Category Archives: History

Alfred Lord Tennyson’s In Memoriam

clip_image002One of the most influential Victorian poems, Alfred Lord Tennyson’s In Memoriam (1850) is actually 133 poetic fragments or sections that differ in theme, tone, and presentation, but are all unified by the poetic persona’s grief, doubt, and search for faith. The composition of In Memoriam was initiated by Tennyson’s deep suffering at the loss of his brilliant young friend, the promising poet and scholar Arthur Henry Hallam, who died suddenly in 1833 at the age of twenty-two. Although many of the sections were written in the three years following Hallam’s death, when Tennyson’s grief was most acute, he continued adding to and rearranging his long poem as science and religion shook traditional beliefs in God and Christianity. Finally, in 1850, Tennyson published his lyrical elegy. Immediately well-received, it brought Tennyson considerable fame and was undoubtedly influential in the decision to appoint Tennyson as William Wordsworth’s successor as British poet laureate.

Tennyson clearly does not fit into convenient categories such as “radical” or even “progressive”; rather, he, like so many of his contemporaries, clip_image004was an eager participant in the ongoing debates on gender roles and the place of emotion and commitment in a society that seemed obsessed with technological progress and the accumulation of wealth.

As part of his explorations of alternative forms for social organization and moral engagement, he looked to homosocial bonding as one source for positive (in the case of men) or negative (in the case of women) emotional ties that might have an effect upon the fragmentation that he saw around him.

But homosocial and homosexual desire are not always easily distinguishable, and certainly in In Memoriam the boundary between platonic and actively erotic forms of love seems fuzzy.

In this way, Tennyson challenges are our own ability to classify writers as “gay” and “straight.” Though heterosexual, Tennyson wrote poetry dealing with love between men that is still capable of evoking a profound response from gay audiences today and that has an important place in any consideration of gay literary history.

Selections from In Memoriam:

XXVI.

 

Still onward winds the dreary way;

          I with it; for I long to prove

          No lapse of moons can canker Love,

Whatever fickle tongues may say.

 

And if that eye which watches guilt

          And goodness, and hath power to see

          Within the green the moulder’d tree,

And towers fall’n as soon as built–

 

Oh, if indeed that eye foresee

          Or see (in Him is no before)

          In more of life true life no more

And Love the indifference to be,

 

Then might I find, ere yet the morn

          Breaks hither over Indian seas,

          That Shadow waiting with the keys,

To shroud me from my proper scorn.

XXVII.

I envy not in any moods

          The captive void of noble rage,

          The linnet born within the cage,

That never knew the summer woods:

 

I envy not the beast that takes

          His license in the field of time,

          Unfetter’d by the sense of crime,

To whom a conscience never wakes;

 

Nor, what may count itself as blest,

          The heart that never plighted troth

          But stagnates in the weeds of sloth;

Nor any want-begotten rest.

 

I hold it true, whate’er befall;

          I feel it, when I sorrow most;

          ’Tis better to have loved and lost

Than never to have loved at all.


Naked Male Camaraderie

_0piggybackfightAfter my rant yesterday about finding the right man, I thought I would lighten things up before I got to my next post which for me is a bit of a downer. So let’s talk about naked men…
BOTD-081310-002 For the past three decades, America seems to be getting more prudish than ever where nudity is concerned. Take the Janet Jackson episode during the Super Bowl a few years ago. Has America always been this prudish? In television and movies, yes, but in everyday life, I don’t believe the evidence supports it. John Quincy Adams used to get up two hours before sunrise to go skinny dipping in the Potomac River, and he was not even the only president to enjoy skinny dipping. Rumor has it that Harry Truman enjoyed swimming au naturel, and that Billy Graham went skinny dipping with Lyndon Johnson.
vintage_Harvard_rowing_crew_naked_5_13_09_wcmUntil the last three decades, American high school boys took showers after PE classes. Nudity in gyms showers was quite normal. Guys didn’t do the towel dance. If you were in the steam room or sauna, you went naked. You took your shower in the open, but now most guys wear towels in the steam room and sauna, and shower in private stalls.
Columbus,OhioYMCA1930s What’s so odd is that 40 years ago, nude swimming was the norm. It’s what was acceptable. Below, you can see that they even used to shower in groups before they jumped in the pool.
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A paradigm shift has happened and I’m curious as to why? I really can’t help but wonder — of all the factors that have gone into this shift. The YMCAs used to enforce nude swimming and many, like the one below, even gyms right above or next to the pool. Between laps, guys would just head over and lift weights — yes, completely nude.
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From the 1890s to the 1930s, men who swam at the YMCA did so in the nude, apparently wool swimsuits (the fashion of the time) clogged up the pool filters. An excerpt from the history of the Seattle YMCA gives a reason for the change:
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An early casualty of gender equity was males-only nude swimming in the downtown pool. Men and boys had been accustomed to swimming au naturel at the YMCA, not only in Seattle but in Ys everywhere, since the 1890s. The practice may have evolved from problems created by the long, wool swimming suits then in fashion, which apparently shed so much they gummed up the pool filters. Later, nude swimming was justified on the grounds of hygiene. A handbook in use at the Seattle Y in the 1920s required that “A good soap bath must be taken before entering the swimming pool” in the same paragraph that specified “The wearing of swimming suits or supporters will not be allowed except by permission from the director.”

