COMMENTS ON ‘BLACK ATHENA REVISITED’ BY MARY LEFKOWITZ AND GUY MACLEAN ROGERS
Dear Friends,
Your book is quite helpful to me as a non-scholar as your scientists actually break down their science and eschew jargon for the benefit of popular readers. As I have done historical research which centers around 1100-1848, I tend to view the raised subjects in the light of my own blue blood is black blood theory. This title is the shortest summary of my research, that blue blood, the highest and for some the only true nobility, were Europeans with Black ancestors. This was also the case with the Greek and Roman nobility, while the whites were barbarians, serfs, slaves: for the Central Asian immigrants they were in Europe.
The brown and black complexioned European elite considered the peculiarly, perfectly Black type, who had classical African facial traits, as pure of blood, as distinguished, and as proof of noble blood in the bloodline. Pearls as adornment symbolized purity of blood, noble blood. Nobility in Europe during the Greek/Roman Era and the Modern Era was based on seniority, translated as ‘from the soil.’ The nobles were descendants of the first Europeans who came from Africa, and considered themselves the only ‘true’ Europeans and they came first. Like Africans today, they had all possible complexions. But although Jane Austen (1775-1817) talks about colorism, skin bleaching, and painting the face white called rouging or face enamelling. Or she discusses in her letters, her stamping out the prejudice of a friend ‘who preferred light coloured men above darker ones,’ the different shades of blackness mingled freely. They were 2-3% of the Europeans during the French Revolution; together with the non-noble brown and black skinned Europeans, who were the bourgeoisie or gentry. As intermarriages was mandatory among the nobility, blackness was breed back in. Noble men would marry a heiress from the bourgeoisie class because they craved the money from trade, and as nobility was only conveyed to the off spring, by the men alone. So they could marry any non-noble woman if she had a suitable dowry. I assume no white woman would do, and a noble person would cut themselves from their family and peers, if they did. Jane Austen writes about Francis Ward eloping, and marrying a white man Mr. Price, who had no education, means or prospects: and was subsequently cut off by her family. Nobles were forbidden to engage in trade.
Othello was a noble man from a royal line and he married Desdemona, who was fair, meaning she was beautiful, not white. He was the highest-ranking person in Venice, and the highest military leader. The supposedly ‘racist’ remarks are not racist, but rather playing with the prejudices, the bourgeoisie or a gentry person like Shakespeare himself, might harbour about the nobility and royalty. Yet his play were performed in front of Royalty, paid by Royalty, but also with an audience of the common people, with their well known class- and political resentments, but who needed to be entertained too. I’m sure that when Gertrude says to her son Hamlet: ‘Cast of thy nighted colour,’ she does not mean his clothes, which are bound to be dark and sombre as he mourns his dead father. It’s rather Shakespeare giving a stage direction about the complexion of a Prince of Denmark, and turning it into a subtle joke, as a Black man cannot cast of his black complexion. Or, that a person like Hamlet cannot be viewed apart from his colour. Colour was important, as it conveyed nobility. Hamlet was like the central Moor in literature or paintings, a symbol of nobility, blue blood, and also a personage. Elements of Nobilitas were analysed, and these were well understood by the
intellectuals and nobles. The Moor was a heraldic symbol, and in the arts a ‘pars pro toto,’ conveying the setting of a work of art and literature. Jane Austen uses exceedingly handsome Mr. Elton (‘Mr. Elton, black spruce, and smiling’) and Mr. Crawford (‘Absolutely plain, black and plain: but still the gentleman.’) as Moors. As symbols, they are blameless, but as a personage, they have their flaws. Mr. Elton comes from trade, and understands the hierarchies below him, but not the hierarchy above him, as he deigns to propose marriage to an outraged Emma Woodhouse, the Queen of Highbury. While she, to his horror, designated him to marry her white friend Miss Harriet Smith. Austen shows how the nobility equally looked down on the bourgeoisie as they did on whites. This is the follie that lead to the great horror of the French Revolution, when her niece’s husband, Count de Feuillide was beheaded. Austen shows how the Black Europeans lost power by their own folly, educating whites and giving them positions.
The whites were the serfs and villains, the ‘lower orders’ to Jane Austen and of the French Revolution. They numbered 97%. When Austen remarks to her niece that ‘two to three families in a country town is just the thing to work with,’ she means the percentage of 2-3% of brown and black complexioned Europeans who were the elite. Austen is quite scientific in her estimations and facts.
