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
A rumination on the holes in the spirit that only a longtime friend can fill
at the Exit Theatre
Through Sept. 17
Two years ago performer Slash Coleman's best friend was electrocuted while hanging a neon sign. Frustrated while trying to put together a memento box for his departed friend's newborn son, Coleman wrote this solo show instead. Billed as a "spiritual rock 'n' roll comedy about best friends," the performance plays out like a heartfelt living memorial to a relationship that offered Coleman a sacred home in his ungrounded life. Careening between reenacting pivotal moments of their friendship and philosophizing about his own life's direction, Coleman has such manic pacing that he practically trips over his words while unnecessarily miming every physical action. Although there are plenty of colorful characters and chuckles along the way, it's when he slows down to reflect and picks up his acoustic guitar to sing to his friend that his grief and sorrow are beautifully conveyed. When the acting is less precious and hectic, The Neon Man and Me transcends this one particular situation and becomes a rumination on the holes in the spirit that only a longtime friend can fill as well as an ode to home.