods that radiate from downtown, hurtling into backyard ska-punk shows in El Sereno, experimental art happenings in Chinatown, and smoky trip-hop after-hours in warehouses in South-Central. Most of all, I was at the underground gay club nights.

In L.A.’s central neighborhoods and its Eastside, denizens followed the underground gay calendar from club to club, week to week, where we made bands of friends and notched strings of enthusiastic bed mates. There wasn’t a lot of overthinking going on; labels weren’t in style. Maybe this was because the period came right after the vibrating trauma of Sept. 11, but also well before dating apps, necessitating analog contact with strangers in order to have a life in a driving-heavy metropolis.

The corresponding flow was fluid and bent slightly toward the nihilistic in everything from music to sexual practices to street fashion. As a result, it’s taken me some years to realize that there were actually two alternative gay underground cultures in Los Angeles at the time, and that many of us had firm footholds in both.

There were the more mainstream-adjacent scenes that centered in East Hollywood and Silver Lake: leather, bears, rockers, “creative” types, the people who congregated at places like Akbar, MJ’s, the Eagle, Cuffs and Faultline. Then there was the immigrant-led underground, dominated by working class gays and lesbians, Latin drag queens, trans people. These venues included the old Le Bar on Glendale Boulevard (now the hipster haunt Cha Cha Lounge), the now-defunct Circus Disco in Hollywood, the divey New Jalisco on Main Street, and Tempo on Santa Monica Boulevard, a veritable club of worship to gay vaqueros and queens.

Farther east, there was the little known lesbian bar Reds in Boyle Heights, and Club Chico, a “cholo bar,” as we called it back then, that catered mostly to Mexican or Mexican-American guys who shunned the traditional L.G.B.T. identifiers but could definitely be described as “men who have sex with men.”

Being a gay underground clubgoer in L.A. at the time meant almost by default being some shade of brown. Nearly half of the county’s population was already Latino, but it was a time, almost two decades before Latinx entered the dictionary, when the city was weirdly un-self-aware about it. Everyone was just mixed in.

The deeper I got into downtown and the Eastside, the weirder and freer things would get. Which is why, when I first entered a Club Scum night in Los Angeles in 2019, I knew, in club-going terms, that I had effectively returned home.

Scum sits at the intersection of queer culture, punk culture and drag culture. It is for women, men, and literally every gender expression in between. Mr. Garcia is a veteran underground night life maven, part of a generation who created intense community at the L.A. queer party nights of the late 2000s, like Mustache Mondays (whose co-founder and beloved impresario Nacho Nava died in January) and Wildness in MacArthur Park.

The community at Scum, like that of similar parties that exist in its orbit, touches on the propensity among alternative-leaning, young Eastsiders to be drawn to anything goth, gore, electro or hard core. For drag personalities in particular, Scum is seen as a community home-base; several drag houses have organically formed around the party.

Scum also serves as a beacon to the essential identity of the Eastside of Los Angeles County. Montebello, where Chico has kept a low-key presence since 1999, is a couple blocks away from the boundary of unincorporated East L.A., which, remember, is a distinct entity; its natives — including Mr. Garcia and Mr. Sanchez — don’t ever let a newcomer forget it. The location keeps the club rooted in the various cultural pillars of the region. East Los Angeles proper is more than 95 percent Latino, according to the U.S. census, and largely some form of Mexican.

From here, Scum also becomes the party that arguably fits best for those who feel like they’re the strangest in their neighborhoods, anywhere. Maybe they love the Misfits, but also know their Juan Gabriel. Or they skate, but also do some drag. To some adherents, it’s all “queerdo,” a construction of “weirdo” and “queer” — apt, though of uncertain provenance.

“It just feels safe,” said Amanda Estrada, 31, a regular clubgoer and musician, who once had a band with Mr. Sanchez. She attends regularly with her partner Rocío Flores, who also D.J.s at the club. They were there together on the very first night. “At Scum, you know you’re among your people, your community, and I know that sounds cheesy, but that really is the vibe when you walk in,” Ms. Estrada said.

Mr. Garcia and Mr. Sanchez came into the scene through their bands, and by promoting clubs and making zines. These activities will sound familiar to elder Eastsiders, as they have flourished in the gay underground of the Eastside since at least the 1970s, said C. Ondine Chavoya, a professor at Williams College, and co-curator of “Axis Mundo,” a 2017 museum survey exhibit that charts queer visual arts and cultural production on L.A.’s Eastside. “It was about being the punk kids at the gay disco, or being the Latino queers at the bar in the West Hollywood, which didn’t always work out,” Mr. Chavoya said.

For the misfits, the outcasts, the night crawlers, it works. “Scum provides a space for people to be themselves, and take risks, and try new things with the way they dress, perform, communicate,” Mr. Garcia said. “And to meet other people who are like you, and are not just trying to fetishize you for being brown or for being punk.”

Mr. Sanchez added: “It’s been nice to bring people to our gay bar, in the hood, where we grew up.”

Daniel Jack Lyons is a photographer who divides his time between New York and Los Angeles. Daniel Hernandez is a Styles West reporter and the author of “Down and Delirious in Mexico City,” a nonfiction exploration of youth subcultures in Mexico.

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