What is missing from the great Black Athena debate is that human races were invented around 1760, and immediately gave rise to a hierarchy, with whites on top and Blacks way below, just above the apes. Why? What changed in society that there suddenly arose a need for the fantasy of Human Races. The poor Apes were considered degenerated humans, who were morally evil. Who were the morally evil people targeted by the otherwise wise philosophers of the Enlightenment? Surely not the enslaved Black Africans, who were making their master richer by the day. No farmer goes to the stable to kick his cows, which earn his money for him. So, the philosophers, who were members of the bourgeoisie and brown and black in looks, targeted the nobility. The nobility, no matter what they actually looked like, self-identified as Black, with the use of heraldic Moors. This explains the obsession of the European nobles with images of Moors. Thay had names based on the root Moor, they called themselves Maurice, the Moor was used in heraldry, they had Black Saints like St. Maurice, they had Black Madonna’s, and there are toponyms based on Moor. Portraits of noble persons with a small Moor should be understood as the noble person identifying as noble and as Black. The little Moor was not a slave or a servant, although they might have employed a Moor or two as servants, or musicians, to act as a living heraldic symbol to herald their masters nobleness. Most did not get to be depicted, and the painter, who was skilled enough did not to need a Black person in front of him, but just whipped up the Moor from knowledge in many portraits. Old Master portraits often only show the idealised face and fantasized looks of the sitter, while the body shape, dress and ornament were created in the studio. The faces were created to conform to certain standards, and aesthetical rules, as a painter was obliged to create beauty. The sitter wanted to convey status, majesty, nobility, intelligence, good looks etc. with an expensive portrait.
Beauty is what the political elite says is beauty. Facts are what the political elite says are facts. When the political elite changes, so do the facts and the aesthetics. What were the major changes going on? Why was there a need to invent races, a hierarchy, and racism? The nobility needed to go, as they became an obstruction to progress and economical growth. So racism should be considered a liberation ideology to wean whites away from their noble master, they had worshipped as divine creatures. Racism was to teach whites not to promote
Blacks to positions of authority and power, as they did in the tenth century when barbarians invaded Europe, and the nobility cast presented itself as protectors.
Slavery of Blacks was not motivated by racism against Blacks, but was based on greed and the need for profit. The brown and black slave masters saw Africans as heathens and uncivilized. They even claimed that slavery might civilize them, and teach them how to live in a structured society. The Europeans loved their own natural children with enslaved African women, and kept them near to them as house slaves. They and their mothers benefited before all other slaves from manumission. They even were educated and became inheritors, often of their own mother or siblings. Fanny Price in Mansfield Park by Jane Austen, was based on the real life, beloved niece of Lord Mansfield, Dido Elizabeth Longsay, who had a mother, who was a former slave. Fanny Price is described in ‘Mansfield Park’ as a house slave.
According to Alison McQueen, The Rise of The Cult of Rembrandt In 19th Century France, 2003, Rembrandt was, against all proof to the contrary, inducted by the French revolutionary government, as a new figurehead and a new revolutionary aesthetics was based on his supposedly revolutionary art. Like the Greek civilization, his art was supposed to sprang fully formed from him, as he was free from despotism, which was papism. Missing from this book is the fact that whitening of all old master portraits became mandatory. To prevent backsliding, as the images showed the true dark faces and aesthetics of the hated Ancien Regime. They simply said the paint had darkened while the painter intended to paint whites. In this way, all portraits were restored. What did they do to stop the darkening? They over painted the portraits with beige, white and pink, and it’s still discernible with the naked eye. The brown and black under layers are still highly visible, and art specialist often rave about the false, beige over paint layer, as if it was the authentic hand of the painter. Present day restorers are lying through their genteel teeth.
As they did not alter the contours of the faces, about 10% of portraits show classical African facial traits, the ones we call Black today. At least the portraits submitted to the RKD in The Hague. Not all portraits seem to have been submitted, not all have been restored and whitened. We know that classical African facial features and frizzled hair go together with a dark or black skin. So, white supremacy is based on whitened portraits of the brown and black complexioned elite. From freshly painted portraits, engravings were drawn, for quick and cheap reproduction, and these engravings still show the authentic dark colouring. So, as thinking people, we can conclude: either the original painting showed a brown or black complexioned person, or the paint darkened over night, which is off course not possible. The painters depicted dark skinned elite persons, and dark skinned ‘Greeks’ in mythological, genre pieces. The whites were the outcasts, the common people, canaille, the greys, the lower ranks, the plebeians, and till 1848, there was trade in human skins in Europe. Whites were elevated into humans by the historical Declaration of Man. Life flaying was a common execution performed in public. King Louis XVI was presented with a pair of slippers made of human skin, on the eve of the French Revolution. This must have had a highly symbolic meaning, as the whites, the poor third estate were the enemy of the royals and the nobility. Louis XVI was subsequently beheaded, sending shock waves through Europe, as was proven that these heavenly creatures were not invincible.