ghp-442807-ymca-pool-1YMCA2 Is gender equality the only reason for the change in nudity in all-male arenas? I doubt it. Women are still not allowed in boys locker rooms. Public baths have largely closed because of the AIDS scare, but also because of a crack down on “morality.” Could the movie Caligula be made today? It is doubtful. One of the major changes has to do with the Reagan presidency. Many Republicans venerate him because of his ushering in of patriotism (which had declined since the l_400_323_723b4073-feb0-4d8b-af3e-067fcff6b715Vietnam War), deregulation, and the Christian Right. Did the resurgence of prudish behavior begin with the Reagan administration, or did it begin before then? The Puritans supplied us with a large number of our founding fathers. Yet, as prudish and “pure” as the Puritans were, they still had more illegitimate births per capita than any other group in American history. Why? Because most of them lived on the frontier, and they could not wait to have sex until after the next time that a minister would travel through to marry them. Puritan ministers were not a populous group, so communities shared ministers, only getting a minister every few months. The same is true of the rural South during colonial times, when Anglican priests were few and far between.
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The ultimate question is, with the resurging popularity of porn and the internet, why is America so prudish?

More after the JUMP.

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Is There Any Sport More Homoerotic Than Rugby?

My roommate in college used to play rugby.  It is a rough and tumble sport with men in short shorts and “rugby” shirts.  After the games, the guys would generally get drunk and/or high, which eventually led to them getting naked at various points.  Every time my roommate told me about the traditions that were associated with rugby, they tended to included nudity.  I hope I get the terminology right here, if not, let me know.  I am doing this by memory.  There seemed to be a lot of hazing of new team members.  First of all, when a player scored his first try, he would strip naked, right there and then and run around the field.  Another tradition was the elephant walk, to show team unity.  As I understood it, all the guys would be naked and reach through the guy in front’s leg to grab their dick and then walk around the room.  Do any of you have any stories of sports hazing?

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So to go along with this post, I thought I would give a little history of rugby for those who might not be as familiar with the sport.  William Webb Ellis is credited with inventing rugby in 1823 by picking up the ball while playing football at Rugby School and running with it. The claim is disputed but there is little doubt that rugby developed at public schools out of a large-scale, few-rules, mauling scrum game. Definition of the code began in 1863 when the Football Association was formed and outlawed handling and hacking. Richmond, Blackheath, and some London clubs stayed with the handling code and in 1871 the Rugby Football Union was formed. As in soccer, the balance moved in favor of northern clubs and there were accusations of professionalism. In 1895 St Helens, Wigan, and a number of northern clubs formed a breakaway union, which became the Rugby Football League in 1922. The number of players was reduced from fifteen to thirteen and scrums restricted to produce a fast handling game.

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The two codes, amateur and professional, treated each other with disdain for many years. But the advent of television after the Second World War led to a gradual thaw. Rugby union introduced a league system, with promotion and relegation, expenses became ever more substantial, and the ban on players returning after playing rugby league was lifted in 1995. Full professionalism followed, together with substantial restructuring of competitions.


The Photography of the Argentine Marcos López

While doing a little research about sensuality and sports, I came across an article in Dissidence (The Hispanic Journal of Theory and Criticism) entitled “Homosocialism ↔ Homoeroticism in the Photography of Marcos López” by David Williams Foster.  Here is an excerpt from that article:

