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
It's been four years since the explosion of sex and stamina and noise and growling guitars that was Fever to Tell burst out of the art lofts of Williamsburg. Four years of touring, of breakdowns, of darkness, of notoriety. Four years to hone an aesthetic that seemed positively feral in its immediacy, its passion. And sometimes, it sounds like it hasn't been long enough away for the YYYs; like they don't want to be back in the studio; that they were dragged back into it, unwilling. Karen O still slinks and prowls and yelps, feline-sharp across single "Gold Lion" and rocker "Phenomena." Brian Chase's drumming is still fluid and razor-neat; Nick Zinner brutally inventive, chasing New Wave demons across "Cheated Hearts" and "Sweets," but it feels wrong, somewhere. Toned down. Cleaned up. Polished too much. Don't get me wrong; every note is pristine and rings with clarion intent sometimes a raucous White Stripes-style stutter ("Honey Bear"), sometimes a wind-swept howl ("Warrior") but something is lacking; a sense of urgency, a sense of tension perhaps. Nonetheless, this is a fine record, certainly better than those dismal sophomores from The Strokes and their ilk. It's just that it feels the Yeah Yeah Yeahs haven't exerted themselves to their fullest.