Juan

For those who know of the spectacle that is Juan Gabriel there is no explanation necessary, for those who don’t, no explanation will suffice.

A new Netflix docuseries attempts to capture the magic of the frequently bedazzled genre- and gender-defying showmanship of “El Divo de Juárez,” who died at 66 of natural causes in 2016, while also investigating the internality of the man behind Gabriel — Alberto Aguilera Valadez.

Juan Gabriel was known for his epic stage performances, where he was often accompanied by an orchestra, dancers and dozens of mariachis dressed in tight jackets and sombreros, while belting out such hits as “Hasta Que Te Conocí,” “El Noa Noa” and “Amor Eterno.”

His colorful outfits and flamboyant dance moves drew speculation about his sexuality, but he famously preferred to remain coy on the issue and to this day remains a queer icon throughout the Latin American world.

“Juan Gabriel: I Must, I Can, I Will,” which premieres Oct. 30, utilizes a goldmine of hundreds of thousands of personal and never-before-seen voice recordings, photos and videos of one of Mexico’s most revered singer-songwriters, giving audiences a holistic look at the pain, joy, contradictions, artistry and genius that informed Gabriel’s worldview and perception of himself.

The project is director María José Cuevas’ second production with the streaming giant — her 2023 documentary feature “The Lady of Silence: The Mataviejitas Murders” recounted the story of famous Mexican serial killer Juana Barraza, who was sentenced to 759 years in prison for killing 16 elderly women and the suspected killing of dozens more.

Cuevas’ implementation of the juxtaposed duality of Juan Gabriel and Alberto Aguilera Valadez was inspired by his insistence that the two entities were distinct yet symbiotic, as was shown in a 2014 filmed self-interview the singer conducted.

“In order to understand the greatness of Juan Gabriel, I had to know Alberto. He always played with that duality,” she said. “From a very young age he would say in interviews that he invented Juan Gabriel to shield Alberto, he invented an idol in order to protect his private identity.”

In an interview with The Times, Cuevas spoke about her personal connection to the famed singer, the overwhelming archives she had access to and the ways in which Juan Gabriel united and continues to unite people to this day.

This interview was translated and edited for length.

What was your relationship to Juan Gabriel before taking on the task of directing this documentary?

I remember clearly turning on the TV [when I was young] and seeing video clips of Juan Gabriel with his red sweater and white jeans. I later had the opportunity to go to his first performance at the Palacios de Bellas Artes in 1990 with my parents. One is accustomed to going to Bellas Artes for opera, ballet, classical music and the concert began with that formal tone, but there reached a moment where audience members couldn’t keep up the facade of elegance and everyone let their hair down.

For me that moment was incredibly revelatory, I finally noticed that he was a whirlwind in every sense of the word. I didn’t realize at the time that I was present at a such an important cultural milestone. When I watched it in retrospect, from all the camera angles we were privy to for this documentary, I got goosebumps and I wish I could go back to being 18 years old and experience it with the intensity that I have for his music now.

I think that Juan Gabriel always transports us to something personal, but also to something collective. In Mexico, Juan Gabriel’s death was a very collective experience. You would go out into the street and you would hear his music in cars, the corner store, coming out of neighbors’ houses.

How did you gain access to the vast collection of archived materials that are present in the documentary?

That’s really the treasure of the project. Juan Gabriel’s story has already been told, but what makes this project unique is that it’s a story told by [the recordings and photos] he left behind. One of the first things he did after reaching success wasn’t just to buy his mom a house, but also to buy himself a Super 8 camera. From then on he picked up the habit of recording his everyday activities as Alberto Aguilera and later on he always had a camera following around as Juan Gabriel.

From our first meetings with Netflix, I figured we should ask Gabriel’s family if they had anything to share with us. I thought maybe it would be a photo album that was laying around, maybe a box of memorabilia or a few cassettes. So it was to our great surprises when they sent us over a photo of a warehouse with shelves full of every different kind of film. It was crazy. And that’s when I remembered that Juan Gabriel’s close friend and actor Isela Vega was helping him catalog all of his videography.

