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 don't often go out of our way for restrooms, but in the case of Macy's sixth-floor ladies room (sorry guys: you'll just have to make do with having everything else), all who pass through its doors will understand why it's worth the effort.
The soul of the Misfits was intact from the beginning, except for one thing: The Misfits were a horror synth band. For two songs, one great ("Cough Cool") and one later to be great ("She"), Glenn Danzig made do with an electric piano and no guitar. Pumping up this minor tidbit into some kind of lofty critical statement such as "The Misfits were a horror synth band" is proof of how much "I Love Glenn" the man is a treasure, especially when you pretend he disappeared in 1989 and didn't release Danzig albums two through nine. (A pass should be made for the eponymous Danzig, because the intersection of mesh-shirt Satanism and stripped-down blues-metal still seemed sort of relevant in 1988, until someone gave you a Pixies record.) "I Love Glenn" is not only cherished sentiment but also a music and dance event, with burlesquey performances by Eva Von Slut, Bunny Pistol, Sparkly Devil, Lady Satan, Cupcake, and sASSy Hotbuns. It's likely that some of these women have Misfits fiend tattoos, or at least gigabytes of lyrics locked in the wild adolescent lobes of their brains, ready for the sing-alongs with Misfits tribute band Plan 9. Who knows what version of Glenn will reign supreme tonight (here's one vote for his early Samhain, because of all the blood), but most likely it'll be the devilocked Glenn who sang like Elvis about Marilyn and not the presteroidical one who tore apart a chicken over a nearly naked submissive woman in Danzig's original "Mother" video. He probably had a good reason for that, though. Likely Satanism.
Fri., Jan. 28, 9 p.m., 2011