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
Producer, writer, and activist who produced shows like All in the Family, Sanford and Son, and Maude, is awarded the 2016 Freedom of Expression Award after a screening of the new documentary Norman Lear: Just Another Version of You.More
At the main festival ground on Saturday July 23rd and Sunday July 24th at Fort Mason Center, we welcome many celebrities from Japan, including WORLD ORDER, Silent Siren, Wednesday Campanella, GARNiDELiA, Mitz Mangrove, and many more, and we will also host a variety of events, including J-POP LIVE concerts, Meet & Greet sessions, Q&A with special guests, Interactive Summit, Travel Pavilion, Ramen & Sake Summit, dance, karaoke,cosplay and'J-POP Queen' drag contests.More
We will dispense with the double entendres: Carol Doda, who we lost in November, was a San Francisco hero who will be rightly celebrated and remembered as long as the town she helped create still stands, the torch held aloft along Broadway and kept alight in neon.
La Val's Subterranean Theater,
1834 Euclid (between Hearst and
Through Oct. 12
Tickets are $10-15
Alfredo Fidani has directed a stylish idea of Julius Caesar, set in a mob-infested Rome of 1935, where Brutus and Cassius and Caesar himself all wear pinstripes and broad-brimmed hats, and where strains of Italian opera or a melancholy accordion wander up and down the street. Armand Blasi is also a commanding, full-chested Brutus, with just enough Brando in him to look like a potential Godfather. The rest of this production, unfortunately, can't keep pace; there's a pall over the acting that keeps it rigid and unfocused. In the first half it's not such a problem. Shakespeare's talent for suspense keeps the show moving well enough until Caesar's murder, and both John Polack and Stanley Spenger do solid work as Mark Antony and Cassius, respectively. The sprawling second half of the play is another story. Shakespeare abandons any pretense of order or suspense and gives us an empire in shambles, with senators behaving like warlords and their minions fighting in the streets, and it's up to the company, Subterranean Shakespeare, to infect the audience with a sense of urgency. It doesn't. Spenger's Cassius stiffens in the second half, and even Blasi's sturdy Brutus loses steam. Only Polack -- as the fierce, noble-minded Antony -- keeps up his energy all the way through, but for both Polack and Antony it's a losing game.