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
Though Adriano Paganini's restaurant specializes in Roman-style wood-fired pizzas, you'd be remiss to skip out on its appetizers, in particular the broccolini bruschetta, a dish that may very well become your new favorite way to eat these tiny trees of the produce world.
The sinews of old San Francisco lie in the water: the posts standing in the Bay mud that supported the docks and piers where the shipping that made the city possible, and later allowed it to flourish, flowed.
Soon, every object, from your headband to your mailbox, will have the capability to record video, and we will finally be in our much-promised dystopia. It will be terrible, just as they told us, but think of the opportunities for celebrity. Thats the scenario (one of them) in Lee Konstantinous Pop Apocalypse, a satire of the near future, circa 2029. The plot an end-of-the-world thriller with lots of shooting and driving is no match for the cultural impact of our future technology. It goes like this: A new search engine can identify people in videos, and they can be tracked on the Web (now called the Mediasphere) nearly in real time, because everyone films everything, constantly, and uploads it (and if people don't capture you, the systemwide surveillance cameras will). The reason people film so much is that selling footage of celebrities, even those of dubious fame, can make them very rich. In the near-future, famous people have IPOs, and their Reputations are traded. Also, whoever films an event, like a terrorist bombing, owns the rights to it. Consequently, cameras are everywhere, filming everything, all for the money. To this, Konstantinou adds an apocalyptic plot, set in a riotous Middle East, a walled-in New York, and a blasted Bay Area (the author calls the Mission District home), and populates it with Jewish red heifers, foul-mouthed Christian rock, anticapitalism activists, academic theory (the author is also cozy with Stanford), and all kinds of driving, flying, shooting, and screwing. Its a satire, serious in a ridiculous way, and just might be a blueprint of the future. Lee Konstantinou appears at InsideStoryTime with a host of local writers Joshua Mohr, Vauhini Vara, judy b., and Carrie Hall circling the theme of longing.
Thu., July 16, 6:30 p.m., 2009