…One of the most homosocial spaces in modern society is the locker room, which is closely associated with other athletic and gymnasium spaces like the shower, the steam room, the jacuzzi, the massage room, and the infirmary. The bath house/sauna was, before AIDS, one of the great meeting places for gay men, and the fancy gym is, for today’s guppy, one major site for same-sex cruising (American university sports centers are notorious in this regard).  The homoerotic dimensions of sports has long been maintained, and it is difficult to forget that the original Olympics were performed in the nude; homoerotic overtones have also long been associated with European soccer, and Bazán recalls the 1995 controversy surrounding the Argentine national team. The sociologist Juan José Sebreli first broached the subject in print in a book from 1981, Fútbol y masas, but develops it as a major theme in his 1998 La era del fútbol .
In López’s image—titled El vestuarioimage ,—one is particularly struck by the fact that none of the seven men (athletes and trainers) whose faces can be seen (there is an eighth man stretched out on a massage table, his face hidden by one of the other players) looks anywhere else but directly at the camera: no one peeks out of the closet here at the body of another man… Moreover, all of the men visible are hypermasculine, confident in their pose before the camera, with marked secondary sexual characteristics well in evidence, such as hairy chest and legs, heavy beard, mustaches, muscular torso and legs, with appropriate tertiary accoutrements such as athletic wear, soccer ball, the ankle bandage and what appears to be a tube or container of ointment that are metonymies of strenuous physical activity. The file of identical lockers against the back wall iconicizes the continuity between these men where the sameness of their macho presence guarantees the easy circulation of the norms of homosociality without any trace of the discrepancy from these norms that would signal the contramasculine, the effeminate, the threat of homosexuality. True, one of the men, to the left of the image, somewhat older than the others, is fleshier than one associates with a sustained athletic life, while, in the right-hand background there is a frankly paunchy individual with long hair (he is, nevertheless, properly uniformed for athletic play). But these are, if they are discordant notes, minor ones that only serve to affirm the overall conventional hypermasculinity of the men we see in the foreground.  In short, this is a world of men and for men, and if resolute homosociality were ever to segue into homoeroticism, it is not likely to include any sign of the feminine. It is precisely the homoerotic undertones of the hypermasculine universe of soccer that both Bazán and Sebreli speak of, and, while Archetti underscores the way in which soccer—like many all-male sports—transculturally serve to assimilate young men to the codes of masculine homosociality, there is no way of categorically specifying when the frisson of the homoerotic will occur.
imageOne of López’s most outrageous compositions is Tomando sol en la terraza,  which was used for the invitation and publicity for the exhibit for the early 2005 show of his work at the White Box….Yet, by contrast, the [image] more readily evoke[s] the homoerotic, which is located here in the display of the partially naked male body. Indeed, the lack of an explicit homosocial context would indicate, precisely, that sunbathing  is not routine masculine behavior.  And although the image of the partially naked male body is legitimated in certain contexts, such as that of the athletic locker room, it does not customarily involve the privileged exposure of the penis.
Tomando sol is constructed around the common occurrence of sunbathing, which in an apartment-dwelling metropolis like Buenos Aires often means stretching out on a towel on the rooftop of one’s high-rise building. Certainly, the majority of sunbathers are women, and sports and other physically active undertakings are the most appropriate way for the male body to gain whatever are considered the beneficial aspects of direct exposure to the sun;
concomitantly, to lie inert in the sun is a female/womanlike activity. True, López’s male sunbather is surrounded by the details of a masculine world: various bottles of beer and a bottle opener, along with a half-consumed glass of brew. There is an ashtray with the butts of two consumed cigarettes, a carton of Marlboros (unquestionably a real man’s tobacco of choice), and there is a stack of magazines at hand, the top one of which appears to be a sports magazine, as its cover carries a routine soccer image. One rather whimsical detail is the garden hose (often laughingly referred to as a penis substitute), which runs alongside the reclining man and loops its way around one of the beer bottles, as though it were a sunning serpent; its two tones of green partially match the colors of the blanket on which the man lies sunning.
The model here is, in all regards, one of López’s by-now familiar hypermasculine bodies: trim and muscular, with firm and hairy legs and a nicely matted chest; his strong facial characteristics are manly in every regard: in sum, a man’s man. What is jarring, however, is the way he is dressed and what that dress leaves exposed. Nude sunbathing on a private rooftop may be preferred by some men, although heterosexual men are less likely than women (or homosexual men) to worry about tan lines: indeed, the tan line on a naked male body might be viewed by some as sexy, since it frames the now exposed but usually concealed genitals or buttocks. But the covering of the lower regions of the body means wearing a swimsuit; even underwear might be permissible. However, López’s model is swathed in athletic bandages from his midriff to halfway down his thighs, something like an improvised locker-room version of surfing shorts, although tighter and neutral in color, as opposed to the often colorful and baggy original. Moreover, the athletic bandage around the model’s middle picks up on the more reasonable presence of the wrapping around both his ankles and instep, such as one might find on an athlete’s foot to prevent or remedy a sprain from action in sports.
But what is specifically transgressive about Tomando sol is the way in which the model’s penis is exposed. The athletic bandage is wrapped around the image man’s waist, buttocks, and upper thighs in such a way that, although some minor glimpses of skin are allowed, his genitals are exposed, with his penis (notably uncircumcised from the point of view of a North American viewer) resting on the edge of a strip of the bandage. One does not normally sunbathe the penis without the rest of the lower body being exposed, and, aside from the medical inadvisability of such exposure, one is unaware of any known fetish of the sunbathed (or sunburned) penis. López is known for his over-the-top whimsicalness, and it is amply evident in this composition, with its showcasing of the model’s respectably sized penis and the echoes of the strongly masculine phallus in the beer bottles, the cigarettes, and the garden hose. The contemplation of the male body required by this composition, one that underscores the phallic, disrupts the heterosexist homosocial convention whereby the male body is masculine (a condition of the appropriate of the homosocial pact), but it is not erotic: the genitals are assumed to be there, and with acceptable potency, but they can never be the
object of confirming scrutiny. Whenever the male body is the occasion for the spectacular gaze, as the female body routinely is, it is placed at the disposal of a homoerotic interest that is inadmissible within the manly homosocial pact.

