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
In case you've been TaskRabbiting your way through life and haven't had the chance to leave the micro-loft to stroll the alleys and streets of central San Francisco, the number of homeless tent encampments in town is approaching epic levels — as in Hooverville and Great Depression levels.
You want a history lesson? Take a class. You want clanging swords, sneering villains, storybook romance, and bloody vengeance? Mongol is a brawny old-school epic to make the CGI tumult of 300, Alexander, and Troy look like sissy-boy slap parties. Do not scorn the weak cub; he may become the brutal tiger, the opening title card reads, and Russian director Sergei Bodrov (Prisoner of the Mountains) shrewdly casts this reverent retelling of Genghis Khan: The Early Years not as the rise of an emperor, but as a classic underdog tale. Using mostly real extras, stuntwork, and staggering locations, Bodrov recounts the 13th-century conquerors path from childhood enslavement to tender lover, doting dad, all-around square dealer, and oh yeah builder of the Mongol Empire. As storytelling, aside from its unobtrusive flashback structure, the movie is as straight as the arrows that fly in close-up a CGI trick that, like most of the movies limited digital effects, is more effective for being seldom used. Its powered by a quietly commanding lead performance by Japanese actor Tadanobu Asano, and by the forceful evocation of its physical details: horses traversing a field of boulders, the heft of its bulky costumes. Last years Academy Award nominee from Kazakhstan for Best Foreign Film, Mongol is purportedly the first in a multifilm saga on the wrath of Khan; as such, its probably the last thing youd expect great fun.
June 20-July 17, 2008