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
When day drinkers just could not stop pissing along the train tracks at Dolores Park, where every weekend tons of revelers gather to partake in booze and other inebriants, the city came up with a great idea to make public urination acceptable: install an outdoor urinal.
The strongest part of S.M. Shepard-Massat's new play is the unwholesome mixture of ingredients that Zora Neale Hurston and William Faulkner used to such strong effect: Southern farmers, racism, murder, and sex. Shepard-Massat has written an elemental drama about an African-American widower feeling pressure to leave his farm in the spring of 1923. Wesley Slaton (Steven Anthony Jones) revives a dormant romance with his sister-in-law, Lily Grace Hoterfield (Rosalyn Coleman), after Lily returns to the country from Atlanta. Lily is the sister of Wesley's now-dead wife, and since the family relationships here are all a bit complicated, we spend most of Act 1 hearing them spelled out, which is boring. In Act 2, though, a lazy neighbor named Fitzhugh (Gregory Wallace) gets into trouble with a local redneck, and Wesley has to avenge him. The story never reaches the fever pitch we've learned to expect from stories by Hurston and Faulkner, but Shepard-Massat's script gets a boost from the cast. Jones and Coleman have a palpable sexual chemistry; she is self-assured as Lily, and he is powerful as a frustrated, blustery farmer. And Wallace is perfectly cast as the comical dandy. He sports brown plaid, patent leather, and a patch to hide his stray left eye. "Now they don't call me 'Cockeye Fitzhugh,'" he laments. "They call me 'Cockeye Fitzhugh with an eye patch.'" The performances Israel Hicks coaxes from his fine actors are worth the money, even if the play itself leaves a light impression.