I never imagined that within those videos that we’d find the public persona of Juan Gabriel and the private persona of Alberto Aguilera. Another elucidating moment was that Juan Gabriel reached a moment where he became conscious of the level of his celebrity and that it wasn’t a coincidence that he recorded most of his life. And there reached a moment where I realized he saved all these recordings so that one day people could revisit all his saved materials and they could reconstruct his personal story through what he left behind.

There’s a moment in the documentary where we’re at one of his concerts and there are men of all orientations in the crowd that are asking JuanGa to marry them. That seemed particularly powerful to me because in that moment the veil of machismo seemed to fall.

Yeah, I think an important part of making this portrait of Juan Gabriel was understanding the context of Mexico in the ‘80s. It was very conservative, very machista and then all of a sudden this guy drops in with all this talent and charisma and he says, “Here I come, get out of the way because I’m gonna conquer everyone.” And that wasn’t so simple at that time. He showed his greatness at any and every stage he was put on. He was able to win over people in every social class in a very elitist Mexico. He won over everyone from the most macho man to women.

Even greater than the achievement that was his performance at Bellas Artes were his performances in palenques when he was young. Palenques being these circular stages where you can’t hide because you’re standing right in the middle of everything. And he would take the stage late at night when everyone was already drunk and they were audiences that were, in general, very machista.

Suddenly a very young Juan Gabriel would appear to perform rancheras. I always say he was a provocateur, but also a seducer because of his ability to win over a crowd. There were audiences that would yell derogatory things at him and that’s when he’d really play with the audience.

It feels almost impossible not to be moved by the music as you watch your documentary.

He’s really magnificent. I remember throughout the whole process of making the doc and I was watching the intimate home videos of Alberto Aguilera and it really reminded me that Juan Gabriel was a human like everyone else [not just this grand entertainer]. I’d put any concert of his and I was bowing at the altar of a star. It’s amazing what a powerful character he was up on that stage.

And how have you seen JuanGa’s legacy represent something very specific in the U.S.?

For Latinos in the U.S. he’s such an important figure because his work pulls people back to their roots. One of his greatest accomplishments as a performer was when he filled the Rose Bowl in 1993. In that moment he showed his influence and strength within the Latino world. He’s absolutely one of the key figures in Latin music.

Spain’s Juan Ayuso held off Javier Romo to win stage 12 of the Vuelta a Espana in a breakaway as Jonas Vingegaard retained the overall race lead.

Ayuso, 22, who also won stage seven and is leaving UAE Team Emirates-XRG at the end of the season, was joined by his compatriot as he tried to go solo on the final climb of the day, about 26km from the finish of the 144.9km route from Laredo to Los Corrales de Buelna.

Romo finished second and France’s Brieuc Rolland crossed in third, before Victor Campenaerts led home a 16-man group that formed from a larger contingent of over 40 escapees earlier in the day.

“I had already won a stage and he had to pull more if he wanted to win the stage,” Ayuso told TNT Sports.

“I was told from the car to play it like this. It is not something I really enjoy, not co-operating fully, but sometime you have to play it smart.

“I knew how to time my sprint and I timed it perfectly.”

Vingegaard was flanked by his Visma-Lease a Bike team-mates as he came home over six minutes later, along with other GC favourites including Joao Almeida and Britain’s Tom Pidcock.

The final 100 metres to the line was marked by a show of pro-Palestinian protest flags, but there was no repeat of stage 11 when racing was affected and curtailed three kilometres before the finish in Bilbao.

That had led to race technical director Kiko Garcia reportedly discussing the Israel-Premier Tech team, external in the context of the safety of the rest of the peloton.

Friday’s 13th stage is the second longest in this year’s Vuelta at 202.7km and it should see the general classification race ignite on the final climb, a brutal summit finish on the Angliru where gradients will ramp up above 20%.

Punk rock is not the first thing one might associate with a children’s puppet show. But on Sunday morning at the Ford Theater, L.A. punk pioneers Juanita y Juan and puppeteers from the Bob Baker Marionette Theater put local kids to the test.

