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
Producer, writer, and activist who produced shows like All in the Family, Sanford and Son, and Maude, is awarded the 2016 Freedom of Expression Award after a screening of the new documentary Norman Lear: Just Another Version of You.More
At the main festival ground on Saturday July 23rd and Sunday July 24th at Fort Mason Center, we welcome many celebrities from Japan, including WORLD ORDER, Silent Siren, Wednesday Campanella, GARNiDELiA, Mitz Mangrove, and many more, and we will also host a variety of events, including J-POP LIVE concerts, Meet & Greet sessions, Q&A with special guests, Interactive Summit, Travel Pavilion, Ramen & Sake Summit, dance, karaoke,cosplay and'J-POP Queen' drag contests.More
San Francisco Film Society held their Film Society Awards Night at Bimbo's on Tuesday, May 7th. Harrison Ford was in attendance accepting the 2013 Peter J. Owens Award. Photographs by Josh Edelson for SF Weekly.
Good films about ballet can be numbered on one hand. And about Chinese dissidents? I've still got enough fingers to type this review. Based on the memoirs of Li Cunxin, Mao's Last Dancer means well, but it stumbles between genres. Li is played by three actors as he grows from plucky peasant lad in the '70s to grim-faced trainee at a Beijing dance academy to visiting student at the Houston Ballet. (By then, 1981, he's portrayed by Chi Cao, a Chinese-born dancer with the Birmingham Royal Ballet, who can act a little.) Confounded by our cowboy hats, materialism, and discothèques, Li feels more comfortable on stage. And thereso corny it's true! -- he gets his big break when a soloist is injured. Don Quixote earns him raves, and a convenient blonde girlfriend provides the chance for a green-card marriage. Should he stay or should he go? And how will the Chinese government respond if Li defects? Director Bruce Beresford employs many flashbacks in this predictable, sentimental tale, but has no feel for the dance sequences, which lurch into slo-mo for each triumphant jeté. There are bits of humor at the margins, chiefly from Bruce Greenwood as Li's arch, gay ballet master. (Kyle MacLachlan's attorney seems like a guest star on Dallas.) The melodrama of a divided family is reliably squeezed for tears, but the movie's best scene is one that awestruck young Li watches with us: There is Baryshnikov dancing on grainy samizdat VHSfree, glorious, yet far from home.
Mon., Sept. 13, 2010