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
This year, Disney announced plans to revive the magical, majestical, supercali- fragilistical title character of Mary Poppins. We can’t find too much fault with the choice of Emily Blunt in the starring role, and we are pleased that this won’t be a “reimagining” of P.L. Travers’ original tale. (Travers wrote many more adventures for her English governess, so there’s plenty of material to draw upon.) Still, even if the composers are Hairspray’s Marc Shaiman and Scott Wittman, and they have elicited the support of at least half of the Sherman Brothers who wrote “Supercalifragilisticexpialidocious” and “Chim Chim Cher-ee,” we have a difficult time imagining a movie that can compete in our child brain with the five-time Oscar winner. Granted, Dick Van Dyke’s cockney accent left a lot to be desired, and maybe the movie does take its own sweet time getting started — to say nothing of those interminable penguins — but we’ve done some internal editing, leaving nothing but a sweet aftertaste that, during this month’s “Wine Down with a Movie,” might be accompanied by free tipples of Domaine Chan- don.More
We've all had that day: the one where you accidentally hit "Reply All" on an email intended for one or get rear-ended as you're backing out of the veterinary clinic where you've just spent your life savings to find out that the results on your cat's blood work are "inconclusive."
Boom Bip should hire more singers. That's not a knock against his vibrant downtempo instrumentals: Like an interior decorator, he takes disparate sources -- rock guitars and Eastern-flavored synths, laptop beats and a basement drum kit -- and combines them with airtight tastefulness. Blue Eyed in the Red Room is more refined (though less surprising) than his debut long-player, Seed to Sun, but the instrumental songs are dwarfed by the two tracks featuring guest vocalists. Ever since Circle, on which Bip, aka Bryan Hollon, backed up MC Doseone, the producer has proven himself an adept accompanist to idiosyncratic voices. The carnival motifs of "Do's and Don'ts" pull Super Furry Animal Gruff Rhys through a three-part fun-house ride, while Nina Nastasia's "The Matter" rivals her acoustic material for mood and beauty. The shimmering backdrop wraps her like a silk kimono, and it's so gorgeous that the other cuts almost sound jealous.