September 24, 2024 • 37 mins
Disclaimer: Please note this episode contains themes and conversations about sex.
This week, director and filmmaker Aurora Guerrero join Diosa and Mala to discuss how silence, sex, and young love inspired the making of the 2012 queer coming-of-age film, Mosquita y Mari. Aurora also shares the inheritance she hopes to leave her daughter.
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Episode Transcript
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Speaker 1 (00:00):
Truth or dare truth? Guando boys, GUENOMELESTORIAA I am oher
aarami primera more.
Speaker 2 (00:21):
Senoraora, Senora, Senora, Senora, Senora, Senora, Senora, Hi, Senora, Welcome
to Senora.
Speaker 3 (00:37):
Sex Ed Senora Sex Said is not your mommy's sex talk.
This show is la platica like you've never heard it before.
We're breaking the stigma and silence around sex and sexuality
in LATINX communities. Historically, Latinas have been hyper sexualized in
popular culture but notoriously denied sex education. This podcast is
(00:59):
an intergenerational conversation between Latinas from gen X to gen Z,
covering everything from puberty and body image to representation in film, television,
and music.
Speaker 1 (01:11):
Just a reminder, in this show, a Senora is a
woman with a lot of life experiences and stories to share.
Maybe she's in her thirties, maybe she's in her forties
or fifties or even older. She could be trans, or
maybe she sis. We are your hosts and producers, Viosa
and Mala.
Speaker 3 (01:30):
You might recognize us from our flagship podcast, Loka Tora Radio.
We've been podcasting since twenty sixteen and we've covered all
kinds of topics, ranging from politics to mental health, current events,
and of course sex. We still have so much to learn, though,
which is why we're excited to bring you. Senora Sex said,
we hope you listen to each episode with the Senoras
(01:53):
and Senoritas in your Life.
Speaker 1 (01:56):
Chapter six a Queer Inheritance.
Speaker 4 (02:00):
By the time I made Mosquito Madi, I think everybody
knew I was queer. This was my coming out love story,
first love story that I hadn't told anybody about. The
person I experienced it with, we never talked about it.
It's very much like the movie. It's like all the
unspoken is what lived between us.
Speaker 3 (02:22):
That's Alrora Guerrero. She's a writer, director, and filmmaker. She's
a queer, Chicana Latina and mother. In this episode, you'll
hear her discuss how her first love inspired her debut film,
Mosquito Marie. You'll also hear how she's breaking the culture
of shame.
Speaker 1 (02:41):
Aoa wrote her first love story into her first feature film,
and we all process our first loves differently. Do you
remember your first love, the first person who caught your
eye and captured your romantic imagination? The inspiration for butterflies
and daydreams, your first valentine, your first dance, your first kiss.
(03:03):
First love can be intense, scary, overwhelming, wholesome and precious.
Sometimes that first love is a secret very deep inside,
for fear of what might happen should it be expressed.
Speaker 3 (03:17):
When we're young, Few things are more exciting, more thrilling,
more terrifying than sharing your feelings with the object of
your affection, And few things hurt more than unrequited love.
Did you tell your first love how you felt about them?
Did they feel the same way about you if you
ran into them today? What would you say?
Speaker 1 (03:40):
Historically, sex education PSAs shown in American schools are painfully clinical,
oftentimes comical, and notoriously awkward. For writer director aro Ri Guerrero,
her first formal introduction to sex education was one such film.
Speaker 4 (03:57):
I feel like the only bit of sort of formal
sex said I recall would be when I was in
elementary school. I think I was maybe in the fourth
grade when they had this Sex Said, like half hour
film that they showed us that literally was still on
(04:18):
like eight millimeter film. I think they projected it. I
don't even recall much of what was shown other than
maybe seeing sperm kind of swimming. But I don't recall
a discussion. I don't recall anything really, I don't recall
being impacted by it. I just remember it being kind
(04:43):
of laughed off, no follow up discussion, something that we
had to watch, and that was about it.
Speaker 3 (04:52):
Like so many school age Latinas, the lessons about sex
missing from our formal education were supplemented by hushed whispers,
school yard tieesement, and sexual experimentation among peers.
Speaker 4 (05:06):
So I think that that's the only formal sex that
I ever had in my life. And then there was
the sex that that happens on the streets and in
your school with your friends, right where people start talking
about having sex, and so I think that those discussions
(05:31):
were never in detail about like this is how it happens.
Speaker 1 (05:36):
Sometimes this informal learning about sex and sexuality had negative repercussions.
Speaker 4 (05:42):
Then like these are the consequences it was. There was
none of that. It was just kind of like she
had sex, and it was like, oh my god, or
she's pregnant, Oh my god. Or she's having an abortion,
oh my god. Like that was the extent of the conversation,
(06:04):
really lacking detail. And I have to say again that
that was the majority of my life. Like for me,
sex side was really what I experienced firsthand, like those
were my my that was my learning, was me just
experiencing it. So really nothing you could say nana.
Speaker 3 (06:31):
For Arora, matters of the body and sexuality were shrouded
in shame. When she started her period, she was given
the tools needed to keep up with her menstrual cycle,
but not much more. Without direct, open and detailed dialogue
about her period. The message was clear, figure it out
(06:52):
and don't talk about it.
Speaker 4 (06:54):
When I started my period, there was still a lot
of ignorant and on my end, I didn't really fully
understand what was happening. And my parents when that happened,
it was almost like my mom just was like an
automatic sort of like, oh, so this is what you need.
(07:16):
Here's a pad, like and you have to wear this
and oh but it wasn't like a detailed conversation about
what it meant and how my body was going to change.
There was nothing like that. It was just kind of like, oh, here,
you're going to need this, and I had to figure out, oh,
my god, like this is it's going to be painful
(07:38):
and I'm going to have to wear this pad, and
you know, just like a lot of silence, a lot
of mystery, a lot of shame. And I interpreted it
a shame. This lack of conversation around it translated as
something you don't talk about.
Speaker 3 (07:54):
It.
Speaker 4 (07:54):
If you don't talk about it's something to be ashamed of.
So yeah, just crazy, Like nothing around sexuality. It was
always about the assumption that I would like boys, and
I did have attractions towards boys, but there was no
discussion around even that.
Speaker 1 (08:17):
If you've been listening to Senora sex Ed since episode one,
you may have recognized a troubling pattern that for young Latinas,
the silence and shame around sex and sexuality often begins
with puberty and our periods. These major life events might
be acknowledged, but seldom are they celebrated or fully explained.