For the full article, check out http://www.dissidences.org/MarcosLopez.html.
Excerpt from:
Foster, David William. “Homosocialism ↔ Homoeroticism in the Photography of Marcos López”. Dissidences. On line. Internet: 30/08/05 (http://www.dissidences/MarcosLopez.html)


Bullfighting

Bullfighting seems to be the most masculine of sports.  However, it is also highly erotic in a barbaric sort of way.  Bullfighters themselves exude sex.  A few years ago in 2001, Patricia Nell Warren wrote The Wild Man, a book about a gay bullfighter who was deeply closeted during the reign of Generalissimo Francisco
Franco.  I became fascinated with the sensuality and machismo of bullfighters.image Warren, best known for The Front Runner, the ground-breaking novel about a gay athlete, created another gay sports figure in The Wild Man. With his overweening machismo, the complex hero, a closeted matador at the end of Franco’s rule in Spain, is never entirely sympathetic but always fascinating. He is aware of the political and social changes of the 1960s but must face the conflict between the demands of his aristocratic family and the traditions of his sport, on the one hand, and his growing love for an idealistic young peasant on the other. Warren’s overly romantic style sometimes threatens to turn this into a romance novel. The depiction of gay life under a right-wing dictatorship and the start of the ecological movement in Spain are often more absorbing than the love stories. In spite of stylistic flaws, Warren tells an absorbing story, and his characters transcend stereotypes in a setting that will be exotic to most American readers
image Called the corrida de toros in Spanish, the bullfight takes place in a large outdoor arena known as the plaza de toros. The object is for one of the bullfighters (toreros)-the matador-to kill a wild bull, or toro, with a sword.
A modern bullfight consists of three stylized parts (tercios). When the bull enters the ring, toreros wave capes to prod it to charge; then the picadors administer pic (lance) thrusts, which tire the animal and cause him to lower his head; in the second part, the banderilleros image come out and, while on the run, plant banderillas (short barbed sticks) on the withers of the bull; these often spur him into making livelier charges. In the final segment the matador-almost always a man, although some women have entered the sport in recent decades, amid controversy-holds the muleta, a small cloth cape, in one hand, and a sword in the other. Daring passes at the bull work to dominate the animal until it stands with feet square on the ground and head hung low; the matador must then approach the bull from the front and kill him by thrusting his sword between the shoulder blades and into the heart. A matador’s performance requires great skill and courage, and successful matadors reap immense awards in money and adulation. Fighting bulls are bred and selected for spirit and strength.
image The Minoans of Bronze Age Crete practiced bull leaping as part of religious ritual, and later Greeks and Romans also had rites that involved the slaughter of bulls. The Moors, who fought bulls from their horses and killed them with javelins, probably introduced the sport to Spain (c.11th cent.). Originally the central figure in the Spanish bullfight was the mounted torero; Francisco Romero is generally credited with being the first (c.1726) to fight on foot. Bullfighting is also popular in the Latin American countries of Mexico, Peru, Colombia, Venezuela, and Ecuador, and in S France. The Portuguese practice a style of fighting from horseback in which the bull is not killed in the ring. Critics contend that bullfighting is an inhumane spectacle of animal torture; aficionados respond that it is a complex ritual central to Spanish culture.

