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
Step two in Francis Ford Coppolas reinvention as a self-financed, off-Hollywood, personal filmmaker, Tetro -- a moody job shot in carefully-framed widescreen and sumptuous, black-and-white chiaroscuro -- is a marked advance over the Faustian, time-traveling absurdity Youth Without Youth (2007). Bennie Tetrocini (Alden Ehrenreich), an 18-year-old waiter on a luxury cruise-ship, takes shore leave in Buenos Aires, looking for his long-lost older brother Angelo (Vincent Gallo), whom he has idealized as a successful writer. Now calling himself Tetro -- short for the family name but also Italian for gloomy -- the exile is holed up in an atmospheric port slum and is not exactly thrilled to see baby brother. Never mind. Snoopy Bennie insinuates himself into his cranky brothers life, enabling Gallo to throw a few choice tantrums, and begins rattling the skeletons in the family closet. Having directed the greatest family saga in Hollywood history, Coppola can be excused for mythologizing his own clannothing in this movie ever really happened but its all true, he told interviewers at Cannes. The narrative is a bit labored but, after decades of far more ponderous projects, Coppola has found his way home. However overwrought, Tetro is neither a project nor a package; it exudes enthusiasm and love of cinema. Coming from the 70-year-old who once bestrode Hollywood Boulevard like a colossus, Coppolas new movie offers best possible evidence of youth without youth.
June 19-25, 2009