The message, once again, is very clear, this is yours
(08:40):
to deal with on your own.
Speaker 4 (08:42):
Yeah, I mean, I think it starts with the period.
I think it starts with the body and what we
sort of naturally go through. I think information is power,
it's empowerment. I'm a mom now, I have a daughter
she's nine, and and my spouse and I my wife
and I immediately talked about how we wanted to get
(09:06):
her age appropriate information so she could understand just the
biology of her body and like what is going to
happen around her period, how that's going to bring on
changes from her body to just hormonally, her emotions and
you know, everything that comes with starting your period. Both
(09:29):
my spouse and I are so excited about that.
Speaker 5 (09:33):
I have no idea how she will receive the conversation,
but thus far she's used to us, you know, bringing
books and reading together.
Speaker 4 (09:46):
And having discussions as we read it. She's very responsive
to it, and so we're excited about continuing that conversation,
especially around sex, which is a big one. And you know,
we feel like her body is telling us from what
we're seeing that her period is within a year a
(10:07):
year and a half away. So me and my wife
are getting ready. We're like, how do we have the
conversation that isn't traumatizing, that is empowering and la la
la la la, you know what I mean. And so
part of that is also just like for me dealing
with my fears, you know, around it for her, because
I also know that the world out there is can
(10:30):
be a very scary place, and I don't want to
be like, and you have to do this, and you
have to, you know, like be so imposing on her
because we also want her curiosity to be present and
to be alive and not to stifle that for her.
So and also then eventually leading to the conversations around sex. Yeah,
(10:53):
I would have loved to have really removed that sense
of it's not something you should talk about, it's not
something that is positive or good. Like, I really wish
that would have been removed, because I just would have
understood myself so much better and felt more confident in
(11:14):
the world as a young woman. And you know, obviously
my mom sets the tone for that for me. And
because I grew up with brothers and so my mom
was the only other female my grandma. So yeah, So
I just wish my mom would have really broken the
silence and given me proper information so I could navigate
(11:39):
myself my changes so much better.
Speaker 3 (11:43):
The silence around Aarroora's body, her period, and her sexuality
was almost an inheritance of sorts, passed down from her
grandmother to her mother and eventually to her. Now, Aaroda's
own daughter has the privilege of a different type of inheritance,
information and open conversation.
Speaker 4 (12:04):
My generation of moms are raising kids who are like
extremely informed. If anything, I'd be curious to see them
or my daughter, you know, fifteen twenty years from now
on a podcast talking about the way she was raised
would probably be like, oh my god, my mom's had
(12:26):
a library and shit, like, way too much information.
Speaker 3 (12:34):
We hope you're enjoying this conversation. Stay tuned, there's more
to come.
Speaker 1 (12:46):
And we're back. We hope you enjoyed the break and
are ready to listen to the rest. What happens when
our own parents are afraid to address the changes we
are experiencing with our bodies, we approach those same changes
with fear, upidation, and sometimes self destructive behavior. Without the
proper tools and education to help her navigate her relationship
(13:08):
to sex and sexuality, Arora's youth was marked by fear
of what she didn't know.
Speaker 3 (13:14):
Yeah.
Speaker 4 (13:14):
I think that I navigated my youth with a lot
of fear. Fear of you know, what was happening, what
could happen, not understanding things, and fearing that that lack
(13:38):
of knowledge would somehow hurt me or hurt the ones
around me. Yeah, just a lot of fear, and that
in turn caused a lot of repression, oppression. I lived
a very sort of insular experience where like I was
(14:01):
just having conversations with myself, you know, internally about what
was happening, because I couldn't even talk to my friends
about things. So it was really difficult. It was really difficult.
And if I did have an experience or did have feelings,
(14:22):
that was tainted with shame, and so then that was
another layer that kept me quiet about my experiences that
I internalized, be it positive or negative. And I always
feel like that led to sort of you know behavior
(14:45):
later that was self destructive, right from unhealthy sex to
alcohol to just different ways that different ways I was
coping to try to find a way to express what
I had buried for so long. So it was really
(15:07):
really hard. It had a very very big impact on
me and negative for sure.
Speaker 3 (15:13):
As a young adult, Aroda made her way to Los Angeles.
While in LA, her new social circle introduced her to
a nonprofit organization called Bienistad. Because of Viennistad, Alroota had
access to queer sex ed for the first time.
Speaker 4 (15:29):
There was a lot of discussion with people around me.
But when I ended up in Los Angeles, I came
across a nonprofit called Bianistad. I don't know if you
all are familiar with bianista, so I'm not sure if
they're very active now, but they were active back in
the early two thousands, late nineteen nineties, which is when
(15:51):
I was in LA and definitely dating and out in
the scene, and they were doing a lot of active
out reach to not just gay men but queer women,
and so a few of the women that I was
around exposed exposed me to them and their workshops, and
(16:13):
it was like the first time I ever went to
a queer like sex workshop was at Bianistad, and by
then I was twenty four, twenty five, and I was like, oh,
they're safe sex like between women, Like I mean, the
ignorance was pretty deep on my end, you know, and
(16:35):
having those conversations like most of us didn't weren't aware
of that and definitely did not practice safe sex amongst
ourselves or with each other whatever in the Latina community.
I felt like so so bien Estaught was the first
place where I got formal queer sex education.
Speaker 1 (16:57):
We're sure there are listeners out there who have their
own own questions about safe sex for queer women. To
keep the conversation going, we're picking up a house call
from resident obg y N doctor Lilia Rodan, MD.
Speaker 6 (17:15):
Ola Signoras, I'm la Lata Lilia Roldan, MD, calling in
to talk to you about safe sex practices for queer women.
E Brasoness, I'm a resident physician specializing in obtetrics and gynecology. Now,
before we continue with our call, this informational segment should
not be interpreted as official medical advice, and if you
have any concerns, always consult with your medical provider. So
(17:38):
let's get to talking about safe sex practices for female
bodied queers now. While you are statistically more likely to
contract an STI from someone with a penis, that doesn't
mean those gold star lesbians out there are free from risk.
Any sexual act involving the exchange of bodily fluids can
lead to infection transmission. Barrier methods like condoms and dental
dams should be used by all consenting parts for infection prevention,
(18:01):
and yes, Senoras, that means using condoms on your penetrative
sex toys if you're playing with a partner. Speaking of toys,
make sure to clean them after every use for silicone.
