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
For someone who lives in the downtown corridor — all right, the Tenderloin — the idea of going to Ocean Beach for pizza is rife with potential pratfalls: high Uber fares, lengthy Muni trips, ever-present fog, jet lag.
One reason people use the word "diva" too often nowadays is that the notion of great women being defined by great performances has made great fodder for modern dramatists. Not far beneath Billy Wilder's Sunset Boulevard, the pinnacle of diva dramaturgy, is Terrence McNally's Tony Award-winning 1996 play, Master Class. The subject here, in a command performance by Rita Moreno, is the aching soul of superstar Maria Callas. But the show is also a valentine to the opera, beautiful bitch that she is. McNally knows how to orchestrate for human instruments. His play is agreeably operatic, and director Moisés Kaufman planes the lines of its shapely form with affection. Based on classes Callas taught at Juilliard in the early '70s, the action is an imparting of her earned wisdom. She's that dazzling -- the brutal teacher we've all had or wanted. Among the three students, strong singers all, Sherry Boone's Sharon is the real crowd-pleaser; the arc of her creative process is the most impressive and the most human. Mark Wedland's design and David Lander's lighting make good use of a deep, high-ceilinged stage to reveal a few stirring glimpses of grandeur. And Moreno, firmly rooted and lifting her face to gather the light, makes a big room feel small. "'The real world.' Brutal expression, brutal place," she declares as Callas, edifying performers everywhere.