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 deliriously foul-mouthed political satire is set sometime between 2002 and the day after tomorrow; hard to say, given that the country with which U.S. and U.K. pols want to go to war is unnamed save for its location in, you know, the Middle East. The prime minister and president, likewise, go unnamed. But several of the British wonks and wankers at the dark heart of this rambunctious catastrophuk first appeared in writer-director Armando Iannuccis BBC series The Thick of It, which debuted in the thick of Tony Blairs reign as PM. So Iraq it issatire from a safe distance. Which doesnt diminish the impact or dull the point. Doc or mock, the response is the same: You are laughing at idiocy, whether its coming from a peace-loving, warmongering general played by Colin Powell or James Gandolfini. All In the Loop is missing is a sieg-heiling Peter Sellers in a wheelchair and James Carville in the war room. Zooming back and forth between London and D.C., In the Loop hasnt any real plotit plays like a rather brilliant Brit-com stretched over 100 minutes, a collection of anecdotes and incidents. The final scene, played beneath the closing credits, suggests that what seems like a monumental, world-altering decision to most is merely tedious paper-pushing to these pricks. All done during the course of business hours.
Wed., Nov. 4, 2, 7:15 & 9:30 p.m.; Thu., Nov. 5, 7:15 & 9:30 p.m., 2009