After a morning spent crafting their own paper marionettes in the foyer, children marched towards the stage to revel in the weirdness of Juanita y Juan’s electro-cumbia guitar jams — a musical fusion they call “loud lounge.”

The duo was accompanied by vintage marionettes and their handlers, who played backup dancers in the shapes of jellyfish, cats and aliens. Families bounced and gently moshed along to the drum machine beats as “Juan,” also known as Kid Congo Powers, regaled them with a story about his hair catching on fire while playing a candlelit punk show with the Cramps.

And when a couple of rowdy kids started to climb onstage, bouncers swiftly intervened. “Oh, that’s very punk!” said “Juanita,” better known as Alice Bag.

(Evelina Gabrielle Perez / For De Los)

It was a familiar scenario for Bag and Powers. When the two first crossed paths in the 1970s — one being the front woman of the Bags, the other a guitarist in such bands as the Gun Club, the Cramps and later Pink Monkey Birds — they could hardly surmise how influential their scrappy community would become in its nascent years.

“We were all trying to create some kind of new subculture or protest against the bland music of the day,” said Kid in a Zoom call before the show. “We bonded under the flag of punk rock,” added Bag.

In the storied history of the Los Angeles punk scene, Chicanos were, and remain, permanent fixtures. But after predominantly white bands like Germs, X and the Go-Go’s were commemorated in countless books and documentaries as architects of the genre, Bag and Powers decided to start sharing their own perspectives as Mexican Americans who broke the mold.

First, they committed the stories of their lives to the page. In 2011, Alice Bag published a memoir titled “Violence Girl: East L.A. Rage to Hollywood Stage, a Chicana Punk Story,” and in 2022, Kid Congo Powers followed with “Some New Kind of Kick.”

But it was after collaborating on a song for the 2022 Peacock mystery series “The Resort” that their duo, Juanita y Juan, was born. They spoke to De Los about their salad days, their new album, “Jungle Cruise” and how young Latinos can navigate this time of upheaval in the U.S.

The following interview has been lightly edited for length and clarity.

(Evelina Gabrielle Perez / For De Los)

Tell me about your supergroup, Juanita y Juan. What sparked this idea for you?

Kid Congo Powers: Juanita and Juan are the alter egos of Alice and I. Our reference was Marty & Elayne, who were a cabaret covers act at the Dresden Room [in Los Feliz]. They got a huge following; they were in the movie “Swingers.” And the songs are fun.

We first reconnected as friends after Alice [released] her book, “Violence Girl.” Then we got asked to write a song for a [2022] TV show on Peacock called “The Resort.” Me and Alice are on the same label, In the Red Records, out of L.A. They asked for a song by “a beach lounge act,” and they wanted it to be in Spanish. We are both Mexican Americans, Chicanos, but I thought, “Alice is much more fluent in Spanish.” She was like, “Why don’t we try to do it as a duet?” And they liked that idea.

Alice Bag: With “The Resort,” we had a springboard of this “loud lounge” idea. But it morphed into several different things that were very much our personality, and very much not something we would normally do — exploring different rhythms, like Latin rhythms and tropical rhythms. I spent a month in Tucson, and we actually wrote and recorded songs [that became the album] “Jungle Cruise.”

So how did this puppet show come into play?

K.C.G.: The [Bob Baker] Marionette Theater heard our music and thought it would be appropriate for a kids’ punk thing.

A.B.: I have actually worked with Bob Baker’s Marionette Theater before. We did a video together for a song on my “Sister Dynamite” album, which was released in 2020. Also, I’m a former teacher. I used to take my classes to the old theater, so I have a very warm association with childhood and how enchanted kids are when they see a puppet show.

(Evelina Gabrielle Perez/For De Los)

You both are really inspiring to me as Latinos who helped shape punk in its very early days. Learning about you and other Latin punks like Jeffrey Lee Pierce (The Gun Club) was affirming to me as a young Latina and punk. How did you two connect over your Mexican American experience?

