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
Before he even attended Oxford -- later than usual -- Cecil Rhodes took the advice that critic John Ruskin was dispensing to Oxford's smart young men in the 1880s: Go to Africa. Conquer. Bring the blessings of our civilization to the savages and spread the glory of Queen Victoria far and wide. Rhodes was an ambitious, American-style upstart with little taste for beauty who set up diamond mines in South Africa, then went to Oxford, and proceeded to conquer British politics and London society and leave behind a scholarship in his name. ACT Artistic Director Carey Perloff has written a play about him. (She went to Oxford in the 1980s, not as a Rhodes scholar.) In her play, Rhodes has a homoerotic friendship with Randall Pickering, an aesthete who does appreciate the beauty of Africa, and so makes up the missing half of the colonial baron's personality. Their friendship parallels a marriage between an African woman named Fanny and Barney Barnato, a rival British mine owner. The first half of the play is a tight, engaging summary of Rhodes' early career and his founding of what would become the De Beers diamond monopoly. The second half sprawls and loses focus. It gives Rhodes' affection for Pickering the power of a love affair, even though we never see them truly fall in love. Innuendo and suggestion are supposed to make up for passion in Perloff's Victorian England, but, alas, they don't. The alehouse songs about colonialism, sung barely in tune by Paul Vincent Black (who otherwise does a good job with Barnato), could be cut. Allyn Burrows and David Adkins do well as Rhodes and Pickering, though, and Rufus Collins plays a nicely pompous Charles Rudd, Rhodes' business partner. The play is just too long.