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
There’s dysfunction, and then there’s the Violent Femmes.
Speaking with singer-guitarist Gordon Gano, he tells me that the only definite plan the band has ever had was that they would break-up at the end of the summer in 1981, they year they first got together.
“That was like definite plan: We're only playing this first summer and that's it. We didn't well with that plan.”
Plans are perhaps not the Violent Femmes strongest suit. Over the course of a 30-year career, the band has never been one to look to the future. Since their initial success in the early 1980s behind a self-titled debut and its follow-up, Hallowed Ground, the Femmes have gone dormant, re-emerged, broken-up, and reunited.
Listening to Vallejo producer SELA is akin to wandering through a bleary, dew-laden field at dawn, accidentally falling down a rabbit hole, and then getting sucked up by a rainbow tornado before drifting slowly back down to earth and laying on a patch of soft grass as rain falls lightly on your face.
In other words, the 22-year-old producer has a knack for manipulating melodies and distorting sounds. His songs veer left when you think they’re going right and there’s no shortage of surprises (or water-based samples). Some tracks are toasty from the warm ambient synth pads he uses, while others are shiver-inducing and sound like water dripping from a faucet. An avid creator, he’s released almost 20 projects on BandCamp and remixed everyone from Mariah Carey and Hawthorne Heights to Next and Trina.
By Tom Lanham
on Fri, Dec 25, 2015 at 8:00 AM
For good reason, Justin Townes Earle has had one thing on his mind lately: family. At 33-years-old, the folk-rock son of alt-country renegade Steve Earle has been seriously considering his musical legacy (as evidenced by his two autobiographical companion albums, 2014’s Single Mothers, and this year’s Absent Fathers). In 2013, he also married a Gyrotonic exercise instructor named Jenn Marie, whom he met through friends from the band Lucero. The couple recently relocated from Nashville to a rambling old California Victorian “in an undisclosed location about four hours north of San Francisco, way the fuck up in the growers’ triangle,” he said.
Earle’s musical career started unsteadily, curtailed by his dad’s estimable shadow. He released a stylistically-muddled EP called Yuma in 2007 that had streaks of folk, country, and blues. His debut album, The Good Life, dropped a year later, but it wasn’t until 2010, with the release of Harlem River Blues that he found his laconic, loping style. The twangy, R&B/folk/retro country hybrid even won Earle an Americana Music Award in the Song of the Year category.
Along with a musical ear, Earle also inherited an outlaw spirit from his father who left home when his son was two. By age 12, he, too, had begun abusing drugs and alcohol and was soon carrying around a pistol for protection. “I was a dangerous man,” he recalled of those tough times, which landed him in a few rehab centers. Now, as he prepares to turn 34 this January, he allows that he’s “at a point where I, uh, smoke a lot of reefer, but it’s not ruining my life.” He won’t say “never” when it comes to anything harder, he added. “But I did get the opportunity to live through something that most people don’t live through, and you see a side of life that most people do not walk away from.”
Along with his new focus on family, Earle’s writing habits have changed with his new situation. He has a spacious office/retreat in his new house, where he’s already started crafting an even more elaborate concept album to follow Mothers and Fathers, which he initially wanted to issue as a double-record set. It’s desolate where he lives, he said, and he misses daily visits to his neighborhood Nashville bodegas. “Getting in the car to go get cigarettes is just uncivilized,” he sighed.
His marriage has also shifted things in his life, presumably for the better. “If getting married doesn’t open up new realms of thought, then you’re probably not going to be married long,” reckoned Earle, who was raised by his mom Carol Ann Hunter Earle, who often worked three jobs just to keep the clan afloat. “You’ve got to worry about another person – and the effects of what you do – in a very real way,” he continued. “This is not some girlfriend that you met at a bar where it’s going to last six months and you have no expectations. You are now building a life of your own, and it’s a much more serious proposition. You can’t fall back and go live on your friend’s couch. That’s just not an option anymore.”
It’s too soon to say whether kids will be part of Earle’s future, but it’s a possibility. “That’s the thing,” he said. “We don’t always know.” In fact, he’s not even sure if he’d make a good parent, adding that “we think we’re going to be good parents [and] we think we know what’s best, but we don’t know shit!”