The year of 1848 brought the Final Revolutions to Europe, and in France the whites got general male suffrage. Holland saw a major change in its constitution, ‘restricting certain privileges of the nobility.’ Presumably, whites were freed from serfdom, and their skins were not used anymore to bind books and make clothes or shoes for the elite.
J.F. Blumenbach appears to be a dark skinned Bourgeoisie, like his friend Goethe who appears very black of skin. Blumenbach based race on skull structure, not on complexion, and declared the European black and browns: Caucasians. In this way, he forged a political coalition between the bourgeoisie and the third estate, the whites, to topple the hated nobility. Human Race, seen as a true social construct. They succeeded with the French Revolution, a long and major conspiracy by the leaders of the Enlightenment. But the bourgeoisie stole this Revolution, and did not honour agreements with the whites. Because of noble restorations like the one by Napoleon, the whites had to fight on till 1848. To prevent any counterrevolution, Blacks were painted and written out of history. The Greek/Roman Civilization was whitened around the same time, although preparations were made earlier while brown and black Europeans still wielded power. Whites who were the barbarians, the slaves, the serfs, of history gave themselves, or were given a history and turned themselves into the Greek/Roman elite, and the Modern Age nobility. Martin Bernal came close to the truth, but I seem to be the only person in the world who discovered this fraud with portraits, and could make a connection between this and racism, and whites being emancipated.
The whites came out of Central Asia, where Ice-mummies are found that look like white, blond Europeans. European cannot be equated with white, as the first Europeans were Africans and always remained brown and black. The Roma and Sinti are descendents of these first Europeans, and according to David MacRitchie remnants of forgotten royal and noble families who lost their privileges but still act as if they have these rights. I have met a dark Bulgarian who resembled a Pakistani, and he insisted he was not a gypsy, but belonged to another group. The whites were most likely descendants of the albinos who left Africa as a group to travel overland over India, to settle in a more benign climate. They interbreed and became a foolproof white nation, just like how white flowers, horses, rabbits or fish are bred. They are not albinos, but descendents of albinos who are not sick people, but are sensitive to the sun. The whites are the immigrants in Europe and today they want to finish the process to wipe Blacks from history. By comparing whites to albinos, I do not have any intention to insult, as albinos are not sick, as they can function in any position.
Scientific facts are those that the political elite considers facts, and when the elite changed in 1848, Blacks were extirpated from memory and history. Yet they kept the priceless portraits, they did not destroy them, so they still can be viewed in their altered shape. The over paint restoration is still highly visible. (This calls for empirical approach. No longwinded debate necessary, go and look at the old portraits, talk to the restorers) The facial hair was repainted on top of the fake beige layer, and the hair was lightened with blond highlights, like a coupe soleil. Jane Austen’s and Charlotte Brontë’s personages are still light brown, brown, very brown or black, and some talk at length about brown and black beauty. The many Blacks in western art, the Moors, are talked about but misunderstood. Family names have Moor as root. Science cannot establish a genetic link with the hunter-gatherers who arrived 45.000 years ago, so the ancestors of whites came later and ‘from elsewhere.’ They came 6000 years ago, but mostly around 400 AD, and 1000 AD. Leading to the elevation of the Modern Age nobility. Which fact might explain why Greeks were less outspoken about whites, hiding their disdain in religious concepts, while in the Modern Age the oppression was more ideological and severe. The symbolism of a profile of Black King dominating a white woman, was the no nonsense symbol of Black superiority. The Greeks seemed to favour the more benign vase with a black and a white head, back to back. Also showing themselves as not white and not Black, but brown and black complexioned.
Whites today want to finish the fraud of 1848 of turning history white, by eliminating all references to Blacks. Blond actors play Austen’s brown and black personages, even Mr. Elton, who was ‘black, spruce and smiling.’ Whites are not available for rational discussion, even if they are scientifically trained. They have banned me from all Internet forums, to prevent me from peacefully present my research and my peaceful activism to end racism in a peaceful way, by addressing the fake over paints in all museums. They (Professor M. Lefkowitz) use strange logic: like Socrates might have looked flat nosed, but nobody remarked on his supposed blackness, and if he was Black, he must have had immigrant parents, and he could not have been a Greek citizen as an immigrant, and nobody said he was an immigrant: so he could not have been Black. Or Queen Cleopatra could not have been Black because she was Macedonian. But so was Alexander de Great, who was seen and painted as swarthy (zwart, Schwartz) by Apelles. Socrates was also painted as Black on a fresco seen in Pompeii. Cleopatra could never have been white, considering the low position of whites in Greece, as barbarians and plebeians and slaves. They were also forbidden to marry nobles. The whole thing can be understood if we accept that all portraits were whitened in 1848.
