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
If there was ever a record guaranteed to get a four-star review in MOJO it was Kelley Stoltz's Antique Glow. That 2001 LP showcased the San Francisco resident's love of British music, drawing influence from the strutting post-punk of Echo & the Bunnymen, the sad folk of Nick Drake, and the peculiar psychedelia of Syd Barrett. Anglos may be less enthralled with Stoltz's third effort, as the Michigan native has opted for a more, well, colonial sound. While there are still hints of the crooked teethed -- the boozy jam of "The Sun Comes Through" sounds like an outtake from John Lennon's Walls and Bridges, for instance -- Below the Branches mostly recalls the Beach Boys and Harry Nilsson. Partially, it's because of the lyrical content: Glow was suffused with murky water imagery, while Branches is streaked with sunshine, the birds singing and the rabbits hugging (Stoltz hasn't completely given up his trippy side). Like Barrett, Stoltz can still turn an oddball phrase (as when he rhymes "stress ya" with "barometric pressure"), but there are also moments of heartfelt emotion ("Our love may never be free/ But it's cheaper than the price of gasoline"). Much of the record is piano-based, as Stoltz wanted to separate himself from the hippie hordes wielding acoustic guitars. And the song structures are more traditional, with the singer aiming for something that he could play his dad if asked (as opposed to previous tracks like "Mt. Fuji," which were mainly composed of sprawling noise). "Ever Thought of Coming Back" sounds like the Velvet Underground as recorded by Phil Spector, the chugging guitars wrapped up in sweet vocal ooh-oohs and a marching piano part. Elsewhere, Stoltz does his best Brian Wilson imitation, sprinkling songs with sitar, harpsichord-esque organ, and glockenspiel. Below the Branches may not get Stoltz an audience with the queen, but it's something every red-blooded American can be proud of.