Saturday, August 27, 2016
WE love it when Antinomaniacs from around the world share images of Antinous they discover during their globetrotting travels.
This statue of Antinous in the guise of Dionysus is the center of an Italian restaurant in Reno Nevada. He holds the thyrsus staff of Dionysus in one hand and a goblet of wine in the other.
He is flanked by two maenads who are totally naked ... though his private parts are hidden discreetly ... lest prudish American diners be put off their pasta.
And to top it all off ... this statue rotates slowly to give diners on all sides a 360-degree view of him ... under a twinkling starry heaven.
Friday, August 26, 2016
IRAN has executed yet another gay teen, reminding the world that it still regularly kills minors no matter what international law says.
Amnesty International has decried the hanging of gay Iranian teenager, Hassan Afshar, as proof of the country's "sickening enthusiasm for putting juveniles to death that knows no bounds."
Eleven years ago ... 19 July 2005 ... Iran publicly executed two teenage boys for being gay. Their names were MAHMOUD ASGARI and AYAZ MARHONI, 16 and 18 years old.
Since then many more LGBT people have been tortured, imprisoned and publicly executed in Iran ... no one knows how many.
For their suffering, the Religion of Antinous proclaims Mahmoud Asgari and Ayaz Marhoni and all of the named and unnamed gay victims of Iranian persecution, Saints and Innocent Martyrs of the Religion of Antinous.
Putting to death any juvenile violates United Nations covenants. Still, Iran hasn't shied from the most extreme penalty when prosecuting even the youngest men for gay sex and other crimes under Islamic law.
An Amnesty International report in January found that four people were killed last year despite being juveniles at the time of their crime. And between 2005 and 2015, 73 were executed.
In this latest case, Afshar was charged at age 17 with raping another boy. His family said it was consensual, which is sometimes a moot point. If the other boy hadn't called it "rape" instead of consensual sex, he too could have faced the death penalty.
Amnesty International reports that Afshar was hanged in Arak's Prison in Markazi Province on July 18.
Another teen, Alireza Tajiki, is next in line for execution, accused of raping and murdering a friend.
Amnesty International notes that Iran’s Supreme Court had said there's no evidence Tajiki committed the crime, and it says a confession is invalid because it was provoked by torture.
International outrage over Afshar’s death has so far managed to put the next killing on hold.
A rare photo of one of these executions (seen above) outraged the world in 2005, when a blindfolded Mahmoud Asgari, 16, and Ayaz Marhoni, 18, were publicly hanged in Mashhad, Iran, on charges of raping boys. The photos might have stopped, but the killings haven't.
A United Nations report in 2014 reported that 160 young men are on death row in Iran having been convicted of a myriad of crimes. Another United Nations investigation this year found that the death penalty reached a 20-year high in 2015, with 966 people killed.
Under Islamic law, these offenses — called hodud — can include "insulting the Prophet of Islam," extra-marital heterosexual sex, and consensual gay sex. Under hodud, death is one of four possible punishments, which could also include crucifixion, banishment, and amputating the right arm and left leg.
Thursday, August 25, 2016
CHAVELA VARGAS, the forceful lesbian songstress who was born in Costa Rica and rose to fame in Mexico, and influenced generations on both sides of the Atlantic, has been proclaimed a Saint of Antinous.
When she died in 2012 at age 93, she was especially known for her rendition of Mexican rancheras, but she is also recognized for her contribution to other genres of popular Latin American music.
Never one to hide her lesbianism, she has been an influential interpreter in America and Europe, muse to figures such as Pedro Almodóvar, hailed for her haunting performances, and called "la voz áspera de la ternura," the rough voice of tenderness.
FLAMEN ANTONIUS SUBIA speaks for millions of gays in the Spanish-speaking world when he says her passing is a saddening loss. He grew up with her music.
My parents had always played her music it...among many other singers...she was the only one who made an impact on me. She was the only one who stood out...mostly because I could tell that she was crazy...she wasn't trying to sound pretty or traditional...but more like someone having an attack of too much feelings.
It wasn't until I was in my late teens that a friend pointed out that all her love songs are sung about women, I hadn't even noticed, I had just taken them at face value, you broke my heart songs, without really thinking about the context...that was when I really started to like Chavela Vargas...when it suddenly dawned on me that this dramatic, bellowing woman, who was such a favorite of my parents, was A LESBIAN!!!
As it turns out she was a hard-core lesbian, though never public about her sexuality, she never actually hid it...it was pretty much right there for everyone to see. She drank heavily, carried a gun and wore a big red poncho...how can you not love a lesbian such as that?! Eventually the drinking became too much and she dropped out of making music for a long, long time...only to return about 10 years ago, at 83 years of age with a new album...and it was during her return that I finally learned that, yes indeed, just as I suspected, she was in fact a Lesbian. My favorite quote is when she said:
"I've never even been to bed with a man. Never. That's how pure I am; I have nothing to be ashamed of. My gods made me the way I am." - Chavela Vargas
Wednesday, August 24, 2016
The nearly pristine mosaic was discovered in the cold pool of a Roman bath in the ancient port city of Aegae, in Adana Turkey.
