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
Bertolt Brecht is best known among theater buffs for his chintzy-chic Weimar Republic cabaret collaborations with Kurt Weill. But Mother Courage, one of the most depressing accounts of war ever penned in the 20th century, is his true masterpiece. Although it was written in 1939, when the Nazis came storming through Poland, Brecht set his play during the Thirty Years War (the campaign of carnage waged by the Hapsburg dynasty from 1618 to 1648 resulting in a tug-of-war between Catholics and Protestants). It doesn't quite parallel any contemporary major bloodbaths, but the prescience of the tale, despite all the arcane references, is far from lost on a modern audience. The plucky titular heroine, a woman named Anna Frieling, is a shameless mercenary who sells food and other provisions to anyone who'll pay. Unlike the regular old tragic hero who undergoes a bout or two of hubris before getting his gloomy comeuppance Mother Courage is hard to sympathize with. She's a skinflint who flip-flops on loyalties and profits from a war in which her three children (Swiss Cheese, Eilif, and Katrin) ultimately die. In Brecht's unsentimental, witty, yet twice-removed way, the heart-wrenching tragedy becomes not just the immorality of war, but rather, its effect on the human condition.
Sept. 8-Oct. 22