Justin Townes Earle plays with John Doe at 8 p.m., Saturday, Dec. 26, at Slim's. $23; www.slimspresents.com.
Today, San Francisco MC, J Styles, dropped his third mixtape, Yellow Fever Mixtape 2.0, a cleverly-titled project that gives a nod to the rapper's Asian-American background. The new project deviates from his older works, which he describes as "turnt up," "fun," "dance music,"and, instead, takes on a more introspective, reflective approach. "With this one, I want to send a better message," he says. "It's more personal to me. I put a lot more thought behind it."
To celebrate the release, we hopped on the phone with Styles and talked about what it's like to be an Asian-American rapper and why rapping in both Chinese and English is so important to him.
When I first reach Buffy Sainte-Marie on the phone, she wants to know all about me before I can ask her any questions. She isn’t trying to figure me out, but is sincerely inquisitive, eager to meet the voice at the other end of the line. Her warmth is infectious and perhaps a necessary characteristic for a musician and activist that has spent the past 50 years raising awareness for the rights of Native Americans and countless other causes. Sainte-Marie isn’t a protester who happens to sing her words; her passion is in music. Among other achievements, she recorded the first completely quadraphonic electronic vocal album, was an early adopter of Macintosh products for the purposes of music recording, and even won an Academy Award in 1982 for her work on the song “Up Where We Belong” from An Officer and a Gentleman.
This year, she added another accolade to her list when she beat out the likes of Drake and The New Pornographers for the Polaris Music Prize, which honors the year’s best full-length Canadian album. Always one to embrace community, Sainte-Marie listened to her fellow nominees’ work before the prize was announced. “I listened to every single cut on every single album, and I really liked the whole bunch of them," she says. "I was totally surprised when I won.” She laughs at her admission, a reaction that permeates throughout our conversation and reflects the gratitude and modesty of an artist that has long made her home on the outskirts of the music industry.
Hype Machine's "Popular" charts are a reflection of which artists and songs are the most blogged about on the net. So when Oakland-based singer Hazel English's latest track "Fix," peaked in the top spot earlier this month, it was a big deal.
"It's exciting..pretty euphoric. You just want people to connect with your music," the Australian-born English said as we stood in a crowded bar in San Francisco.
Unlike other bands who prospered during the early to mid-’80s, Duran Duran continued to release quality albums on a consistent basis. And while the band is not as prolific as its adoring fans might wish, the group still manages to tour and fill capacity venues across the United States and abroad.
Paper Gods, the band's latest record released on Warner Brothers, spurred its followers to come out en masse to support — making it a Top 10 Billboard-charting record. Featuring 12 tracks and already a couple of chart-busting dance numbers, the band proved yet again they know how to stay relevant and current without sounding dated nor derivative.
Catfish and the Bottlemen are the definition of a “do it yourself” band. Named after an Australian busker, the lads from Wales are finally starting to enjoy the fruits of their labor. Ryan “Van” McCann and his bandmates have earned every ounce of their success, playing in parking lots, sneaking burned CDs onto people’s windshields, and saying "yes" to every opportunity they’ve been offered. In 2014, their hard work finally paid off as their debut album, The Balcony, was released on Island/Communion Records, eventually being certified gold in the U.K. Now hard at work on their follow-up record, Van and guitarist Benjamin “Benji” Blakeway spoke with SF Weekly about sleeping in cars, David Letterman, and getting song ideas from your drunk dad.
One of the most celebrated hip-hop acts to emerge from the greater Bay Area during the '90s, Blackalicious made a triumphant return with the release of Imani Vol. 1, the duo's first new studio album in a decade that just came out two weeks ago.
French singer and musician Laetitia Sadier first made her Anglophonic mark in the U.K. when she joined the late-'80s band McCarthy, but it was Stereolab, which she founded with her then-partner Tim Gane, which helped establish her work in America. Fronting the often-shifting collective for almost two decades until its formal 2009 hiatus, Sadier’s cool singing and sharp, politically charged lyrics (often explicitly drawing on modern leftist economic theory and philosophy) combined with music that referenced classic French pop and stereo demonstration records as much as blasting drones and worldwide experimentalists. Even so, that’s just some of the reference points Stereolab touched on over the course of ten albums and innumerable singles and compilation tracks.