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
This year, Disney announced plans to revive the magical, majestical, supercali- fragilistical title character of Mary Poppins. We can’t find too much fault with the choice of Emily Blunt in the starring role, and we are pleased that this won’t be a “reimagining” of P.L. Travers’ original tale. (Travers wrote many more adventures for her English governess, so there’s plenty of material to draw upon.) Still, even if the composers are Hairspray’s Marc Shaiman and Scott Wittman, and they have elicited the support of at least half of the Sherman Brothers who wrote “Supercalifragilisticexpialidocious” and “Chim Chim Cher-ee,” we have a difficult time imagining a movie that can compete in our child brain with the five-time Oscar winner. Granted, Dick Van Dyke’s cockney accent left a lot to be desired, and maybe the movie does take its own sweet time getting started — to say nothing of those interminable penguins — but we’ve done some internal editing, leaving nothing but a sweet aftertaste that, during this month’s “Wine Down with a Movie,” might be accompanied by free tipples of Domaine Chan- don.More
Nothing caps off a nice day at the beach like a mouthful of sand — especially if the grit in your teeth is the reward for the grit required to splay flat-out on your stomach, for the prize of a plastic disc in your hand, and all the glory that comes along with it.
Summer is a quiet time for classical music around here, what with most of the regions chamber music organizations touring or taking a break. Besides the San Francisco Symphonys Summer in the City Festival, local fans dont have many options beyond driving three hours to Bear Valley or hopping on a plane to Ravinia or Tanglewood. For those of us planning to stick around in the coming weeks, the American Bach Soloists SummerFest is a summer classical music festival right here in San Francisco. Since its establishment in the late 1990s, the event has blossomed into a three-city affair, offering an assortment of informal recitals, concerts, talks, and picnic suppers. The S.F. portion, held in the stunning German Baroque-style environment of St. Marks Lutheran Church, is divided into three programs featuring works by big-gun composers. The first evening (July 15) focuses on the Baroque period. Presenting compositions by J. S. Bach, Corelli, Telemann and Vivaldi, the event kicks off with a family concert aimed at introducing kids to the eras repertoire. The July 16 program opens with a talk by ABS music director Jeffrey Thomas, and is Classical era-centric, offering music by Haydn, Mozart, and C. P. E. Bach (J. S.s son). The series ends on July 17 with a soiree of Romantic compositions by Beethoven, Schubert, and Mendelssohn and a presentation by ABS principal string player, Steve Lehning.
July 15-17, 6 p.m., 2008