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
There are a number of reasons why you should see a show at The Regency Ballroom — its ornate, turn-of-the-century architecture and eclectic lineup of performers, to name a few — but no reason is more compelling than the venue's ample seating.
Theatre Rhinoceros mounts a double feature of civil savagery from two modern masters of English dramaturgy. Edward Albee's The Zoo Story and Harold Pinter's The Collection are among both playwrights' early works, in which each hones his linguistic gifts and packs plenty of fierce eloquence into a single devastating act. In The Zoo Story, Jerry, a lucid lunatic groping for human contact, invades Peter's park-bench private time and rattles his orderly life. In The Collection, a gay couple (Harry and Bill) receive an unexpected visitor claiming one of them has slept with his wife. Director Neal H. Shorstein is able to honor the authors' atmospheres of menace and manipulation without obscuring their fundamentally humane intentions. Calling the show a duet promises harmony; in both plays, chance encounters become collisions of worlds, culminating in a sexually charged confrontation at knifepoint (Shorstein turns a limited prop budget into a clever visual rhyme by using the same knife twice). There's some evisceration, yes, but it's done with language. Tim Hendrixson (Jerry and Harry, respectively) anchors the cast, setting an example of how to own the material by inhabiting an inner life. Both plays ripple with hilarity and tragedy, and it doesn't diminish the company to suggest that a given evening's mood might depend on which way an audience prefers to go.