Either boil them for five to ten minutes, wash them
in the top rack of your dishwasher, or wash with
antibacterial soap and hot water. As a rule of thumb,
if you're using an organ for sex, you should get
it swabbed at some point to screen for STIs because yes,
(18:25):
throat chlamydia is a thing. And lastly, it's important to
note that just because you or your partner are on
gender affirming hormones, that doesn't mean there's a zero percent
chance of pregnancy if playing with genitals of the opposite sex.
So Senoras, if you're needing to have the plattiga with
a queer segoriti tex in your life, remember to research
the correct information to inform their safe sex practices.
Speaker 1 (18:46):
The turbulence that defined her own queer coming of age
was not for nothing. Her experiences with silence, sex and
young love would inspire the making of the twenty twelve
iconic queer love story Mosquita You Mighty.
Speaker 4 (19:02):
Because for two reasons, that film was so personal to me,
and I had lived in that silence for so long
that I really wanted to bring voice to it. And
I wanted to just let it out and put it
out and say, you know, this was a moment in
(19:25):
my life, and this was my first love. And I
never got to say that to that person. I never
got to say it to someone else. It took me
a while to even acknowledge that that friendship was really
my first love, and so I wanted to honor that
time and moment in my life. I felt like that
that was very important for me. And then I figured
(19:52):
that probably still there were a lot of young women
of color, a lot of young brown girls who were
still exp and seeing the same thing.
Speaker 3 (20:02):
Mosquita Aimardi was a cinematic love letter addressed to Arora's
first love. She was also a young brown girl who
didn't know outright how Aroa felt. Aaroda knew that she
was not the only queer Latina who harbored a secret
love in her childhood. She wanted to finally let that
love live out in the open for everyone to see
(20:25):
and feel.
Speaker 4 (20:26):
And I wanted to capture that dynamic so these young
women or older or women my age could say, oh shit,
that was me, That's what I went through. And you
capture that and you gave it a place, and you
gave it a name and thank you for doing that.
(20:46):
So I wanted people to feel seen more than anything,
and that moment and that love to be seen and
felt beautiful.
Speaker 1 (20:57):
I I'm curious about how you living your life, dating,
growing up, coming of age, learning as you're going, learning
as you're doing. How that led to the writing of
Mosquita Imai because it's based very heavily on your own
experiences and your own upbringing. So just how living directly
(21:18):
translated to the writing.
Speaker 4 (21:20):
Yeah, well, I originally Mosquita Money was epic. It started
in elementary school and ended at the end of high school.
And I think that I was so eager to tell
my story, to talk about all the things that I
had experienced, especially around love and connection intimacy, that I
(21:46):
just like barfed out the biggest breaking screenplay ever. And
so I think that at that moment, I was like, Okay,
I don't think that this is very producible, and so
I I need to kind of be able to encapsulate
what I felt for most of those years during a
(22:08):
very specific time, and so that's what I set out
to do. But originally it was just this real need
to say everything that I could not say throughout my
life because my feeling, that sense of intimacy attraction started
very young for me in elementary school. So I wanted
(22:32):
to like, you know, honor all those moments and I
couldn't cinematically. So that was my process and it made
sense because I was talking about these things for the
first time. And yeah, and that process to come to Mosquite,
(22:53):
that money and what it is on screen now took
me quite a few years because I had to, like,
you know, be okay with saying I'm not going to
cover elementary school. I'm not going to cover middle school.
I'm not gonna you know what I mean. Like, I
had to be at piece with what was not going
to end up on screen specifically, but in essence, I
(23:18):
was addressing and capturing the same feeling I had throughout
my childhood.
Speaker 1 (23:24):
Curiosity about your sexual attraction and identity can begin at
a young age. Mosquita Mai set out to capture that
youthful intensity, and that.
Speaker 4 (23:35):
Was intense connections with other girls that were clouded with
that sense of sort of not being able to talk
about it, not understanding fully what was happening, not having
a sense of community to lean on during that time
was what I wanted to center the peace on, and
(23:57):
so that's what I focused on. I love it. I
love queering these friendships because you know, we're taught to
just dismiss them as oh, that's just friendship, or you know,
it's never put through a queer lens. So I wanted
to queer those spaces as much as possible so people
could look back and say, oh, actually, I think we
(24:20):
were crushed out on each other and it wasn't just
oh I just felt a little jealous, you know what
I mean. So I experienced that when I when I
screened the film around the world, so many people would
talk about their experiences through a queer lens that they
had never given their their the given themselves the opportunity
(24:45):
to look at their experiences through a queer lens, and
it was I felt like it moved a lot of
people to do that. So that was that was really
interesting to experience through audiences. We'll be taking a quick break.
Speaker 7 (25:01):
Don't miss us, Thanks for sticking around.
Speaker 1 (25:13):
We are back.
Speaker 3 (25:22):
What about Ara's first love? Ara and her childhood crush
lost touch and they didn't reconnect for several years until
Aarra tracked her down and finally sat down to talk
to her.
Speaker 4 (25:36):
I have mentioned the film to her a couple of times,
but she has an expressed interest in watching it. I
haven't outright said this is about you and me. I
have said, you know, you inspired a lot of it.
(25:57):
She knows, like I think the first step between me
and her was for me to come out to her,
because in real life, myself and this person got separated.
So life broke us apart. She ended up moving and
so our relationship, our connection was ruptured from one day
(26:19):
to the next, and she ended up like going on
her own journey. I ended up going online and then
we reconnected like fifteen years later, as I was getting
ready to make this movie, and I thought to myself,
I'm gonna tell her. I'm gonna She didn't know I
(26:39):
was queer, she didn't know anything, So so I invited.
I tracked her down. It took me a long time
to track her down, and this was a whole This
was a big part of why I also wrote Mosquite
Madi Is because I couldn't find her, and I was like,
rather than find her and I don't know what I
(27:00):
was gonna, you know, claimed to her. I just I
needed to tell this story for me. But I had
already set in motion this sort of search for her,
and I was able to finally find her and I
invited her to dinner, and it was crazy. We hadn't
(27:21):
seen each other since high school, like we were seniors.
We saw each other briefly, but we were separated when
we were sophomores. And I was like, I'm gonna tell her,
you know, I was just so hooked gung ho with everything,
and then when I saw her, I just got really nervous.
(27:42):
And then she started telling me how she was Christian
and she had, you know, a few kids, and I
just shrunk. I shrunk, and I walked away from that dinner.
I didn't even come out to her say anything, and
so so I walked away, going, I have to make
(28:06):
mostquit that money for me. I gotta do this for me.
This is me telling this story. And I realized that
even if she were to see the film, I feel
like she would be like, that's not how it happened.
