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
We were recently surprised to learn that, while print and e-book publishing lan- guishes, audiobooks do better and better with every passing year. (Downloads in 2015 were up 38 percent over 2014.) We like to imagine that it’s the allure of the well-trained dramaturge that makes emotional connections while leaving some- thing to the listener’s imagination — not background noise for long commutes. In such a case, there can be no finer pleasure than a staged reading by longtime favorites Word for Word, a company that has brought countless short stories from page to stage, including “Sonny’s Blues” by James Baldwin, “The Fall River Axe Murders” by Angela Carter, “Berenice” by Edgar Allan Poe, and “The Bunch- grass Edge of the World” by Annie Proulx. During “Off the Page,” devotees help the company massage prose into parts, and sometimes, as was the case with Al- ice Munro’s work, choose the next story for production. Tonight, the actors ap- proach short fiction from Jamie Quatro’s highly lauded IWanttoShowYou More, which explores faith, (in)fidelity, and family along the border between Georgia and Tennessee.More
A storytelling night with Carnie Asada, Profundity, Coco Buttah, Mahlae Balenciaga, Greg der Ananian, and Fauxnique, celebrates Shark Week with accounts of dangerous, deadly, and treacherous creatures.More
Be there when Cara Black discusses her new book: Murder on the Quai. Aimee Leduc is in her first year of college at Paris's preeminent medical school. But Aimee's world is crumbling: her boyfriend is leaving her, her father leaves for Berlin for a mysterious errand and asks Aimee to look after his detective agency. She begins to investigate a murder. A book sale by the Friends of the San Francisco Public Library follows the event.More
A movie adaptation of Evelyn Waughs tale of England collapsing under the pressure of social changeeven one that has passed through the pop filter of co-writer Andrew Davies, British TVs designated gatekeeper of all properties literary to the massessounds like much more fun than the 11-hour slog of the 1981 television series. And though I can imagine Waugh rolling his eyes at the idea of Brideshead Revisited as a heartbreaking romantic epic, the movie is, often inadvertently, an improvement on that sepulchral miniseries. Waughs novel doesnt have much of a storysocial upstart Charles Ryder is taken up and nearly destroyed by an aristocratic family bent on destroying itself. But as directed by Julian Jarrold, Brideshead Revisitedrevisited boasts better stately homes and gardens, a marketably youthful cast, and broad winks at the novels repressed homosexual attraction between pallid upstart Charles (Matthew Goode) and Sebastian Flyte (a show-stoppingly queeny Ben Whishaw), while redirecting the eros to Charless wan love for Sebastians sister (Hayley Atwell). As in the novel, though, the great, sick love story is between Sebastian and his mummy, an ice floe played by Emma Thompson as a woman at once energized and doomed by her devotion to Catholic orthodoxy. The movie is far from deep, but you have to admire how it refrains from delivering a postmodern lecture on the perils of fundamentalism and confines itself to Waughs disturbing vision.
July 25-Aug. 1, 2008