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
Thai chef Kasem "Pop" Saengsawang owns several solid restaurants in San Francisco, including the breakfast-centric Sweet Maple and the Asian fusion spot Kitchen Story, but his newest project Farmhouse Kitchen is the one to miss at your peril.
The fools of Chelm, that mythical village of schlemiels somewhere in Eastern Europe, have been visited and revisited by Jewish writers, who keep finding a metaphor in the town for the contemporary scene. This year, more or less for Chanukah, the fools of Chelm go to war. Aaron Davidman, Corey Fischer, and Eric Rhys Miller have written a clown-and-puppet show for children that has three bumbling, stone-broke idiots trying to scrape up the dough to fight "weapons of mass aggravation." An orphan called Menachem is assigned as "moonwatcher," someone who keeps track of the moon in order to let the village know when to celebrate its holidays, and one day the moon just vanishes. So the fools of Chelm rig up a phony one. The story drifts a little -- we never get back to that war -- but then the show is mainly for kids. Miller, along with Joan Mankin, Téana David, and Moshe Cohen (as Menachem), dance and clown to klezmer music written by Daniel Hoffman. The klezmer numbers are fun, but the play itself, especially in the scenes with puppets, is uninspired. One suspects that the writers have padded those scenes just to keep Annie Hallatt's (admittedly cool) puppets onstage a little longer. The humor sits uncomfortably between a Catskills variety show and Saturday morning cartoons, which sometimes confuses the children -- what are they supposed to do with jokes about the stock market? -- but they still seem to enjoy it, especially when Joan Mankin clambers into the audience and pretends to find golf balls and bagels behind a 5-year-old's ear.