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 documentary Audience Award winner at this year's Sundance festival, Buck follows itinerant horse trainer Buck Brannaman as he applies his uniquely humane and frankly astounding methods in four-day clinics around the country. If that sounds as exciting as watching hay turn yellow, director Cindy Meehl finds the real story in Brannaman's fractured past as a child celebrity trick-roper who, along with his older brother, Smokie, was systematically abused by their alcoholic father. Despite these odds, Brannaman grew into a preternaturally gentle adult who channels hard-earned patience and compassion into his work. You can hardly blame him if he plays to this narrative hook with a showbiz veteran's skill, and Meehl whose documentarian's reserve is impressive for a first-time filmmaker generally resists identifying too closely with her subject. She gets candid comments from Brannaman's associates and childhood friends, as well as Sundance sultan Robert Redford, who employed the horseman for his 1998 adaptation of The Horse Whisperer. Lest Buck get too clubby and touchy-feely for its own good, Meehl closes the film with a sobering last-act scene in which the trainer encounters a raging, haphazardly reared colt even he can't reach. It's a subtle and harshly evocative reminder of how differently his life could have turned out.
Aug. 17-25, 2011