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Ancient Sports

Sports seem to have existed from the beginning of time. The original sports were established as a way to train soldiers. Some sports like bull jumping were purely for pleasure and the beauty and sensuality of the sport. Most of them served as entertainment. The winners basked in the glory of their victory. A great athlete was at the height of sexual desire from men and women.
Bull Jumping
imageBull-jumping is thought to have been a key ritual in the religion of the Minoan civilization on Bronze Age Crete. image As in the case of other Mediterranean civilizations, the bull was the subject of veneration and worship. Representation of the Bull at the palace of Knossos is a widespread symbol in the art and decoration of this archaeological site.
The assumption, widely debated by scholars, is that the iconography represents a ritual sport and/or performance in which human athletes literally vaulted over bulls as part of a ceremonial rite.
Gladiators
imageimage Gladiatorial combats usually took place in amphitheaters. They probably were introduced from Etruria and originally were funeral games. Gladitorial combats, which took place in the Colosseum and in hundreds of other amphitheaters throughout the Roman world, reached their height in the 1st and 2d cent. A.D.
image The gladiators were paired off to fight each other, usually to the number of about 100 couples, although in the imperial shows there were sometimes as many as 5,000 pairs. There were various types of gladiators, armed and armored differently. Thus a heavily armored man, a Mirmillo or Samnite, might be opposed to a Retiarius, who fought almost naked, with a net and a trident as his only weapons. He also image might be pitted against a Thracian, who fought with a dagger and a small round shield. Often gladiators were made to fight wild beasts. A defeated gladiator was usually killed by the victor unless the people expressed their desire that he be spared.
At first, gladiators were invariably slaves or prisoners, including Christians. They normally underwent rigid training, and some gained immense popularity. Later, impoverished freedmen also sought a living as gladiators, and finally even members of the ruling classes took part in gladiatorial combats on an amateur basis. Some gladiators, led by Spartacus, took part in the third of the Servile Wars (73 B.C.-71 B.C.). Constantine I forbade gladiatorial games, but they nonetheless continued until A.D. 405.
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Olympic Sports
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image Although records cannot verify games earlier than 776 B.C., the contests in Homer’s Iliad indicate a much earlier competitive tradition. Held in honor of Zeus in the city of Olympia for four days every fourth summer, the Olympic games were the oldest and most prestigious of four great ancient Greek athletic festivals, which also included the Pythian games at Delphi, the Isthmian at Corinth, and the Nemean at Argos (the Panathenaea at Athens was also important). image The Olympics reached their height in the 5th-4th cent. B.C.; thereafter they became more and more professionalized until, in the Roman period, they provoked much censure. They were eventually discontinued by Emperor Theodosius I of Rome, who condemned them as a pagan spectacle, at the end of the 4th cent. A.D.
Among the Greeks, the games were nationalistic in spirit; states were said to image have been prouder of Olympic victories than of battles won. Women, foreigners, slaves, and dishonored persons were forbidden to compete. Contestants were required to train faithfully for 10 months before the games, had to remain 30 days under the eyes of officials in Elis, who had charge of the games, and had to take an oath that they had fulfilled the training requirements before participating. At first, the Olympic games were confined to running, but over timimage e new events were added: the long run (720 B.C.), when the loincloth was abandoned and athletes began competing naked; the pentathlon, which combined running, the long jump, wrestling, and discus and spear throwing (708 B.C.); boxing (688 B.C.); chariot racing (680 B.C.); the pankration (648 B.C.), involving boxing and wrestling contests for boys (632 B.C.); and the foot race with armor (580 B.C.).
Greek women, forbidden not only to participate in but also to watch the Olympic games, held games of their own, called the Heraea. Those were also held every four years but had fewer events than the Olympics. image Known to have been conducted as early as the 6th cent. B.C., the Heraea games were discontinued about the time the Romans conquered Greece. Winning was of prime importance in both male and female festivals. The winners of the Olympics (and of the Heraea) were crowned with chaplets of wild olive, and in their home city-states male champions were also awarded numerous honors, valuable gifts, and privileges.

imageEach of these sports had an erotic element to them, whether it was the sensuality of the acrobatic movements of the bull-jumpers, the raw sexuality of the brutality and athleticism of the gladiator, or the nudity the ancient Olympians who competed for the glory of victory.
image In ancient times, it was believed that athletes literally exuded sexuality. image After sports, athletes would bathe in olive oil and then scrape that oil off their bodies to remove the sweat. As the oil and sweat was being scraped from their bodies, it would be collected in small bottles to be sold as a sexual enhancer. Now for some, this might sound utterly disgusting. I find it highly erotic. Mostly, it was used by women to enhance sexual pleasure, but could you imagine using it as a lube for masturbation. I mean, OMG, the smell of a musty athlete, mixed with the olive oil against your own skin, and then the ultimate smell once you cum and the sweat and oil is mixed with your cum. Now that would be an aphrodisiac.


Naked Warriors in History

angus-mcbride-celtic-warriors No, I am not talking about the movie Avatar. I am speaking of the Celtic warriors of ancient Scotland known as the Picts. From the accounts of Britain made by the classical authors, we know that by the fourth century AD, the predominant people in northern Scotland were referred to as “Picts”. Historians really don’t know what they called themselves, but Picts is the name that came down through history. The Latin word Picti first occurs in a panegyric written by Eumenius in AD 297 and is taken to mean “painted or tattooed people” (Latin pingo “to paint”; pictus, “painted”, cf. Greek “πυκτίς” – puktis, “picture”). Their Old English name gave the modern Scots form Pechts and the Welsh word Fichti.

1267 The Romans were only in Britain for a little over three centuries before their empire collapsed. Romanized Celtic culture survived in many places, particularly Wales, while a more purely Celtic tradition survived in Scotland. The Picts were MYTHS214gradually absorbed by their Celtic allies. The Romans never tried to conquer Scotland, a poor area which never supported more than 100,000 people during this period. A principal occupation of the “Scots” was raiding the wealthier Roman lands to the south and most Roman military activity in Britain was against the Pict and Celtic tribes in Scotland. The Romanized Celts in Britain sometimes rebelled, or at least a a few of them did. Until the Romans withdrew the last of their legions in the early 5th Century (to deal with the Germans, and civil war), the Romans always had the upper hand. This should come as no surprise. The Romans were supreme organizers and managed to keep up to 60,000 trained soldiers on duty in Britain. No one was able to repeat this feat until near the end of the Medieval period.

Throughout history, these Picts have been shadowy, enigmatic figures. From the outset, they were regarded as savage warriors The_True_Picture_of_One_Pict and by the time the Norsemen were compiling their sagas, and histories, the memory of the Picts had degenerated into a semi-mythical race of fairies.