And that's fine, because this is how it happened for me.
And I'm sure she has her side in the story,
but it doesn't matter. It doesn't matter what she thinks
(28:28):
or how she experienced it, it just matters what it
was for me. So anyways, we have kept in touch.
I did end up coming out to her. She was
cool with it, and that's as far as we've gotten. Yeah,
I think that ideally what I hoped for was that
(28:49):
we would come together and I would share with her
what I was doing, and that she would acknowledge what
happened between us, and that we would talk about it openly,
and that I would walk away with a smile on
my face and my heart and knowing that she validated
(29:12):
everything we had gone through. That was what I ideally
hoped for, because by then I was already with who
is now my spouse, So I wasn't like I was
looking to rekindle anything. I just I just wanted her
to it, to say, yeah, you know, like that's that's
what happened, and and thank you for bringing it up,
(29:35):
or you.
Speaker 8 (29:36):
Know, I.
Speaker 4 (29:38):
Wish we could have talked about it then or something,
you know. I just I wanted her to acknowledge me
and what we experienced. And I didn't get that.
Speaker 1 (29:49):
Aaroda came out to her first love, but had a
different idea of how the conversation would go.
Speaker 4 (29:55):
So I needed closure, and Mosquite Mani became closure. When
I made the film, I really did feel that I
felt like I was able to move on because I
was so when I went to college to film school
and I was told in my screenwriting class to write
from a place of a personal experience, I immediately started writing,
(30:19):
particularly about her, and it became Mosquitai Money, and it
just was like, man, man, this love has been haunting
me for a long time, and it was haunting me
because we never really acknowledged it between each other, and
it was something that I needed. And I think it
goes back to the way I was raised, all that silence,
(30:42):
all that living in my head and you know, not
having that opportunity to process and to put a name
to it, like it really impacted me. And so this
haunting was ongoing and it wasn't until I made Mosquitai
(31:04):
Madi that I was free and freedom of it, and
I really, I really was. So it became very very
significant for me the making of that movie, especially after
she and I met.
Speaker 3 (31:17):
It's been twelve years since MOSQUITEI Madi was released, its
cultural impact remains.
Speaker 4 (31:23):
It's kind of like I gave birth to this story
and it was massive for me personally. As I've just
expressed that, I was excited to put it out in
the world and see what it was going to do
to other people, hoping that it would shake people in
a good way, it would send them on a journey
(31:45):
to you know, find answers or help people feel validated,
whatever it was going to do. So I basically just
said fly and never looked back. Like, the movie's doing
its thing everywhere, and it just kind of been in
(32:06):
pocket circles back and people are either writing about it,
it's been in books. The Academy Museum just wrote me
and they want to center the film around coming of
age stories. And I was like, wow, like Mosquita Mondy
is like, it's just doing its thing and it's impacting
(32:28):
people to this day. And still there hasn't been a
film that has come out quite like Mosquite Mady and
so so I guess it is. But it was never
something that I was really intending. I just was like,
Mosquite Money just needs to be what it is out
(32:49):
in the world. It's done its job with me, thankfully,
and I'm so grateful and now off into the world.
And so yeah, it's the little the little train that
could you know, it just keeps giving, it keeps going.
That's how I feel about it.
Speaker 3 (33:06):
Instead of passing down generational silence to her daughter, Adoda
is passing down the visual love letter that is Mosquitei Madi.
One day, Adoa and her daughter will watch the film together.
The film that served as closure for Arora will open
up a dialogue with her own daughter.
Speaker 4 (33:25):
So part of it is like me doing my therapy
and working through my stuff and finding the right thing's
tools to be able to talk about it. I think
film she's been wanting to watch Mosquite Mati, and so
I'm excited about watching it with her and sharing my
(33:46):
story with her. I think it's going to be really deep,
and I think definitely before this year is up, we're
going to have a screening of it me, her and
my wife and like put it on the big screen
and and have a discussion afterwards. So so excitement, not
(34:07):
fear being excited about these conversations, be excited about finding
the tools. Also finding other parents you know that are
raising their kids similarly, and that we can have discussions
with them about you know, what are you doing, how
are you doing it? I think that that's really helpful.
(34:28):
My spouse and I are very community oriented and we
have quite a few friends with kids. They're all around
the same age, so we're all checking in with each other.
So yeah, I think that that's where we're at. And
hopeful that this shift in attitude and an approach will
(34:53):
lead to less trauma in our communities, more empowerment, and
just more beautiful stories that they can share, is our hope,
you know.
Speaker 1 (35:08):
At the end of our interview with Arora, we thought
deeply about what it means when our love is not reciprocated,
and how we might channel that unrequited love into our work,
into our learning, into our own happiness, and the ways
that art making can serve as closure when the object
of our affection cannot do the same for us.
Speaker 3 (35:31):
This interview with Arora really got me thinking about my
first love, my first queer love, because there was just
no information out there for me at that time. And
I'm so glad that a film like Mosquitai Mai exists,
and it really makes me think about those friendships with
(35:53):
girls before having any type of sexual awakening. There's this
intensity of these friendships when you're a young girl, and
now you can look back and be like, oh, we
were just in love with each other, and that's why
it was so intense and in love in the way
that a twelve year old can be in love right
where there's this queering of friendship and being able to
(36:16):
understand there was some complexity there that we did not
understand at the time, and so I'm just really glad
that ado Ra shared her experience with us and how
she was really able to alchemize this unrequited love into
this beautiful film that stands a test of time that
is a part of queer Canon Films.
Speaker 1 (36:38):
Thank you for tuning in to another episode of Senora
sex Ed. Next time, on Senora sex Ed, we are
joined by content creator Naomi Hearts. We're talking about love
as a transgender woman and how comedy figures into her
content and her personal relationships.
Speaker 8 (36:56):
Here I go again coming to my mom having to
come out a second time, and I was like, you know,
I don't think I'm gay, and she was like confused
for a bed and I told her I think I'm transgender,
and in that moment she was like, I don't know
what that is. I love you and I'm gonna support you,
and we're gonna do it Together.
Speaker 3 (37:19):
Nosavemos Chao Senora Sex Said is a co production between
LOCATORA Productions and Michael Dura Podcast Network.
Speaker 1 (37:28):
This show is executive produced by Mala Munos and biosa Fem.
Speaker 3 (37:32):
Also executive produced by Jaselle Frances.
Speaker 1 (37:36):
Produced by Stephanie Franco.
Speaker 3 (37:38):
Creative direction by Mala Munios.