A.B.: There were a lot of Latinos in the early punk scene. Not just Kid and I, but like, Trudie Arguelles, who was the face of L.A. punk.

K.C.P.: Yeah, she was the it girl.

A.B.: And Margot Olavarria, who was the original bassist for the Go-Go’s, was a big shot in the scene. Tito Larriva, who formed the Plugs. Robert Lopez, Hector Penalosa, all the Zeros! There were a lot of Latinos around. But I think one of the things that happened is — I’m Alice Bag, although Bag is not my last name. Our last names got lost, and people just thought of the band names as our family names, like the Ramones! We banded under the flag of punk rock.

Our ethnicity was present, but it wasn’t always the first thing that you noticed about us because of how we dressed. People did not know what punk was. They would make comments like, “Is the circus in town? Are these people in a gang? Are they they gonna beat us up?” So we bonded, and we had to hang out together as self-defense. We were the weirdos.

Alice, in your memoir (“Violence Girl”) you spoke about the tension between the Mexican cultural mores that you grew up with and what you were creating anew with punk.

A.B.: I think people got the wrong idea about me very early on because they knew I was from East L.A. I grew up around gang culture and learned to stick up for myself, so people thought I was scary. Even Kid Congo Powers said I was scary.

Did you think she was scary?

K.C.P.: I thought she was intense. Anything could happen when Alice Bag got on stage. And that was what drew me to her and the band. There was a menace to them, something volatile. This could be a riot, or it could be an orgy.

And Kid knows chaos very well. You held your own in bands like the Cramps. Could you think of a Latin entertainer who helped influence your own performance?

K.C.P.: Iris Chacón.

Wow, I didn’t know you got down like that!

K.C.P.: My mom watched her on TV. That was exciting.

A.B.: That’s where he got his maraca work from.

K.C.P.: And my outfits. But there was Ritchie Valens, of course. I like old rock ‘n’ roll. And then when I met Jeffrey Lee Pierce of the Gun Club in 1978 or ‘79, we bonded on being Chicano. We both grew up in San Gabriel Valley — me in La Puente, Jeffrey in El Monte. We’d reference riffs coming out of a garage in La Puente, some Chicano garage band playing Santana or War. We shared the outsider-ness of being born in America, but we were in Chicano world. And throw in the fact that I knew I was queer from a young age … I didn’t know if I was in or out.

A.B.: My influences were from Spanish-language music. Raphael was a Spanish singer who’s very intense and very dramatic. And I also am a big fan of José Alfredo Jiménez, who wrote all these ranchera songs that were very emotional. I think there’s a connection between ranchera music and punk — it’s for everybody. It’s better when everybody joins in and sings along. Punk and ranchera are the people’s music.

That calls to mind the resurgence of corridos among young people. Some of the songs generate controversy, but it’s interesting to see a similarly rebellious spirit as punk. What do you think?

K.C.P.: People are always saying to me, “Don’t you feel sorry for young people today? They don’t have what you had, this and that.” But I would never in my life underestimate younger people. There’s something going on, and I don’t know about it. You don’t know about it, because it’s not for us to know about.

You both have shown many Latinos how to live authentically to your identity, to your values. What’s a quick bite of encouragement or advice for young, weird Latino kids? Especially now, when it’s hard not to feel demoralized about what’s happening across the country?

K.C.P.: Well, to live authentically is a path that can be lonely. But it’s also very empowering. And I get to be in my 60s and say I’ve done music exactly as I’ve pleased. That is possible. I had no idea how to play guitar until Jeffrey Lee Pierce said, “Here’s a guitar. I think you can do this. And you’re gonna do it.” I thought, “If this one person believes in me, then I’m gonna try it.” You just have to say yes to yourself.

A.B.: I would also say you’re not alone. Every day, there’s a bombardment of things in the world and in the U.S. that you want to resist. It’s very easy to become despondent and overwhelmed. But you don’t have to feel like you’re lifting this whole weight by yourself. It’s important to know that you do have a community that stands with you. We’re all working in different ways. We’re all a band. We’re going to make it through this together.

