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
The New Conservatory Theater, 25 Van Ness (at Market), S.F.
Through Feb. 23
Admission is $18-28
This nearly indestructible "penny dreadful" by Charles Ludlam, about a Victorian household cursed by werewolves, Egyptian magic, and the memory of a dead lady named Irma, has been perfectly revived by director Arturo Catricala. Lee Corbett plays Lord Edgar, the Egyptologist, as well as the snobbish, redoubtable maidservant Jane Twisden; Patrick Michael Dukeman plays Edgar's new wife, Lady Enid, the peg-legged servant Nicodemus, and others. The whole point of putting on the show is to make the audience forget -- and then remember -- that two actors are jumping in and out of costume; Catricala makes sure we hear Velcro ripping in the wings. Lady Enid feels odd in Edgar's drafty house because a portrait of Edgar's dead wife, Irma Vep, hangs reverently over the fireplace. Wolves howl on the heath, and family members have been mysteriously shredded in the snow. What else do you need? It's like Poe on helium. Corbett does especially good work as Jane Twisden, with a fluttery falsetto, and Dukeman's strongest role is Nicodemus, the wretched hunchback. ("Don't look down yer nose at me, lady; we're made from the same bolt o' goods," he says to Jane.) The New Conservatory generally does better with high camp than with soft sentiment, and Irma Vep leaves no room on the stage for sap.