Speaker 1 (37:40):
Story editing by Biosafem.
Speaker 3 (37:43):
Music direction by Grisol Lomeli and
Speaker 1 (37:46):
Music produced by Brian Gazo
Truth or dare truth? Guando boys, GUENOMELESTORIAA I am oher
aarami primera more.
Speaker 2 (00:21):
Senoraora, Senora, Senora, Senora, Senora, Senora, Senora, Hi, Senora, Welcome
to Senora.
Speaker 3 (00:37):
Sex Ed Senora Sex Said is not your mommy's sex talk.
This show is la platica like you've never heard it before.
We're breaking the stigma and silence around sex and sexuality
in LATINX communities. Historically, Latinas have been hyper sexualized in
popular culture but notoriously denied sex education. This podcast is
(00:59):
an intergenerational conversation between Latinas from gen X to gen Z,
covering everything from puberty and body image to representation in film, television,
and music.
Speaker 1 (01:11):
Just a reminder, in this show, a Senora is a
woman with a lot of life experiences and stories to share.
Maybe she's in her thirties, maybe she's in her forties
or fifties or even older. She could be trans, or
maybe she sis. We are your hosts and producers, Viosa
and Mala.
Speaker 3 (01:30):
You might recognize us from our flagship podcast, Loka Tora Radio.
We've been podcasting since twenty sixteen and we've covered all
kinds of topics, ranging from politics to mental health, current events,
and of course sex. We still have so much to learn, though,
which is why we're excited to bring you. Senora Sex said,
we hope you listen to each episode with the Senoras
(01:53):
and Senoritas in your Life.
Speaker 1 (01:56):
Chapter six a Queer Inheritance.
Speaker 4 (02:00):
By the time I made Mosquito Madi, I think everybody
knew I was queer. This was my coming out love story,
first love story that I hadn't told anybody about. The
person I experienced it with, we never talked about it.
It's very much like the movie. It's like all the
unspoken is what lived between us.
Speaker 3 (02:22):
That's Alrora Guerrero. She's a writer, director, and filmmaker. She's
a queer, Chicana Latina and mother. In this episode, you'll
hear her discuss how her first love inspired her debut film,
Mosquito Marie. You'll also hear how she's breaking the culture
of shame.
Speaker 1 (02:41):
Aoa wrote her first love story into her first feature film,
and we all process our first loves differently. Do you
remember your first love, the first person who caught your
eye and captured your romantic imagination? The inspiration for butterflies
and daydreams, your first valentine, your first dance, your first kiss.
(03:03):
First love can be intense, scary, overwhelming, wholesome and precious.
Sometimes that first love is a secret very deep inside,
for fear of what might happen should it be expressed.
Speaker 3 (03:17):
When we're young, Few things are more exciting, more thrilling,
more terrifying than sharing your feelings with the object of
your affection, And few things hurt more than unrequited love.
Did you tell your first love how you felt about them?
Did they feel the same way about you if you
ran into them today? What would you say?
Speaker 1 (03:40):
Historically, sex education PSAs shown in American schools are painfully clinical,
oftentimes comical, and notoriously awkward. For writer director aro Ri Guerrero,
her first formal introduction to sex education was one such film.
Speaker 4 (03:57):
I feel like the only bit of sort of formal
sex said I recall would be when I was in
elementary school. I think I was maybe in the fourth
grade when they had this Sex Said, like half hour
film that they showed us that literally was still on
(04:18):
like eight millimeter film. I think they projected it. I
don't even recall much of what was shown other than
maybe seeing sperm kind of swimming. But I don't recall
a discussion. I don't recall anything really, I don't recall
being impacted by it. I just remember it being kind
(04:43):
of laughed off, no follow up discussion, something that we
had to watch, and that was about it.
Speaker 3 (04:52):
Like so many school age Latinas, the lessons about sex
missing from our formal education were supplemented by hushed whispers,
school yard tieesement, and sexual experimentation among peers.
Speaker 4 (05:06):
So I think that that's the only formal sex that
I ever had in my life. And then there was
the sex that that happens on the streets and in
your school with your friends, right where people start talking
about having sex, and so I think that those discussions
(05:31):
were never in detail about like this is how it happens.
Speaker 1 (05:36):
Sometimes this informal learning about sex and sexuality had negative repercussions.
Speaker 4 (05:42):
Then like these are the consequences it was. There was
none of that. It was just kind of like she
had sex, and it was like, oh my god, or
she's pregnant, Oh my god. Or she's having an abortion,
oh my god. Like that was the extent of the conversation,
(06:04):
really lacking detail. And I have to say again that
that was the majority of my life. Like for me,
sex side was really what I experienced firsthand, like those
were my my that was my learning, was me just
experiencing it. So really nothing you could say nana.
Speaker 3 (06:31):
For Arora, matters of the body and sexuality were shrouded
in shame. When she started her period, she was given
the tools needed to keep up with her menstrual cycle,
but not much more. Without direct, open and detailed dialogue
about her period. The message was clear, figure it out
(06:52):
and don't talk about it.
Speaker 4 (06:54):
When I started my period, there was still a lot
of ignorant and on my end, I didn't really fully
understand what was happening. And my parents when that happened,
it was almost like my mom just was like an
automatic sort of like, oh, so this is what you need.
(07:16):
Here's a pad, like and you have to wear this
and oh but it wasn't like a detailed conversation about
what it meant and how my body was going to change.
There was nothing like that. It was just kind of like, oh, here,
you're going to need this, and I had to figure out, oh,
my god, like this is it's going to be painful
(07:38):
and I'm going to have to wear this pad, and
you know, just like a lot of silence, a lot
of mystery, a lot of shame. And I interpreted it
a shame. This lack of conversation around it translated as
something you don't talk about.
Speaker 3 (07:54):
It.
Speaker 4 (07:54):
If you don't talk about it's something to be ashamed of.
So yeah, just crazy, Like nothing around sexuality. It was
always about the assumption that I would like boys, and
I did have attractions towards boys, but there was no
discussion around even that.
Speaker 1 (08:17):
If you've been listening to Senora sex Ed since episode one,
you may have recognized a troubling pattern that for young Latinas,
the silence and shame around sex and sexuality often begins
with puberty and our periods. These major life events might
be acknowledged, but seldom are they celebrated or fully explained.
The message, once again, is very clear, this is yours
(08:40):
to deal with on your own.
Speaker 4 (08:42):
Yeah, I mean, I think it starts with the period.
