Ana Valenzuela: Oh, yes, absolutely. Remember that, you know, theater, you know, it was a Chicano movement because we were doing Luis Valdez, you know, and militant. We were doing, you know, a lot of the, you know, a lot. A lot of these shows. And incidentally, you know, my two kids, Rick and Richard, were part of it. You know, so, you know, we were going all over the place, you know, teaching the people, you know, teaching about theater, teaching about chicanismo, teaching about, you know, about Mexican-American because, you know, we're all intermingled. You know, I mean, changing, you know, hats, you know, a way of thinking. Most of my friends, you know, we were they were raised here. You know, so so, you know, to me, we are all the same, but and with a different, you know, with a different size, you know. You know, that's the way we are, you know, and, and, uh, because, you know, you see me out there, you know, fighting, you know, for, well, not fighting, but actually defending, you know, the rights of education. You know what? You know what? They're, you know, not picketing or anything, but sitting at the table, you know, and wanting to making solutions.
Ana Valenzuela: Okay. Well, see, during that time, you know, um, us Latinos, Mexican American Chicanos, you know, etc., we, um, we were very, um, scared. I can say scared because the ages between, um, parents, especially parents between, you know, 18 and 30, 35, they were so scared to talk to their children about the realities of life. Initially, you know, when we received that specific grant, we, you know, we were trying to do the theater, you know, the the place about, you know, one was tiempo para vivir, and it was, uh, by Edgar Puma. And he is from he was a writer from us. Well, actually, he graduated from UC Berkeley. And my friend, you know, came in Victor Perez Gomez was the director of this play, and I was the mother of, of of these men that he was gay. And he brought his, you know, his boyfriend to the house and, you know, and I was a I was an educator and my husband was a lawyer and, um, in the play and I had a, a little girl that loved my son. And, and then there was, you know, the competition, but we talked about, you know, about all, you know, about being gay, and we talked about how the mother feels, you know, that something might happen to his son. And, and that's one of the components of that particular, you know, raising funds for AIDS. Okay. When we received the, you know, when we did, you know, with the Aids component, we did it more like the vaquero style. And I do not know if you heard that song Ivan el Solitario, Albion el soltero. And it's a and it's a, you know, it's a this vaquero that comes in, you know, and tries to pick up, you know, um, somebody and then, you know, and they, you teach them about what Aids is.
Then we had, you know, uh, another component, another vignette, you know, about the say no to pamphlet, the the condom, the bleach bottle and the informational pamphlet. And, and we used to do it by singing and dancing and, and and then, you know, educating the community. The grandmothers were the ones that would come and get all the information and take them to the houses. Oh, wow. Yes. And in that, you know, in that, you know, then we had the comadres. Okay. And the comadres was, I recall one that said comadre, you know, um, aqui una comadre una liga. But it was a condo. Okay. And and to train, you know, the community at large about, you know, about what we can do, how can we educate. But then be be respectful, okay. Because at one time, you know, they printed so many, so many, you know, documents. They were not tasteful. They were not respectful respecting our people. And at that time, you know, um, there were several, you know, like Doctor Eliazar Garcia, um. Well, um. Lupe? Lupe? Oh my God. The last name is Castillo.
