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
Though Adriano Paganini's restaurant specializes in Roman-style wood-fired pizzas, you'd be remiss to skip out on its appetizers, in particular the broccolini bruschetta, a dish that may very well become your new favorite way to eat these tiny trees of the produce world.
Orson Welles lives on not only in posthumously restored director's cuts of his movies but as a character in other peoples novels, plays, and filmsnotably Richard Linklater's deft, affectionate, and unexpectedly enjoyable Me and Orson Welles. Adapted from a novel by high school English teacher Robert Kaplow, Linklater's movie concerns Welles's legendary 1937 stage production of Julius Caesarthe 22-year-old directors personal triumph. Linklater views Welles's achievement from the perspective of a high school student (Zac Efron). Dubbed "Junior," the lad brazens his way into a minor part as Brutus's lute-strumming page, a week before the play is set to open. "Youre not getting anything except the opportunity to be sprayed by Orson's spit," Welles's assistant (Claire Danes) good-naturedly warns him. Actually, the callow but competent Junior gets away with quite a bit (up to a point) even as he learns something about performing and human natureor at least about the nature of Orson Welles. So do we, thanks to a richbordering on plummyperformance by British actor Christian McKay, who nails Welles's ironic twinkle and assured, mocking self-importance. For all of its virtues, Me and Orson Welles is not perfect. The thrifty period mise-en-scene is oversaturated with '30s popular music and the screenplay gives only a perfunctory sense of the era's Popular Front politics. But, percolating with backstage banter and behind-the-scenes maneuvering, it is a spirited, confident, and even edifying piece of work.
Starts: Dec. 11. Daily, 2009