I think it starts with the body and what we
sort of naturally go through. I think information is power,
it's empowerment. I'm a mom now, I have a daughter
she's nine, and and my spouse and I my wife
and I immediately talked about how we wanted to get
(09:06):
her age appropriate information so she could understand just the
biology of her body and like what is going to
happen around her period, how that's going to bring on
changes from her body to just hormonally, her emotions and
you know, everything that comes with starting your period. Both
(09:29):
my spouse and I are so excited about that.
Speaker 5 (09:33):
I have no idea how she will receive the conversation,
but thus far she's used to us, you know, bringing
books and reading together.
Speaker 4 (09:46):
And having discussions as we read it. She's very responsive
to it, and so we're excited about continuing that conversation,
especially around sex, which is a big one. And you know,
we feel like her body is telling us from what
we're seeing that her period is within a year a
(10:07):
year and a half away. So me and my wife
are getting ready. We're like, how do we have the
conversation that isn't traumatizing, that is empowering and la la
la la la, you know what I mean. And so
part of that is also just like for me dealing
with my fears, you know, around it for her, because
I also know that the world out there is can
(10:30):
be a very scary place, and I don't want to
be like, and you have to do this, and you
have to, you know, like be so imposing on her
because we also want her curiosity to be present and
to be alive and not to stifle that for her.
So and also then eventually leading to the conversations around sex. Yeah,
(10:53):
I would have loved to have really removed that sense
of it's not something you should talk about, it's not
something that is positive or good. Like, I really wish
that would have been removed, because I just would have
understood myself so much better and felt more confident in
(11:14):
the world as a young woman. And you know, obviously
my mom sets the tone for that for me. And
because I grew up with brothers and so my mom
was the only other female my grandma. So yeah, So
I just wish my mom would have really broken the
silence and given me proper information so I could navigate
(11:39):
myself my changes so much better.
Speaker 3 (11:43):
The silence around Aarroora's body, her period, and her sexuality
was almost an inheritance of sorts, passed down from her
grandmother to her mother and eventually to her. Now, Aaroda's
own daughter has the privilege of a different type of inheritance,
information and open conversation.
Speaker 4 (12:04):
My generation of moms are raising kids who are like
extremely informed. If anything, I'd be curious to see them
or my daughter, you know, fifteen twenty years from now
on a podcast talking about the way she was raised
would probably be like, oh my god, my mom's had
(12:26):
a library and shit, like, way too much information.
Speaker 3 (12:34):
We hope you're enjoying this conversation. Stay tuned, there's more
to come.
Speaker 1 (12:46):
And we're back. We hope you enjoyed the break and
are ready to listen to the rest. What happens when
our own parents are afraid to address the changes we
are experiencing with our bodies, we approach those same changes
with fear, upidation, and sometimes self destructive behavior. Without the
proper tools and education to help her navigate her relationship
(13:08):
to sex and sexuality, Arora's youth was marked by fear
of what she didn't know.
Speaker 3 (13:14):
Yeah.
Speaker 4 (13:14):
I think that I navigated my youth with a lot
of fear. Fear of you know, what was happening, what
could happen, not understanding things, and fearing that that lack
(13:38):
of knowledge would somehow hurt me or hurt the ones
around me. Yeah, just a lot of fear, and that
in turn caused a lot of repression, oppression. I lived
a very sort of insular experience where like I was
(14:01):
just having conversations with myself, you know, internally about what
was happening, because I couldn't even talk to my friends
about things. So it was really difficult. It was really difficult.
And if I did have an experience or did have feelings,
(14:22):
that was tainted with shame, and so then that was
another layer that kept me quiet about my experiences that
I internalized, be it positive or negative. And I always
feel like that led to sort of you know behavior
(14:45):
later that was self destructive, right from unhealthy sex to
alcohol to just different ways that different ways I was
coping to try to find a way to express what
I had buried for so long. So it was really
(15:07):
really hard. It had a very very big impact on
me and negative for sure.
Speaker 3 (15:13):
As a young adult, Aroda made her way to Los Angeles.
While in LA, her new social circle introduced her to
a nonprofit organization called Bienistad. Because of Viennistad, Alroota had
access to queer sex ed for the first time.
Speaker 4 (15:29):
There was a lot of discussion with people around me.
But when I ended up in Los Angeles, I came
across a nonprofit called Bianistad. I don't know if you
all are familiar with bianista, so I'm not sure if
they're very active now, but they were active back in
the early two thousands, late nineteen nineties, which is when
(15:51):
I was in LA and definitely dating and out in
the scene, and they were doing a lot of active
out reach to not just gay men but queer women,
and so a few of the women that I was
around exposed exposed me to them and their workshops, and
(16:13):
it was like the first time I ever went to
a queer like sex workshop was at Bianistad, and by
then I was twenty four, twenty five, and I was like, oh,
they're safe sex like between women, Like I mean, the
ignorance was pretty deep on my end, you know, and
(16:35):
having those conversations like most of us didn't weren't aware
of that and definitely did not practice safe sex amongst
ourselves or with each other whatever in the Latina community.
I felt like so so bien Estaught was the first
place where I got formal queer sex education.
Speaker 1 (16:57):
We're sure there are listeners out there who have their
own own questions about safe sex for queer women. To
keep the conversation going, we're picking up a house call
from resident obg y N doctor Lilia Rodan, MD.
Speaker 6 (17:15):
Ola Signoras, I'm la Lata Lilia Roldan, MD, calling in
to talk to you about safe sex practices for queer women.
E Brasoness, I'm a resident physician specializing in obtetrics and gynecology. Now,
before we continue with our call, this informational segment should
not be interpreted as official medical advice, and if you
have any concerns, always consult with your medical provider. So
(17:38):
let's get to talking about safe sex practices for female
bodied queers now. While you are statistically more likely to
contract an STI from someone with a penis, that doesn't
mean those gold star lesbians out there are free from risk.
Any sexual act involving the exchange of bodily fluids can
lead to infection transmission. Barrier methods like condoms and dental
dams should be used by all consenting parts for infection prevention,
(18:01):
and yes, Senoras, that means using condoms on your penetrative
sex toys if you're playing with a partner. Speaking of toys,
make sure to clean them after every use for silicone.
Either boil them for five to ten minutes, wash them
in the top rack of your dishwasher, or wash with
antibacterial soap and hot water. As a rule of thumb,
if you're using an organ for sex, you should get
it swabbed at some point to screen for STIs because yes,
(18:25):
throat chlamydia is a thing. And lastly, it's important to
note that just because you or your partner are on
gender affirming hormones, that doesn't mean there's a zero percent
chance of pregnancy if playing with genitals of the opposite sex.
