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 immortal moment came decades ago: a long-suffering fan already, at 8 years old, slumped against a rail at the ballpark for what could be the last time, defeated on the field and off of it, where the Giants were planning to possibly decamp from Candlestick Park to Florida.
Spike Lee was hardly the first African-American independent filmmaker; in fact, his early breakthrough was only made possible by pioneers like Charles Burnett and Melvin Van Peebles. Their bitterly impassioned movies are revived all too infrequently, perhaps because its painful to see how little has changed in the last four decades. Take Haile Gerimas heat-seeking Bush Mama (1976), a stark corrective to both bicentennial fever and the current of self-empowerment peddled by blaxploitation flicks. The Ethiopian director, who came to the U.S. in the late '60s and is best known for 1993s Sankofa, centers his blistering story on a Watts woman who gradually comes to see how the world really works when her husband a Vietnam vet is jailed for someone elses crime. Were used to being shocked by repressive police in Latin American movies, and entertained by Los Angeles' corrupt cops in period pieces such as L.A. Confidential or The Black Dahlia. Screening as part of the ongoing survey, 75 Years in the Dark: A Partial History of Film at SFMOMA, Bush Mama reminds us in case it somehow slipped our minds that to preserve and protect has a whole different meaning in the inner city.
Thu., March 11, 7 p.m., 2010