NEW YORK — Juan Soto hit a tying single in the seventh inning, Francisco Alvarez delivered a big double in his return from the minors and the New York Mets rallied past the Angels 7-5 on Monday night.

Brett Baty launched a two-run homer for the Mets, who erased an early four-run deficit to match their largest comeback victory this season. They scored the go-ahead run in the eighth on an error by catcher Logan O’Hoppe, and Brandon Nimmo added a sacrifice fly that made it 7-5.

Brooks Raley (1-0) pitched a scoreless eighth in his second outing since coming back from Tommy John surgery, earning his first win since April 2024.

Edwin Díaz struck out the 2-3-4 hitters in the ninth for his 20th save in 22 opportunities.

Taylor Ward had three RBIs for the Angels, who tagged ineffective Mets ace Kodai Senga for four earned runs in three innings. O’Hoppe, who grew up on Long Island about 45 miles from Citi Field, hit a solo homer.

Baty’s homer off starter Tyler Anderson trimmed it to 4-2 in the fourth.

Trailing 5-2, the Mets loaded the bases with nobody out in the seventh. Francisco Lindor beat out a potential double-play ball to drive in a run, then stole second. Soto tied it when he grounded a two-run single off reliever Reid Detmers.

Key moment: José Fermin (2-1) walked Baty with one out in the eighth, and he went to third when Alvarez doubled off the right-field fence over Chris Taylor’s head.

Third baseman Luis Rengifo went to his knees to snag a grounder by pinch-hitter Ronny Mauricio, then spun around and had difficulty getting the ball out of his glove. Rengifo’s low, wide throw to the plate went off O’Hoppe’s mitt, allowing Baty to score.

Key stats: Senga had permitted three earned runs or fewer in 31 straight starts dating to June 23, 2023, which was the longest active streak in the majors. … Lindor went 0 for 5 and is hitless in his last 26 at-bats. … Anderson is winless in 16 starts since beating San Francisco on April 18. He is 0-6 during that stretch.

Up next: Angels RHP Kyle Hendricks (5-6, 4.88 ERA) faces RHP Frankie Montas (2-1, 5.03) Tuesday night.

Argentina: Elizalde; Moroni, Cinti, Piccardo, Mendy; S Carreras, Cruz; Gallo, Montoya (capt), Kodela, Petti Pagadizabal, Rubiolo, S Grondona, Gonzalez, Matera.

Replacements: Bernasconi, Vivas, Delgado, Paulos, Isa, B Grondona, Moyano, Roger.

England: Steward; Roebuck, Northmore, S Atkinson, Muir; Ford (capt), Spencer; Baxter, Dan, Heyes, Ewels, Coles, B Curry, Underhill, T Willis.

Replacements: Langdon, Rodd, Opoku-Fordjour, Cunningham-South, Pepper, Dombrandt, Van Poortvliet, Murley.

Referee: Luc Ramos (Fra)

NEW YORK — It had been more than two weeks since Juan Soto, the only man in baseball with a richer contract than Shohei Ohtani, had recorded an extra-base hit for the New York Mets.

In the bottom of the fourth inning Saturday night at Citi Field, however, Dodgers pitcher Tony Gonsolin provided him the perfect opportunity to get back on track.

After a solid opening three innings for Gonsolin, who was making an all-important start for the Dodgers a night after their 13-inning marathon victory in the series opener, the right-hander had made a mess for himself in the fourth.

With two outs, he issued back-to-back four-pitch walks to load the bases. The Dodgers’ early one-run lead then disappeared when Starling Marte reached on a half-swing infield single.

That brought up Soto, who had underperformed through much of his first two months in Queens after signing a $765-million mega-contract with the Mets. Gonsolin got ahead 1-and-2 in the count, before narrowly missing with a slider. He tried to come back with his trademark splitter. But Soto was all over it, crushing a two-run double that proved to be the decisive blow in New York’s 5-2 victory over the Dodgers.