A Greek inscription at the bottom of the mosaic says: "Greetings to all of you bathing."
Aegae was an important port during the Roman era, founded in the 2nd Century BC.
One of the three biggest Asclepius temples in the world is located in the ancient city of Aegae.
Earlier, archaeologists found a mosaic depicting the god of love, Amor/Eros.
Poseidon, also known as Neptune in Roman mythology, who is the god of the sea, earthquake and horses in Greek mythology, is the son of Chronos and Rheia, and the brother of Zeus and Hades.
In this mosaic, he is described as having a rope wrapped over his shoulder.
Apart from Poseidon, the mosaic also features the depictions of dolphins on both sides of Poseidon.
It is a little-known fact that Antinous was associated in a gay context with Neptune/Poseidon, the classical god of the seas.
Coins minted by a priest of Antinous at Corinth named Hostilius Marcellus (from whom our own Uendi Hostilia Marcella takes her priestly name) show Antinous as Neptune/Poseidon.
It is a reference to the myth that Poseidon became enthralled with another marine male deity, Nerites, who was said to be the handsomest of all males on Earth, in the Heavens or in the Seas.
The sexual union of Poseidon and Nerites produced Anteros, god of requited love.
In those days, few people could read or write, but everyone knew these myths. So anyone who held one of these Antinous/Poseidon coins could "read" the gay symbolism.
So any discovery concerning Neptune/Poseidon is of great interest to us, since the dig could ultimately reveal Antinous-related artefacts.
Tuesday, August 23, 2016
Archaeologists in Cyprus have uncovered a 10-meter (36-foot) mosaic floor depicting scenes of ancient chariot races in the Roman hippodrome.
Dating back to the 4th Century AD, this magnificent artifact was discovered in the Akaki village outside the capital Nicosia, making it the only one of its kind in Cyprus and one of seven in the world.
Not only is this mosaic incredibly detailed, but it illustrates complete race scenes for four charioteers, each being drawn by a team of four horses.
Experts believe this is a representation of the different factions that competed in ancient Rome.
"The hippodrome was very important in ancient Roman times, it was the place where the emperor appeared to his people and projected his power," said Fryni Hadjichristofi, a Cyprus Antiquities Department archaeologist.
Derived from the Greek words hippos ("horse") and dromos ("course"), the hippodrome was an open-air stadium, used for chariot and horse racing, which was a common Grecian activity during the Hellenistic, Roman and Byzantine eras.
The excavation crew is still working to uncover the entire floor, but the area that is visible measures 36 feet long and 13 feet wide.
The team believes this stunning piece was once part of a villa owned by a wealthy individual or nobleman while Cyprus was under Roman rule.
The mosaic displays scenes from a chariot race, with one charioteer standing as he is being pulled by four horses ... in total it shows four different races.
Near each of the four charioteers are inscriptions, which is believed to be their names and the name of one of the horses.
Archaeologists believe this representation is the four factions that would compete in chariot races while ancient Rome reigned.
Three cones can be seen along the circular arena, each topped with egg-shaped objects, and three columns seen in the distance hold up dolphin figures with what appears like water flowing from them.
On another part of the mosaic is one man on horseback and two others that are standing - one is holding a whip and the other a jug of water.
"It is an extremely important finding, because of the technique and because of the theme," the director of the Department of Antiquities Marina Ieronymidou said during a press conference in front of the mosaic this week.
"It is unique in Cyprus since the presence of this mosaic floor in a remote inland area provides important new information on that period in Cyprus and adds to our knowledge of the use of mosaic floors on the island."
The typical hippodrome was carved into a hillside and the material pulled from the ground was packed along the edges to construct an embankment for seats.
Monday, August 22, 2016
When Emperor Hadrian visited Alexandria,
the poet Pancrates presented him
with a beautiful lotus flower.
Awestruck by the magnificent rosy-red petals,
Hadrian agreed to name the flower
after his beloved Antinous.
Drawings by Uendi
Beautiful CG Art by Antonius Subia
Music by Kevin MacLeod
For more info: THE TEMPLE OF ANTINOUS
Sunday, August 21, 2016
ON the 21st of August, with the Sun in the final degrees of Leo the Lion, we commemorate the Sacred Lion Hunt ... when Hadrian and Antinous slew a man-eating lion in Egypt in August 130 AD.
Minutes ago, the modern-day Priests of Antinous just finished celebrating the event in with ritual ceremonies at the Hollywood Temple of Antinous which also saw worshipers participating via Skype from Mexico, Brazil and Germany.
During the special ceremonies they also honored the Sacred Rosy Lotus of Antinous ... the pink waterlily said to have sprung forth spontaneously from the lion's blood as it splattered the banks of the Nile.
Flamen Antonius Subia relates in vivid detail the events of the Sacred Lion Hunt: The place is Egypt, somewhere in the rocky wilderness between the scattered oases southeast of Alexandria.
The time is August of the Year 130 AD. The Sun is poised to enter the Sign of Leo. The Constellation of Aquila the Eagle is at its zenith in the nighttime sky — just as it is now.