So Senoras, if you're needing to have the plattiga with
a queer segoriti tex in your life, remember to research
the correct information to inform their safe sex practices.
Speaker 1 (18:46):
The turbulence that defined her own queer coming of age
was not for nothing. Her experiences with silence, sex and
young love would inspire the making of the twenty twelve
iconic queer love story Mosquita You Mighty.
Speaker 4 (19:02):
Because for two reasons, that film was so personal to me,
and I had lived in that silence for so long
that I really wanted to bring voice to it. And
I wanted to just let it out and put it
out and say, you know, this was a moment in
(19:25):
my life, and this was my first love. And I
never got to say that to that person. I never
got to say it to someone else. It took me
a while to even acknowledge that that friendship was really
my first love, and so I wanted to honor that
time and moment in my life. I felt like that
that was very important for me. And then I figured
(19:52):
that probably still there were a lot of young women
of color, a lot of young brown girls who were
still exp and seeing the same thing.
Speaker 3 (20:02):
Mosquita Aimardi was a cinematic love letter addressed to Arora's
first love. She was also a young brown girl who
didn't know outright how Aroa felt. Aaroda knew that she
was not the only queer Latina who harbored a secret
love in her childhood. She wanted to finally let that
love live out in the open for everyone to see
(20:25):
and feel.
Speaker 4 (20:26):
And I wanted to capture that dynamic so these young
women or older or women my age could say, oh shit,
that was me, That's what I went through. And you
capture that and you gave it a place, and you
gave it a name and thank you for doing that.
(20:46):
So I wanted people to feel seen more than anything,
and that moment and that love to be seen and
felt beautiful.
Speaker 1 (20:57):
I I'm curious about how you living your life, dating,
growing up, coming of age, learning as you're going, learning
as you're doing. How that led to the writing of
Mosquita Imai because it's based very heavily on your own
experiences and your own upbringing. So just how living directly
(21:18):
translated to the writing.
Speaker 4 (21:20):
Yeah, well, I originally Mosquita Money was epic. It started
in elementary school and ended at the end of high school.
And I think that I was so eager to tell
my story, to talk about all the things that I
had experienced, especially around love and connection intimacy, that I
(21:46):
just like barfed out the biggest breaking screenplay ever. And
so I think that at that moment, I was like, Okay,
I don't think that this is very producible, and so
I I need to kind of be able to encapsulate
what I felt for most of those years during a
(22:08):
very specific time, and so that's what I set out
to do. But originally it was just this real need
to say everything that I could not say throughout my
life because my feeling, that sense of intimacy attraction started
very young for me in elementary school. So I wanted
(22:32):
to like, you know, honor all those moments and I
couldn't cinematically. So that was my process and it made
sense because I was talking about these things for the
first time. And yeah, and that process to come to Mosquite,
(22:53):
that money and what it is on screen now took
me quite a few years because I had to, like,
you know, be okay with saying I'm not going to
cover elementary school. I'm not going to cover middle school.
I'm not gonna you know what I mean. Like, I
had to be at piece with what was not going
to end up on screen specifically, but in essence, I
(23:18):
was addressing and capturing the same feeling I had throughout
my childhood.
Speaker 1 (23:24):
Curiosity about your sexual attraction and identity can begin at
a young age. Mosquita Mai set out to capture that
youthful intensity, and that.
Speaker 4 (23:35):
Was intense connections with other girls that were clouded with
that sense of sort of not being able to talk
about it, not understanding fully what was happening, not having
a sense of community to lean on during that time
was what I wanted to center the peace on, and
(23:57):
so that's what I focused on. I love it. I
love queering these friendships because you know, we're taught to
just dismiss them as oh, that's just friendship, or you know,
it's never put through a queer lens. So I wanted
to queer those spaces as much as possible so people
could look back and say, oh, actually, I think we
(24:20):
were crushed out on each other and it wasn't just
oh I just felt a little jealous, you know what
I mean. So I experienced that when I when I
screened the film around the world, so many people would
talk about their experiences through a queer lens that they
had never given their their the given themselves the opportunity
(24:45):
to look at their experiences through a queer lens, and
it was I felt like it moved a lot of
people to do that. So that was that was really
interesting to experience through audiences. We'll be taking a quick break.
Speaker 7 (25:01):
Don't miss us, Thanks for sticking around.
Speaker 1 (25:13):
We are back.
Speaker 3 (25:22):
What about Ara's first love? Ara and her childhood crush
lost touch and they didn't reconnect for several years until
Aarra tracked her down and finally sat down to talk
to her.
Speaker 4 (25:36):
I have mentioned the film to her a couple of times,
but she has an expressed interest in watching it. I
haven't outright said this is about you and me. I
have said, you know, you inspired a lot of it.
(25:57):
She knows, like I think the first step between me
and her was for me to come out to her,
because in real life, myself and this person got separated.
So life broke us apart. She ended up moving and
so our relationship, our connection was ruptured from one day
(26:19):
to the next, and she ended up like going on
her own journey. I ended up going online and then
we reconnected like fifteen years later, as I was getting
ready to make this movie, and I thought to myself,
I'm gonna tell her. I'm gonna She didn't know I
(26:39):
was queer, she didn't know anything, So so I invited.
I tracked her down. It took me a long time
to track her down, and this was a whole This
was a big part of why I also wrote Mosquite
Madi Is because I couldn't find her, and I was like,
rather than find her and I don't know what I
(27:00):
was gonna, you know, claimed to her. I just I
needed to tell this story for me. But I had
already set in motion this sort of search for her,
and I was able to finally find her and I
invited her to dinner, and it was crazy. We hadn't
(27:21):
seen each other since high school, like we were seniors.
We saw each other briefly, but we were separated when
we were sophomores. And I was like, I'm gonna tell her,
you know, I was just so hooked gung ho with everything,
and then when I saw her, I just got really nervous.
(27:42):
And then she started telling me how she was Christian
and she had, you know, a few kids, and I
just shrunk. I shrunk, and I walked away from that dinner.
I didn't even come out to her say anything, and
so so I walked away, going, I have to make
(28:06):
mostquit that money for me. I gotta do this for me.
This is me telling this story. And I realized that
even if she were to see the film, I feel
like she would be like, that's not how it happened.
And that's fine, because this is how it happened for me.
And I'm sure she has her side in the story,
but it doesn't matter. It doesn't matter what she thinks
(28:28):
or how she experienced it, it just matters what it
was for me. So anyways, we have kept in touch.