“At the outset, I was pretty optimistic, getting a 2-0 lead,” manager Dave Roberts said. “And then there was that [fourth inning] where he sort of lost command, had two outs and the back-to-back walks. … And obviously the big hit from Soto with two outs. He just couldn’t kind of limit damage right there.”

In what likely will be a preview of what’s to come for the Dodgers (32-20) over a grueling portion of their schedule in the next month, the team’s fate Saturday was almost entirely reliant upon the performance of their starter.

On Friday night, their already overworked bullpen had been gassed again by their extra-inning gantlet. And though they won that game, and freshened up their pitching staff by calling up Bobby Miller on Saturday for some extra length, Roberts had his hands tied as Gonsolin started to lose command.

Juan Soto runs to first base after hitting a two-run double in the fourth inning Saturday against the Dodgers.

(Frank Franklin II / Associated Press)

Over his first three innings against the Mets (31-21), Gonsolin had been fine, giving up one run in a two-out rally in the second by skirting more danger in the third by dialing up an inning-ending double-play with runners on the corners.

The fourth was a different story.

Luis Torrens led with a single. Tyrone Taylor clobbered a fly ball that seemed like a no-doubter off the bat before dying in a stiff breeze at the left-field warning track. Then, Gonsolin became erratic, throwing eight consecutive balls to Brett Baty and Francisco Lindor to load the bases for the heart of the Mets’ order.

“Very upset with the walks,” Gonsolin said. “Don’t walk those guys, potentially that inning looks a lot different. Just need to attack guys.”

Maybe on a night the Dodgers’ bullpen was fresh, Roberts could have considered summoning a lefty to face Soto once Gonsolin began floundering. But after using seven of his eight relievers the previous night, he had no choice but to leave Gonsolin in as the four-time All-Star and five-time Silver Slugger came to the plate.

Five pitches later, Soto changed the game — sending Citi Field into euphoria with his go-ahead double that banged high off the wall in right center, the inning only ending when Marte was thrown out at home trying to score from first as the trail runner.

“Thought I executed a slider really well there,” Gonsolin said of a two-strike offering that Soto didn’t bite on. “He’s got a really good eye. Barely missed.

“Then yeah, the splitter, thought it was a solid one, just elevated it. And he didn’t miss it.”

Gonsolin did return to the mound and completed the fifth, saving at least one inning that otherwise would have fallen upon the Dodgers’ bullpen. Miller also contributed two innings at the end, giving up one run in the eighth and getting out of a bases-loaded jam.

But on the other side, Mets starter David Peterson had no trouble going deep, using sharp command with his sinker, seven strikeouts and three double plays to get through 7 ⅔ innings of two-run ball.

“There wasn’t much offensive energy tonight, as far as how we were swinging, the at-bats we were taking,” Roberts said. “So to try to chase and use leverage guys in a down game, it just didn’t make any sense for me.”

So goes things for the Dodgers right now; ever mindful of their MLB-leading bullpen workload, and needing better production from their starters than what Gonsolin provided.

Juan Ayuso won the seventh stage of the Giro d’Italia on Friday as Primoz Roglic moved top of the overall standings.

UAE Team Emirates-XRG rider Ayuso powered away from the group of general classification contenders over the top of the final climb to win his first Grand Tour stage by four seconds.

The 22-year-old Spaniard’s team-mate Isaac del Toro of Mexico was four seconds behind him in second, with Colombian Egan Bernal (Ineos Grenadiers) denying Red Bull-Bora-Hansgrohe’s Roglic the final place on the podium.

However, 2023 Giro champion Roglic took over the overall leader’s pink jersey from Mads Pedersen, with the Danish classics rider losing touch as expected on the final climb.

Great Britain’s Max Poole of Picnic PostNL was ninth on Friday, with the 22-year-old moving up to fifth overall.

The 168km stage from Castel di Sangro to Tagliacozzo was the first mountain stage of the 2025 edition and saw the contenders for the general classification come to the fore.