It is the constellation of the Emperor. And the Emperor and his Beloved are touring Egypt when they hear grisly accounts of a man-eating lion marauding the countryside on the edge of the cultivated land. The "Marousian Lion" it was called.
They lead a hunting expedition out into the wilderness. The whole expedition is rife with symbolism from the start since the Sun is in Leo in the daytime skies and the Eagle is soaring in the nighttime skies and the Ancients believed killing lions was tantamount to defeating death itself. Lion hunting was the sport of kings.
When at last the Imperial party flushes out the man-eater, the huntsmen and archers stand back and leave Hadrian to close in on the beast with his steed. Hadrian has just got off an arrow which wounds the animal when, all of a sudden, out of nowhere, young Antinous rides ahead, his reins in his left hand, an adamantine-tipped lance in his upraised right hand.
As the Imperial retinue looks on in horror, the snarling lion charges toward the boy, causing his panicked horse to whinny and wheel about in terror. But Antinous maintains his balance and, instantly judging distance and angle, sends his lance sailing towards the lion as it quickly closed the gap between them.
The lance slams into its rear flank, inflicting a serious but not fatal wound. Enraged even more, the lion uses its fangs to pull out the lance and charges anew against the Boy who is fumbling with his quiver to ready a shot with his bow. But an arrow is already in the air from behind Antinous, and it whizzes past his ear and hit its mark in the throat of the lion.
It has been fired by Hadrian, who is approaching at full gallop and who, even while the first arrow was still in the air, had already readied a second arrow, which this time penetrates both lungs.
The lion spins about and collapses writhing in the dust, rage in its eyes, blood and saliva guttering from its fanged mouth, gasping for breath as it struggles to get to its feet — because Antinous has dismounted and is sprinting toward it with a drawn dagger.
Hadrian draws his steed to a halt and dismounts with an agility and lightness befitting a man half his age, fueled by adrenalin and alarm for his Beloved Boy, who faces imminent peril from the mortally wounded lion, still capable of severing an artery with one swipe of its mighty paw.
Hadrian draws his hunting axe from his belt and holds it high as he lunges onto the lion's back and dispatches the beast with one powerful blow which splits its skull in two with a frightening crack and a spurt of bright red blood which bathes both the older man, now panting and perspiring heavily, and the younger man who still shows no visible expression of concern, just a wild-eyed look of excitement in his eyes, as if he never realized the danger he had been in — as if he thinks he is immortal.
A cheer goes up from the coterie of onlookers when they realize the lion is dead, killed seemingly by a single blow from the Emperor's hand. Courtiers whose eyes are unskilled in the ways of hunting will later claim Hadrian had struck the lion dead with a club.
As soldiers and nervous bodyguards rush forward to make sure everything is all right, the emperor, his adrenalin-strength ebbing as quickly as it came, shakily wraps a blood-spattered arm around Antinous and plants his gilded, spike-soled sandal on the dead animal's neck and nods to Antinous to do the same.
There they stand, bathed in blood and bathed in the adulation of the Imperial coterie, each with one foot on the vanquished man-eater as the animal's blood spreads out and covers the surrounding rocks and sand and a few scrubby wildflowers growing from a crevice in a rock.
Even the flowers are splattered with blood. And these red blossoms will be plucked by members of the entourage to take back as souvenirs to show to envious courtiers who had not been invited along.
THE SACRED LION HUNT was immortalized in poetry and in stone, with Hadrian adding medallions to the Arch of Constantine showing him and Antinous with feet on the lion's neck and also making sacrifice to the great lion-killer Hercules.
Soon legend would have it that scarlet-red lotus blossoms had sprung forth from the pool of the lion's blood, the lion which had been brought down by Antinous and which had been dealt its death blow by Hadrian — the SACRED RED LOTUS.
Under the Sign of Leo. And under the Constellation of the Eagle.
Within a few short weeks, Antinous himself would be dead. The Sacred Lion Hunt is the last recorded event in His short life.
And some time afterward, grieving Hadrian would look up into the nighttime skies with tear-filled eyes and his court astronomers would point out a New Star which had appeared in the southern part of the Constellation of Aquila the Eagle.
The New Star would be interpreted as a celestial sign that Antinous had been raised to the firmament, that the Constellation of the Imperial Eagle had been joined by the CONSTELLATION OF ANTINOUS. It was a sign that Antinous was now a God.
If you go outside tonight and peer out into the darkness with all its deep and hidden dangers, remember Antinous and how he peered out into the barren wilderness with all its deep and hidden dangers.
He charged forth, his bridle-reins in his left hand and an adamantine-tipped lance in his right, and he faced death unafraid.
For Antinous knew he was immortal.
The Constellation of Antinous, still under the wing of the Imperial Eagle, will be right directly over your head tonight — shining proof that Antinous is a God and that he is indeed immortal.
Don't look out into the darkness around you and be afraid. Instead, look up and remember the Beloved Boy, who was a fearless hunter, who stalked death itself, and who emerged victorious over it.