Friday, September 19, 2014
A weekly look at what's making news in the free gay mags:
Odyssey New York: It's not every day that someone's legs are disproportionately big to their upper body. Not complaining -- he's the anti-Chelsea Boy! Online edition HERE.
Get Out! magazine: Dragapella quartet THE KINSEY SICKS take on reality TV in new show / Read HERE.
Next: Lily Allen on her comeback album, Kate Bush, and why this isn’t her “feminist moment" / Read HERE.
Metro Weekly (DC): Latino GLBT History Project's David Perez talks about the importance of forging a historical heritage within a broader culture / Read HERE.
Lavender (Twin Cities): The fall home & garden extravaganza can be found HERE.
Frontiers (Los Angeles): Lily Allen gives no f*cks (huh?) / Read HERE.
Romy and Michele would be proud. Read HERE.
Jesus Christ: How many HOT GUYS are on this team?
It turns out I didn't invent Morning Wood!
From a news release:
In perhaps its most ambitious exhibition to date, the Leslie-Lohman Museum of Gay and Lesbian Art will present Classical Nudes and the Making of Queer History, opening on October 18, 2014. For the first time ever, the exhibition will trace the same-sex gaze as grounded in the classical form, from Antiquity to the modern day. Curated by Jonathan David Katz, Classical Nudes and the Making of Queer History establishes the centrality of the classical nude in the historical development of same-sex representation by following a chronological timeline of four major periods.
Says Katz, “For over 2,500 years, we have cohabited with one aesthetic archetype—by far the longest such relationship in the western canon: the classical nude. Not only is it the longest lasting, most influential visual form for representing the human body up to the present day, but also it has become so powerfully naturalized as merely ‘the nude’ that we have often lost the ability to see it as a specific historical type, with a particular history, geography and canon. For many centuries now, certain men and women have scoured this most respectable of aesthetic type for secret signs that speak of them, to them. And no wonder, for the nude has become an identification with, and projection onto, the culture that first birthed it, a classical world that saw both same-sex love and the human body as not only worthy of public representation, but as itself inherently beautiful.”More details HERE.
Anne Bobby did this last night at 54 Below -- "a super creepy arrangement since it's really about a stalker," says her musical director -- but I call this just one of a dozen Bee Gees greatest (nearly) forgotten hits.