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
Colin Tilley's video for Kendrick Lamar's "Alright"
Kendrick Lamar is from Compton, but Colin Tilley, the director of the music video for Lamar's song "Alright" — which was nominated for four MTV Video Music Awards and was performed by the artist at the 2016 Grammy Awards — is Berkeley-born and -raised.
Though songwriter and all-around auteur Cory McAbee has called the Billy Nayer Show's latest its most accessible effort yet, longtime local fans needn't be too concerned; the tunesmith can't help but populate his warped songs with seductive mama hens, log-humping grease lizards, and praying bears. Mixing nursery-rhyme sweetness and sexually charged cynicism, the Billy Nayer Show continues to explore the dark corners of McAbee's psyche on the band's seventh collection, Rabbit. Pared down to a trio augmented by auxiliary players -- BNS co-founder/drummer Bobby Lurie and bassist Frank Swart round out the lineup -- the Show covers a broader range of sounds than in the past. The familiar, wistful melancholy heard on "Essence" and "The Time Has Gone" gets balanced by the glam-rock attack of "Roam the World" (which wouldn't sound out of place on Eno's Here Come the Warm Jets) and the Zeppelin-esque, distorted bass fury of "Sloth." The strange characters in "Raymond" and "Rabbits and Bears" don't quite measure up to the bizarre heights of McAbee's past creations, but loyal followers of the group will find plenty to enjoy here.