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
Because not everyone can shell out a week's worth of rent on the edible art of a hand-tweezed tasting menu, veteran restaurateur Kash Feng (owner of Michelin-starred Omakase) and consulting chef Shin Aoki (formally of Michelin-starred Kaigetsu) bring you Okane — legit Japanese fare for epicures of the 99 percent.
Hedwig, of Hedwig and the Angry Inch, doesn’t typically place others’ whims above her own, even if those others are her audience. But last summer’s sold-out Boxcar Theatre production of the glam rock musical forced the petulant but witheringly witty diva to hear the cries of the hoi polloi and remount the show. Hedwig isn’t just a struggling rocker who treats the audience like the unworthy crowd at her own concerts; she was also, in effort to escape East Berlin by marrying and moving to America, the victim of a botched sex-change operation, hence the “angry inch.” Director Nick Olivero retains or enhances signature elements from this summer’s show. Hedwig is still played by many performers, some returning, some new, whose different genders, races, and personalities make Hedwig’s story into everyone’s story. The theater is structured like a cabaret, with tiny tables to hold drinks, which are served throughout the performance. In the remount, the set also features a catwalk, the better for the performers to show off Wes Crain’s skintight — nay, organ-crushing — costumes and their characters’ sass. Hedwig gives the people what they want, but she ain’t gonna be happy about it.
Wednesdays-Saturdays, 8 p.m.; Saturdays, 5 p.m. Starts: Dec. 5. Continues through Jan. 26, 2012