As a non-scholar, I do not have the burden of carrying around dubious theories, and theoretical construction based on shaky theories. Assessing if some hapless 19th century person can be trusted. I have little use for scientists, as scientist never can agree on one thing, while basing their conclusions on the same data. The controversy raised by Martin Bernal was not settled. Only Afrocentrism came into the limelight, some Black scientists were even named, and most astonishingly: their teachings were explained and criticised. My experience is that there are persons that block the dissemination of my theory so nobody can hear it. The resistance is organised, and some opponents are Blacks, fat cats on the take. Obscurantism comes into play, so the ignorance of basic facts is intentional. The teaching of philosophy has been de-fanged so students do not really know what the Enlightenment and French revolution was all about, as it would turn them into enemies of the present states. They understand the philosophers as railing brilliantly against ghosts, and do not even know Blacks were compared to apes, as a ruse to get rid of Black nobles, kings and emperors. But mostly that brown and black people invented it all, though after 1848, racism went haywire, and all Blacks were now at peril. The black philosophers opened a Pandora box when they introduced racism. All of history is about Blacks, even if they are painted beige. European Blacks personally turned white after 1880, yet Alfonso XIII of Spain looked extremely black and thick lipped while visiting the US in 1923: in order to keep their power and possessions. Paintings in public collections were over painted, retouched till 1968, but some un-retouched remain today in private collections. Perhaps they are still whitened, by people today who insist to my face the paint has darkened.
So racism may end and Black and white can be at peace together.
Egmond Codfried
Curator Suriname Blue Blood Is Black Blood Museum
The Hague
Bluebloodisblackblood.blogspot.com
International campaingn..
bluebloodisblackblood@hotmail.com
Posts: 5454 | From: Holland | Registered: Aug 2008
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Great research. Keep it like that and we are good. Take the gay chatter to a gay forum.
-------------------- Without data you are just another person with an opinion - Deming Posts: 12143 | From: When you have eliminated the impossible, whatever remains, however improbable | Registered: Jun 2007
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quote:Originally posted by xyyman: Great research. Keep it like that and we are good. Take the gay chatter to a gay forum.
Talking about a dick is a gay issue, I suppose. A straight men does not see or acknowledge a dick. So how do you behave in a museum full of naked Greek statues? You turn away every time you see a dick or a bubble butt? And when you go to the ballet, the male danser wear skimpy outfits, and have well trained buttochs: you cover your face with the programbookle? So I think some people here hope for a carreer like meir of Chicago, and they fear that when nominated, a journalist will discover they discussed gay issues on Egyptsearch, and their possible access to riches will vanish. They will not get the noble price, and their children will not find partners to marry, because daddy spoke on gay stuff.
The masters have really done a job on many of you. If freedom means, I could not say whatever the hell I like, whenever I feel to do so, i do not care about freedom. If freedom means you have no say over where you will stick your dick, then to hell with freedom..
I have posted on Academia.edu all that I had, and some were looked over and comments added to bring them into the now and ad my new findings. I did not look this one over yet.
Posts: 5454 | From: Holland | Registered: Aug 2008
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I just met a Greek girl named Athena yesterday at the bike shop. I worked with a Greek girl named Apollonia in California, she married a Jew. Both were the usual light skin tone of Europeans.
quote:Originally posted by DD'eDeN: I just met a Greek girl named Athena yesterday at the bike shop. I worked with a Greek girl named Apollonia in California, she married a Jew. Both were the usual light skin tone of Europeans.
So after 1848 Blacks were forced to marry light skinned people to look more pink.
I think of Idi Amin forcing out the Ugandian Hindoes who did not want to mix with Blacks.
Jana Austen (1775-1817)writes disapprovingly in a letter about a lady at a ball; with white shoes, white headband and a pink husband...
Posts: 5454 | From: Holland | Registered: Aug 2008
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I do not have the book in front of me, but me thinks the question of what Egyptians are could be settled by checking their skull for elongateness.
Instead they measure the sculls, them do some mathemetical correction of the measurements before they add it to the list of measurements. I did not find out why and how the raw measurements are corrected.
I also expect that whenever some Celtic grave, or other civilization from a European grandee is discovered, he or she would be Black and even a Negro type. The slaves buried with him would be round headed pinks.
As this stuff is regarded by pinks as a state secret we will not know, unless we go dig into it ourselves.
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