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
Are Americans really just a bunch of gangsters and puritans? This uneven mobster musical definitely wants us to consider the possibility. Happy End follows the clichéd good-girl/bad-boy romance of Salvation Army preacher Lillian Holiday and notorious gangster Bill Cracker. Its easy to see why creators Bertolt Brecht and Elisabeth Hauptmann disowned Happy End slapped together in an effort to capitalize on the success of ThreePenny Opera, it steals liberally from George Bernard Shaws Major Barbara and the B-grade American gangster pictures that fascinated Brecht. More importantly, the play lacks the type of revolutionary intelligence thats coiled behind Brechts best work. Happy End feels like a parade of insipid American archetypes the hypocritical religious zealot, the gun-toting mol with a heart of gold, the vaguely mystical Asian mobster according to Brechtian theory these stock characters are supposed to alienate us from traditionally effective modes of theatrical presentation and make us ponder more important social and political questions. But lacking any engaging intellectual concepts, we are just left with an unimaginative narrative and the type of hooting and hoofing youd expect from a musical like Guys and Dolls. Every element of this high-gloss production is very competent. However, the cast, designers, and director seem to avoid any real sense of danger and debauchery, and its a shame because thats what truly brings the gangsters and puritans together.