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
Better than a masterpiece whatever that is Terrence Malick's The Tree of Life is an eruption of movie, something to live with, think, and talk about afterward. The film begins with the O'Briens (Brad Pitt and Jessica Chastain) receiving news of their teenage son's death, their grief echoing through perplexing shot sequences and sparse dialogue. It's enough to confirm the scuttlebutt that The Tree of Life will be the most unorthodox Hollywood drama in many moonsand then the film's perspective switches to Hubble for a vision of the birth of the universe, from a nebulous In the Beginning ... to the first articulations of life on earth and the reign and extinction of the dinosaurs. Snap forward to the '50s, and the education of young Jack O'Brien (Hunter McCracken) during his suburban boyhood in Waco, Texasseemingly the daydream of his adult self Jack (played by a crabby-looking Sean Penn) returning to his birthright of memories: the indivisible combination of Mom, Dad, God, and backyard. Recalling the viewer to a child's awed first conception of the vastness beyond his proscribed world, Malick gives us fresh eyes to see suburbia as, yes, a miracle. Filmed in a headlong style that lifts sometimes to singing montage, the close touch of DP Emmanuel Lubezki's Steadicam brings forgotten childhood rites near, and the film confirms Malick as one of the few American filmmakers operating on the multiplex scale who makes movies feel like undiscovered country.
June 3-9, 2011