Theories abound, although these days it is generally accepted that the Picts were not, as once believed, a new race, but were simply the descendants of the indigenous Iron Age people of northern Scotland.

The cloud of uncertainty that surrounds the Picts is simply because they left no written records. Because of this we have no clear insight into how they lived, their beliefs or society. All we know of them is second-hand anecdotal evidence, lifted from the various historical writers who recorded their own, possibly biased, impressions of the Pictish people.

The earliest surviving mention of the Picts dates from 297AD.picts

In a poem praising the Roman emperor Constantius Chlorus, the orator Eumenius wrote that the Britons were already accustomed to the semi-naked ‘Picti and Hiberni (Irish) as their enemies’.

From Emenius’ statement we can see that the Picts were already a major thorn in the side of the Roman Empire. And they continued to be a problem for their neighbours – continually harassing their neighbours for centuries after the Roman legions abandoned Britain. But who were they?

Pollaiuolo_nude_warriors_in_combat-1470-80- The term “Picti” was more than likely a Roman nickname used to describe the people north of Hadrian’s Wall. In much the same way as the term “European” is used today to describe people from a number of countries, Pict was a blanket term applied to an agglomeration of different people in the northern Scotland, probably with different cultures and, if the Life of St Columba is to believed, language.

If you know much about the Roman Empire, you know that its army was very effective and rarely broke ranks. The Roman military was comprised of legions of 5,000 men each. Each Roman_soldiers_with_aquilifer_signifer_centurio_70_aClegion consisted of 50 centuries,100 men each, led by a Centurion. Legions were accustomed to 20 mile marches. Courage was rewarded through promotion and honors. Cowardice was punished by stoning or flogging to death. If a century broke ranks, the punishment was decimation—every tenth soldier in the legion was executed. Because of the military structure of the Roman Empire, it was highly unlikely that they would break rank and run the other way. However, that was exactly what happened when they encountered the Picts.

The Picts fought completely naked, with their bodies either painted or tattooed blue (we really don’t know which, the Romans wouldn’t get close enough to find out). When an army of pictaumueboai9ep naked, blue men came running and screaming at the Roman army, the army broke ranks and ran away. They were scared to death of the Picts. What would you do if an army of naked men came running after you? (Well, I know some of you would just turn around and bend over, LOL, but that’s not what the Romans did.) The Romans were well-organized, well-armed, and disciplined; the Picts were not.

Other Celtic tribes the Romans had encountered were more organized (and civilized) than the Picts. The Germans and Gauls of continental Europe had armies that the Romans knew how to deal with. The Picts were not what the Romans expected, and thus, they didn’t know how to deal with them. They became such a problem, that the Romans under Emperor Hadrian decided that the best thing was to build a wall.

20090101220308!Hadrians_Wall_map hadrian's wall

Hadrian’s Wall is an ancient Roman wall, 118.3 km (73.5 mi) long, across northern England. Built by the emperor Hadrian c. A.D. 122-126 and extended by Severus a century later, the wall marked the northern defensive boundary of Roman Britain. Fragmentary ruins of the wall remain. The wall was primarily built to keep out the crazy blue men, who the Romans failed to ever conquer.

knightsgroup Later in the Middle Ages, the Vikings had an interesting counterpart to the Picts, called the Berserker. These warriors were the secret weapon of the Vikings. Berserkers (or Berserkers (or Berserks) are Norse warriors who are reported in the Old Norse literature to have fought in a nearly uncontrollable, trance-like fury, a characteristic which later gave rise to the English word berserk.

In old-Norse sagas, they were warriors who dressed themselves in bear skins or were bare-skinned, to make use of the fear bears common people had for wild animals. Many of the Vikings were very hairy, and thus even naked would look like bears (the original bear fetish, LOL). They whipped themselves up to a sort of battle frenzy, biting their shields and howling like animals. They were ferocious fighters and seemingly insensitive to pain while this madness lasted; berserks made formidable enemies. In their rage they even attacked the boulders and trees of the forest; it was not uncommon that they killed their own people. The belief in berserks can be compared with the belief in werewolves; both are magical transformations of humans who assume the shape of an kindred animal.

The name berserker arose from their reputed habit of wearing a kind of shirt or coat (Old Norse: serkr) made from the pelt of ahairy-men bear (Old Norse: ber-) during battle. In earlier studies, the element ber- was often misinterpreted as berr-, meaning “bare”, understood as indicating that the berserkers fought naked. It is unclear as to whether they dressed like bears or were bare, but either way, they came into battle without armor generally with a battle axe or spear and, in a frenzied drug-induced state, killed anyone and everything that came in their way, friend or foe alike.

