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.
It's debatable how much veteran jazz guitarist Bill Frisell has influenced Brooklyn-based violinist Jenny Scheinman via their collaborations of the past few years. But there is one certainty: If you like Frisell's soporific, luminously melodic sound, then you'll love Scheinman's third album as a leader. With the exception of the oompah march groove of "Moe Hawk," the Bay Area native's compositions revel in languid tempos and dreamy, tuneful melodies that are sometimes so sweet, as on the Vince Guaraldi-pretty "Satelite" [sic], they may make your teeth ache. Even a buoyant track like the jig-friendly "Suza" comes across with such grace that it somehow feels wrong to want to kick up your heels. Scheinman's world-class septet -- Frisell, Ron Miles (cornet), Doug Wieselman (clarinet), Rachelle Garniez (accordion, piano, claviola), Tim Luntzel (bass), and Dan Rieser (drums) -- performs her spare arrangements with a note-perfect reserve that makes it seem as if the music is playing itself. Such an absence of overt player personalities gives the entire album a cohesive soundtrack feel, often noirish but sepia-toned (i.e., far from dark). It's an affect Frisell mastered more than a decade ago, and Scheinman now appears poised to carry on the tradition.