I did end up coming out to her. She was
cool with it, and that's as far as we've gotten. Yeah,
I think that ideally what I hoped for was that
(28:49):
we would come together and I would share with her
what I was doing, and that she would acknowledge what
happened between us, and that we would talk about it openly,
and that I would walk away with a smile on
my face and my heart and knowing that she validated
(29:12):
everything we had gone through. That was what I ideally
hoped for, because by then I was already with who
is now my spouse, So I wasn't like I was
looking to rekindle anything. I just I just wanted her
to it, to say, yeah, you know, like that's that's
what happened, and and thank you for bringing it up,
(29:35):
or you.
Speaker 8 (29:36):
Know, I.
Speaker 4 (29:38):
Wish we could have talked about it then or something,
you know. I just I wanted her to acknowledge me
and what we experienced. And I didn't get that.
Speaker 1 (29:49):
Aaroda came out to her first love, but had a
different idea of how the conversation would go.
Speaker 4 (29:55):
So I needed closure, and Mosquite Mani became closure. When
I made the film, I really did feel that I
felt like I was able to move on because I
was so when I went to college to film school
and I was told in my screenwriting class to write
from a place of a personal experience, I immediately started writing,
(30:19):
particularly about her, and it became Mosquitai Money, and it
just was like, man, man, this love has been haunting
me for a long time, and it was haunting me
because we never really acknowledged it between each other, and
it was something that I needed. And I think it
goes back to the way I was raised, all that silence,
(30:42):
all that living in my head and you know, not
having that opportunity to process and to put a name
to it, like it really impacted me. And so this
haunting was ongoing and it wasn't until I made Mosquitai
(31:04):
Madi that I was free and freedom of it, and
I really, I really was. So it became very very
significant for me the making of that movie, especially after
she and I met.
Speaker 3 (31:17):
It's been twelve years since MOSQUITEI Madi was released, its
cultural impact remains.
Speaker 4 (31:23):
It's kind of like I gave birth to this story
and it was massive for me personally. As I've just
expressed that, I was excited to put it out in
the world and see what it was going to do
to other people, hoping that it would shake people in
a good way, it would send them on a journey
(31:45):
to you know, find answers or help people feel validated,
whatever it was going to do. So I basically just
said fly and never looked back. Like, the movie's doing
its thing everywhere, and it just kind of been in
(32:06):
pocket circles back and people are either writing about it,
it's been in books. The Academy Museum just wrote me
and they want to center the film around coming of
age stories. And I was like, wow, like Mosquita Mondy
is like, it's just doing its thing and it's impacting
(32:28):
people to this day. And still there hasn't been a
film that has come out quite like Mosquite Mady and
so so I guess it is. But it was never
something that I was really intending. I just was like,
Mosquite Money just needs to be what it is out
(32:49):
in the world. It's done its job with me, thankfully,
and I'm so grateful and now off into the world.
And so yeah, it's the little the little train that
could you know, it just keeps giving, it keeps going.
That's how I feel about it.
Speaker 3 (33:06):
Instead of passing down generational silence to her daughter, Adoda
is passing down the visual love letter that is Mosquitei Madi.
One day, Adoa and her daughter will watch the film together.
The film that served as closure for Arora will open
up a dialogue with her own daughter.
Speaker 4 (33:25):
So part of it is like me doing my therapy
and working through my stuff and finding the right thing's
tools to be able to talk about it. I think
film she's been wanting to watch Mosquite Mati, and so
I'm excited about watching it with her and sharing my
(33:46):
story with her. I think it's going to be really deep,
and I think definitely before this year is up, we're
going to have a screening of it me, her and
my wife and like put it on the big screen
and and have a discussion afterwards. So so excitement, not
(34:07):
fear being excited about these conversations, be excited about finding
the tools. Also finding other parents you know that are
raising their kids similarly, and that we can have discussions
with them about you know, what are you doing, how
are you doing it? I think that that's really helpful.
(34:28):
My spouse and I are very community oriented and we
have quite a few friends with kids. They're all around
the same age, so we're all checking in with each other.
So yeah, I think that that's where we're at. And
hopeful that this shift in attitude and an approach will
(34:53):
lead to less trauma in our communities, more empowerment, and
just more beautiful stories that they can share, is our hope,
you know.
Speaker 1 (35:08):
At the end of our interview with Arora, we thought
deeply about what it means when our love is not reciprocated,
and how we might channel that unrequited love into our work,
into our learning, into our own happiness, and the ways
that art making can serve as closure when the object
of our affection cannot do the same for us.
Speaker 3 (35:31):
This interview with Arora really got me thinking about my
first love, my first queer love, because there was just
no information out there for me at that time. And
I'm so glad that a film like Mosquitai Mai exists,
and it really makes me think about those friendships with
(35:53):
girls before having any type of sexual awakening. There's this
intensity of these friendships when you're a young girl, and
now you can look back and be like, oh, we
were just in love with each other, and that's why
it was so intense and in love in the way
that a twelve year old can be in love right
where there's this queering of friendship and being able to
(36:16):
understand there was some complexity there that we did not
understand at the time, and so I'm just really glad
that ado Ra shared her experience with us and how
she was really able to alchemize this unrequited love into
this beautiful film that stands a test of time that
is a part of queer Canon Films.
Speaker 1 (36:38):
Thank you for tuning in to another episode of Senora
sex Ed. Next time, on Senora sex Ed, we are
joined by content creator Naomi Hearts. We're talking about love
as a transgender woman and how comedy figures into her
content and her personal relationships.
Speaker 8 (36:56):
Here I go again coming to my mom having to
come out a second time, and I was like, you know,
I don't think I'm gay, and she was like confused
for a bed and I told her I think I'm transgender,
and in that moment she was like, I don't know
what that is. I love you and I'm gonna support you,
and we're gonna do it Together.
Speaker 3 (37:19):
Nosavemos Chao Senora Sex Said is a co production between
LOCATORA Productions and Michael Dura Podcast Network.
Speaker 1 (37:28):
This show is executive produced by Mala Munos and biosa Fem.
Speaker 3 (37:32):
Also executive produced by Jaselle Frances.
Speaker 1 (37:36):
Produced by Stephanie Franco.
Speaker 3 (37:38):
Creative direction by Mala Munios.
Speaker 1 (37:40):
Story editing by Biosafem.
Speaker 3 (37:43):
Music direction by Grisol Lomeli and
Speaker 1 (37:46):
Music produced by Brian Gazo
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