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
Producer, writer, and activist who produced shows like All in the Family, Sanford and Son, and Maude, is awarded the 2016 Freedom of Expression Award after a screening of the new documentary Norman Lear: Just Another Version of You.More
At the main festival ground on Saturday July 23rd and Sunday July 24th at Fort Mason Center, we welcome many celebrities from Japan, including WORLD ORDER, Silent Siren, Wednesday Campanella, GARNiDELiA, Mitz Mangrove, and many more, and we will also host a variety of events, including J-POP LIVE concerts, Meet & Greet sessions, Q&A with special guests, Interactive Summit, Travel Pavilion, Ramen & Sake Summit, dance, karaoke,cosplay and'J-POP Queen' drag contests.More
For a band that obsesses so much about the inexorable march of technology, Modesto's Grandaddy sure has managed to arrest any evolution of its aesthetic since perfecting the formula on 2000's The Sophtware Slump. That album offered gently fuzzy guitars, puckish synths, verse-chorus-verse structures, and Jason Lytle's warm vocals oiling the cosmic jalopy like so much KY Jelly. Redelivered on Sumday, and now laid to rest on Just Like the Fambly Cat (the band announced its dissolution in January), it's a sound that's all Grandaddy's own, yet one the band never really improved upon. And so on Fambly Cat we get another helping: a loping, reverberated "Where I'm Anymore"; the soaring, psychedelic "The Animal World"; the vaporously aching "This Is Where It Always Starts" y'up, this is still Grandaddy. "I don't wanna be a part of all the quality that falls apart these days," bleats Lytle on "Elevate Myself," making his planned relocation to Montana seem more sad than triumphant. Since Slump's masterstroke, technology has metastasized most depressingly. Grandaddy's will to point out the floating plastic bags that flit amid the frenzy could use something of a stylistic update, but it's too bad it has to disappear entirely.