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
We were recently surprised to learn that, while print and e-book publishing lan- guishes, audiobooks do better and better with every passing year. (Downloads in 2015 were up 38 percent over 2014.) We like to imagine that it’s the allure of the well-trained dramaturge that makes emotional connections while leaving some- thing to the listener’s imagination — not background noise for long commutes. In such a case, there can be no finer pleasure than a staged reading by longtime favorites Word for Word, a company that has brought countless short stories from page to stage, including “Sonny’s Blues” by James Baldwin, “The Fall River Axe Murders” by Angela Carter, “Berenice” by Edgar Allan Poe, and “The Bunch- grass Edge of the World” by Annie Proulx. During “Off the Page,” devotees help the company massage prose into parts, and sometimes, as was the case with Al- ice Munro’s work, choose the next story for production. Tonight, the actors ap- proach short fiction from Jamie Quatro’s highly lauded IWanttoShowYou More, which explores faith, (in)fidelity, and family along the border between Georgia and Tennessee.More
A storytelling night with Carnie Asada, Profundity, Coco Buttah, Mahlae Balenciaga, Greg der Ananian, and Fauxnique, celebrates Shark Week with accounts of dangerous, deadly, and treacherous creatures.More
Be there when Cara Black discusses her new book: Murder on the Quai. Aimee Leduc is in her first year of college at Paris's preeminent medical school. But Aimee's world is crumbling: her boyfriend is leaving her, her father leaves for Berlin for a mysterious errand and asks Aimee to look after his detective agency. She begins to investigate a murder. A book sale by the Friends of the San Francisco Public Library follows the event.More
Nothing caps off a nice day at the beach like a mouthful of sand — especially if the grit in your teeth is the reward for the grit required to splay flat-out on your stomach, for the prize of a plastic disc in your hand, and all the glory that comes along with it.
"A country road. A tree. Evening." So go the opening stage directions of Samuel Beckett's Waiting for Godot, one of the most important plays of the 20th century. But if the set description seems minimal, Tides Theatre's interpretation of them is anything but. Director Jennifer Welch says the set (designed by Richard Colman) will be a fuchsia tree against a black-and-white background, together with an angular, industrial soundscape, by Jon Bernson -- an unusual stamp on Beckett's existential "tragicomedy" and a bold beginning for a new theater company. Welch founded Tides with Cary Cronholm Rose and Ann Hopkins, and the three chose to inaugurate the company with Godot because of the challenge it poses. "Almost everyone has read the play, and then when they see it, it doesn't live up to their imagination," says Welch. "I wanted to do a production that would live up to mine." This production, which stars Keith Burkland Jack Halton as Vladimir and Estragon, will be staged at the Royce Gallery and also tour local Veterans Administration hospitals as part of Tides' mission to use theater to heal. For Welch, "this play is about what happens next, which is what soldiers who return from Iraq and Afghanistan deal with." Godot isn't about the war; it's about "what happens after the war."
Thursdays-Saturdays. Starts: Jan. 20. Continues through Feb. 18, 2012