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
There's no secret to helping you focus better — unless you count Adderall — but studies have shown that listening to music before or while performing a task can improve attention, memory, and even your ability to perform mental math.
In the Bay Area dance world, choreographers commonly spring to life fully realized, like Athena from the head of Zeus. This may well be attributed to our democratic insistence that anyone can make art. (What other place could have produced the freewheeling Isadora Duncan?) Nevertheless, there's something to be said for the traditional model, forged in the pressure cooker of New York, in which a seasoned dancer turns choreographer after a period of intense study with an established dance-maker. If nothing else, it offers the nascent artist something concrete to rail against. In the case of San Francisco native Hope Mohr, an eight year sojourn in NYC dancing for postmodern icons Trisha Brown and Lucinda Childs has left its unmistakable mark, even if her penchant for the social and psychological marks a clear break with her predecessors. Like Zen calligraphy, Mohr's choreography exudes an easy spontaneity that belies the years of practice behind its craft. It looks as if the debut of her new company in "Moments of Being: An Evening with Hope Mohr Dance" will offer up such buttery dancing in works such as Ellison and more awake than dreaming, while Under the Skin, a commission spotlighting cancer survivors created with video artist Douglas Rosenberg, shows her more humanistic colors.
March 14-16, 8 p.m., 2008