A little note about historical interpretation. In a broad look at historians there are four types: traditionalists, revisionists, neo-030-05 traditionalists, and neo-revisionists. The traditionalist often used myths and legends to supplement the telling of history. Revisionists tried to prove traditionalists wrong by saying they found new source material that proves that the traditionalist historians are backwards looking. Neo-traditionalist tend to say, “wait a minute,” there may be flows in the traditionalist view, but there are also some hard facts behind what they wrote. Then you have the neo-revisionists, who say, maybe all three have some validity, but here is what the real history is. 87215_Cole_Ryder_25_U_Oct_06_123_526lo Then the cycle begins again. Case in point, the name berserker: originally it was interpreted as bare-skinned not bear-skinned. But a neo-traditionalist (like myself) would say that “Wait, you miss the point of the traditions of Celtic, German, and Scandinavian warriors were often naked in battle to show they had no fear. You also forget that the Scandinavians were hairier as most northern Europeans were because of the cold climate, and either naked or in bear skins would have looked like huge bears.575759 The neo-revisionist would totally contradict me and state (as in the Wikipedia article about Berserkers) “The name berserker arose from their reputed habit of wearing a kind of shirt or coat (Old Norse: serkr) made from the pelt of a bear (Old Norse: ber-) during battle. In earlier studies, the element ber- was often misinterpreted as berr-, meaning “bare”, understood as indicating that the berserkers fought naked. This view has since been abandoned.” They leave no room for other interpretations, but there is always room for interpretation.

So the last bit was my rant about historians, it is up to you how you interpret history. I tend to prefer the more salacious accounts of history, since Judeo-Christian morals have been placed on the writing of history since the Roman Empire converted to Christianity. Therefore, it is my opinion that the more salacious details are probably more accurate than myth. Men have always been horny beasts, and that will never change. If they could get away with it, they did. Plus, they liked to prove their masculinity through nudity. Fraternities didn’t get their pranks and love of nudity out of nowhere, it came down through the history of man.


Friends of Dorothy

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 The Wizard of Oz had its first premiere screening 71 years ago today. This movie has been a iconic movie for gay men since it was released. Other connections between Garland and LGBT people include the slang term friend of Dorothy, imagewhich likely derives from Garland’s portrayal of Dorothy Gale in The Wizard of Oz and became a code phrase gay people used to identify each other. Dorothy’s journey from Kansas to Oz “mirrored many gay men’s desires to escape the black-and-white limitations of small town life…for big, colorful cities filled with quirky, gender-bending characters who would welcome them.” In the film, Dorothy immediately accepts those who are different, including the Cowardly Lion. The Lion identifies himself through song as a “sissy” and exhibits stereotypically “gay” (or at least effeminate) mannerisms. The Lion offers a coded example of Garland meeting and accepting a gay man without question.In the film, Dorothy is accepting of those who are different. For example the “gentle lion” living a lie, “I’m afraid there’s no denyin’, I’m just a dandy lion.”

image

image I find this little fact hilarious, though it is also quite tragic in terms of understanding the American military attitudes and understanding of gay men.  In the early 1980s, the Naval Investigative Service was investigating homosexuality in the Chicago area. Agents discovered that gay men sometimes referred to themselves as “friends of Dorothy.” Unaware of the historical meaning of the term, the NIS believed that a woman named Dorothy was at the center of a massive ring of homosexual military personnel. The NIS launched an enormous hunt for Dorothy, hoping to find her and convince her to reveal the names of gay servicemembers.

Conventional wisdom is that Garland’s death and funeral, in June 1969, helped inspire the image Stonewall riots, the flashpoint of the modern Gay Liberation movement. However, some observers of the riots contend that most of those involved “were not the type to moon over Judy Garland records or attend her concerts at Carnegie Hall. They were more preoccupied with where they were going to sleep and where their next meal would come from.” There was certainly an awareness and appreciation of Garland among Stonewall Inn patrons. Because the bar had no liquor license, it was passed off as a bottle club and patrons were required to sign in. Many used pseudonyms and “Judy Garland” was among the most popular. Regardless of the truth of the matter, the Garland/Stonewall connection has persisted and has been fictionalized in Stonewall, Nigel Finch’s feature film about the events leading up to the riots. Lead character Bostonia is shown watching Garland’s funeral on television and mourning, and later refusing to silence a jukebox playing a Garland song during a police raid, declaring “Judy stays.”

Time magazine would summarize decades later:

The uprising was inspirited by a potent cocktail of pent-up rage (raids of gay bars were brutal and routine), overwrought emotions (hours earlier, thousands had wept at the funeral of Judy Garland) and drugs. As a 17-year-old cross-dresser was being led into the paddy wagon and got a shove from a cop, she fought back. [She] hit the cop and was so stoned, she didn’t know what she was doing—or didn’t care.

Garland’s daughter Lorna Luft points to the connection with pride, saying that her mother was a image“huge, huge advocate of human rights” and that Garland would have found the rioting appropriate.

Another connection is the rainbow flag, symbol of the LGBT communities which may have been inspired, in part, by Garland’s song “Over the Rainbow.” Garland’s performance of this song has been described as “the sound of the closet,” speaking to gay men whose image “they presented in their own public lives was often at odds with a truer sense of self that mainstream society would not condone.”


