While they often presented themselves as bodybuilders’ publications, their chuckle-prompting titles — Torso, Adonis, Honcho, Mandate — didn’t lie. Gay men’s magazines of decades past were bought by gay men who wanted to look at the erotic illustrations of well- built male bodies therein. Because any- one known to possess such material in the homophobic 1950s and 1960s could experience serious consequences, men hid the magazines under their mat- tresses. These illustrations have now inspired a traveling exhibition, Stroke: From Under the Mattress to the Museum Wall. Curated by notable erotic artist Robert W. Richards and orig- inating at the Leslie-Lohman Museum of Gay and Lesbian Art, the popular show contains 24 original illustrations that ap- peared in gay magazines from the 1950s to the 1990s. It also looks at how gay men, forced into the closet during those decades, used these pictures to explore their sexuality intimately. It additionally serves as a showcase for the artists in- volved. On view are works by two dozen top artists of the times, including Touko Laaksonen (Tom of Finland), Antonio Lopez (Antonio), and David Martin.More
Pickup basketball is a weird social phenomenon where a bunch of strangers meet at a designated spot during a designated time to engage in an athletic competition governed by de facto rules established in some mythic rulebook.
The heartbreaking thing about David Mamet's career is that he hasn't written anything as human and tight as the early plays that made him famous: Glengarry Glen Ross and, of course, American Buffalo. Their spare, half-articulate lines can still sound powerful on the tongue of a good actor. If Richard Harder, who plays Teach in Buffalo on the Shelton Theater's new stage, could be cloned three times, Jean Shelton's production would be amazing; as it is, Harder carries the other two actors along. "Teach" is the nickname for a hustler who edges out an innocent boy named Bobby in a scheme with a junk-shop owner, Donny, to swipe a collection of buffalo-head nickels. Harder plays him with a rolling, dangerous street energy, and his edginess communicates more than anything Teach says, which is the whole point of a Mamet character. Joseph Silva is bland and meek enough as Bobby -- I just wanted him to be more intentionally meek, more focused -- and Charles Brumm is shambling enough as Donny, but too sweet-tempered and kind. Both actors need some of Harder's tension in order to nail the language. The show is still funny, but it ends weakly because Teach leaves the stage without trashing Donny's junk shop. Harder -- good as he is -- has to give his climactic speech to thin air instead of tumbling shelves of toasters.