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
There are birrias so thick they could be mistaken for moles, but at this 51-year-old Mission restaurant whose tables still fill with diners every Saturday and Sunday, the lamb stew, estilo San Juan de Lagos, is an elegant, near-transparent carmine.
Bebe Neuwirth has an unusual voice. It's not what you would call beautiful. In Here Lies Jenny, a showcase of loosely knit songs by German composer Kurt Weill, she sounds a bit like a sheep nursing a hangover. Weill's songs have long been favorites of many a diva, with artists as diverse as German chanteuse Ute Lempe and operatic soprano Dawn Upshaw bringing their own particular qualities to the composer's brazenly sweet melodies and galumphing accompaniments. Although the Tony Award-winning Neuwirth is a charismatic, intense performer, the songs all sound rather similar: There's surprisingly little variety in the star's delivery. The show combines the talents of several Broadway luminaries -- including director Roger Rees, choreographer Ann Reinking, and set designer Neil Patel -- but for all the talent it feels cobbled together. Patel's dingy European speak-easy is evocative enough, but Reinking's movements are predictably camp, leaving Neuwirth frequently falling into the arms of some muscle-bound, wife beater-wearing stud. As a vehicle for one of this country's most prominent musical theater artists, Here Lies Jenny lacks drive.