St. Sebastian

self-portrait-as-saint-sebastian-john-douglas Saint Sebastian_k

To continue our look at art and history today, I wanted to discuss St. Sebastian. Can a Christian saint be a gay icon? Apparently he can. Sebastian was a Christian martyr who died during the persecutions of the Roman Emperor Diocletian in 288. According to legend, he was born in Gaul (present-day France) and went to Rome to serve in the army. When officials learned that he was a Christian seeking converts, they ordered his execution by archers. Left for dead, he was nursed back to health by a Christian widow. He presented himself before the emperor, who condemned him to death by beating. His body was thrown into a sewer but was afterward found and buried. In Renaissance art he was often depicted as a handsome youth pierced by arrows.

The Martyrdom of Saint Sebastian 05_Saint_Sebastian_jpg 300px-Sodoma_Sebastian

In his novella Death in Venice, Thomas Mann hails the “Sebastian-Figure” as the supreme emblem of Apollonian beauty, that is, the artistry of differentiated forms, beauty as measured by discipline, proportion, and luminous distinctions. This allusion to Saint Sebastian’s suffering, associated with the writerly professionalism of the novella’s protagonist, Gustav Aschenbach, provides a model for the “heroism born of weakness”, which characterizes poise amidst agonizing torment and plain acceptance of one’s fate as, beyond mere patience and passivity, a stylized achievement and artistic triumph.

St_Sebastian_Saint titian1 Guido Reni  Saint Sebastian _BOTTOM PIC#1#

In 1976, the British director Derek Jarman made a film, Sebastiane, which caused controversy in its treatment of the martyr as a homosexual icon. However, as several critics have noted, this has been a subtext of the imagery since the Renaissance.

saint-sebastian-22 454px-SaraceniSebastian

To show some of the modern interpretations of St. Sebastian, I decided to add both parts of the short film directed by Jose Ramon Samper Artegalia Bernad. Like Jarman’s film, which was done in Latin, this shows St. Sebastian as gay icon. This film is in Spanish, but it is still quite beautiful, even if you don’t speak Spanish.

Renaissance artists had access to history that we currently do not. There was obviously some reason why they chose to depict him as a beautiful young man. Since Sebastian was a Gaul, it could have been influenced by the beauty of The Dying Gaul, one of my all time favorite statues. The warrior is depicted as a beautiful man, but there is obviously love and lust for his beauty that the sculptor saw. It is also likely that Renaissance artists may have known some historical gossip about Sebastian, or the loving relationships that existed between the early brothers and sisters in Christ. Who knows why they depicted him as a beautiful young man, but they have left behind a question for history and the beauty of man.

dyinggaul


Henry Scott Tuke

HenryScottTuke Henry Scott Tuke, (12 June 1858–13 March 1929), was a British visual artist; primarily a painter, but also a photographer. His most notable work was in the Impressionist style, and he is probably best known for his paintings of nude boys and young men.

He was born into a Quaker family in Lawrence Street in York. He was the second son of Daniel Hack Tuke (1827–1895) and Maria Strickney (1826–1917). In 1859 the family moved to Falmouth, where Daniel Tuke, a physician, established a practice. Tuke’s sister and biographer, Maria Tuke Sainsbury (1861–1947), was born there. Tuke was encouraged to draw and paint from an early age and some of his earliest drawings—from when he was four or five years old—were published in 1895. In 1870, Tuke joined his brother William at Irwin Sharps’s Quaker school in Weston-super-Mare, and remained there until he was sixteen.

9-henry-scott-tuke-noonday-heat-1902 In 1875, Tuke enrolled in the Slade School of Art under Alphonse Legros and Sir Edward Poynter. Initially his father paid for his tuition but in 1877 Tuke won a scholarship, which allowed him to continue his training at the Slade and in Italy in 1880. From 1881–1883 he was in Paris where he met Jules Bastien-Lepage, who encouraged him to paint en plein air. While studying in France, Tuke decided to move to Newlyn Cornwall where many of his Slade and Parisian friends had already formed the Newlyn School of painters. He received several lucrative commissions there, after exhibiting his work at the Royal Academy of Art in London.

28 - Two boys on a beach (A study in bright sunlight) - 1909 Ashmolean museum, Oxford

In 1885, Tuke returned to Falmouth where many of his major works were produced. Tuke became an established artist and was elected to full membership of the Royal Academy in 1914. Tuke suffered from a heart attack in 1928 and he died in March, 1929. Towards the end of his life Tuke knew that his work was no longer fashionable. In his will he left generous amounts of money to some of the men who, as boys, had been his models. Today he is remembered mainly for his oil paintings of young men, but in addition to his achievements as a figurative painter, he was an established maritime artist and produced as many portraits of sailing ships as he did human figures. Tuke was a prolific artist—over 1,300 works are listed and more are still being discovered.

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