DEAR PRESIDENT BARACK OBAMA
AND MRS MICHELLE LEVAUGHN OBAMA
http://www.africaresource.com/rasta/wp-content/uploads/2009/07/Charles-Stuart-II-the-black-boy.jpg
The Hague,
1 September 2013.
White
supremacy is based on fake over paints of Old Master portraits;
DEAR
PRESIDENT BARACK OBAMA AND MRS MICHELLE LEVAUGHN OBAMA
(And every
dear person who feels the need to end racism today)
Kindly I inform you that all the portraits at The White House of the
earliest presidents of the US, like all Old Master portraits in all museums
over the world; are over paints. They made the brown and black faces and hands white.
It seems that 1880 was a deadline for tolerating blackness. By 1848, Europe saw
its Final Revolutions that accomplished what the French Revolution (1789-1794)
could not achieve. The Final Revolutions resulted in the factual of freedom and
human rights for all Europeans. In 1848 the French third estate, which were 97%
of the French, gained general male suffrage. In The Netherlands, they changed
the constitution, and we are told that King William II of Orange Nassau (1792-1849)
changed overnight from conservative to liberal. We are also told that the
nobility lost some of its privileges. What we are not told is that the third
estate were the former serfs and villains who did not have any rights AND THEY
WERE THE WHITES OF EUROPE. They were hardly seen as humans, and the historical
Declaration of Human Rights (1789) was to give them human status. Most likely
1848 saw the end of a European trade in human leather. A digitalized book, and
many articles on the web about the European trade in human leather, says that
the French King Louis XVI (1754-1793) was, significantly, presented with a pair
of slippers made of human skin, on the eve of the French Revolution. The
revolutionary government of France, according to Alison McQueen, ‘The Rise of
The Cult of Rembrandt in 19th century France,’ (2003), inherited
great state collections of Old Master portraits and genre pieces. And they
choose against all proof to the contrary, Rembrandt (1606-1669) as a
revolutionary figurehead claiming that he was a painter of the third estate.
But that the paint on his, and others, works had darkened and needed to be ‘restored’
to the state he supposedly intended. He was declared to be a painter of the common
people, which he was not. This tells us at least that the figures looked dark,
and they remedied this condition by over painting all old master paintings with
beige and pink. This restoration is still visible to the naked eye and one can
see the brown and black layers underneath. You go and check the portraits in
the White House , and next take yourself to a museum, demanding to see the
restorer-in-chief. Tell them that lying to the president and his wife is high
treason, or something. The face contours remained the same, so 10% of the
portraits of the Ancien Regime that are reported to the RKD in The Hague, show
classical African facial traits. They are the type we call Black today. In Jane
Austen’s (1775-1817) time these ‘peculiar’ traits stood for ‘distinguished,
proof of pure blood, and proof of noble blood in the family bloodline.’ Jane
Austen, who was described as ‘a brunette of complexion,’ also had this look, so
we do not get to see her authenticated portrait. But they show us a fake,
supplied by her family, to escape hatred and rejection of Jane Austen by the
new, revolutionary political elite. Many persons of the Ancient Regime, the
elite who were the first estate (the church) and the second estate (the
nobility and the bourgeoisie); are described as brown or black of complexion in
biographies, but are presented to us as whites. They are described as ‘brown
(Charlotte-Sophie of Mecklenburg-Strelitz), black (Leopold I Habsburg), not the
white hands (Isabelle de Charrière), The black boy and a tall black man and the
swarthy Stuart (Charles II Stuart), the black Prince (Edward of Woodstock),
black as chimney (Anna Margaretha van Aerssen), chimney sweeper (Baron Aarnout
Joost van der Duyn van Maasdam), swarthy (zwart, Schwartz)(The van der Duyn
family), bad complexion (Madame de Staël), very dark with black eyes and dark
hair (James Boswell, Queen Anna Boleyn), more brown then white (William I of
Orange), brown of complexion and beard (William I of Orange), saturnine (George
Sand, Oliver Cromwell), black as ink (Louis XIV’s mummy) and ugly (poet Jan
Vos). Next, there are engravings taken from freshly painted portraits, to be
able to make and sell cheap copies quickly, and to be used in books. These
engravings show the dark skin, and it would then seem that the paintings
darkened overnight, which is impossible. Yet, every person in arts will tell
you that the paint portraits had darkened and were in need of restoration. It’s
often remarked that there are no Black scientists, discoverers, writers etc.
Now I can state that they were over painted beige in 1848. According to Martin
Bernal (1937-2013), Black Athena I, II, The Fabrication
of Ancient Greece, (1987), it was only in the 1840-ies, that the ‘Ancient
Model,’ which claimed that Greece owed its culture to Egypt, was replaced by
the ‘Aryan Model,’ which said that Greece was invaded by whites from North
Europe, finding the white, Greek civilization. This wholly concurs with mine
Blue Blood Is Black Blood Theory (1100-1848)(2004) that European whites were
emancipated in 1848 and set out to whiten all of history. They painted the
black and brown faces of their former masters white. They also whitened the
Greek and Roman Civilizations. Apelles depicted Alexander the Great, from the
Macedonian Royal Family, as ‘swarthy’. What is missing from all the clever
books by clever people, some of them have access to you and advise you, is the
simple fact that the first Europeans came to Europe from Africa, around 45.000
years ago. It has not been possible to find a genetic link between the present
Europeans and the early ancestors, so the present ones, the whites, came from
elsewhere. They came from Central Asia around 6000 years ago, but mostly around
400 AD with the Great Peoples Movements, and around 1000 AD when Europe
suffered great barbarian invasions. Europe was in need of protectors, and so
the nobility elevated itself into a nobility, exploiting and oppressing the
people they claimed to protect. (Numa Fustal de Coulanges, Sheick Anta Diop) In
Central Asia there are Ice-mummies that look like blond, white Europeans, and
are not Asian in looks. The brown and black Europeans did not just become
white, which is not possible, but rather whites invaded Europe. The Greeks
claimed to be from the soil, and declared themselves a nobility over these
white barbarians, or plebeians. As immigrants, they could not become citizens
of Greece. The Modern Age nobility elevated itself in 1100-1200, and saw itself
as the inheritors of the Greek Civilization, recently rediscovered, giving rise
to the Renaissance. They were descendants of the Blue Men, the African
Europeans, and called themselves Blue Bloods. Like the Egyptians, and Greeks
they were not all Blacks, but brown and black complexioned, some with classical
African facial traits and those were considered pure of blood. The Egyptian,
the Greek and Modern Era nobility and bourgeoisie, based their superiority on
their looks. The rare, pure Black type was the standard, those were pure of
blood. The other brown and black Europeans who did not attend the founding
meetings of the nobility became the bourgeoisie and together with the nobility
they numbered 3% of all Europeans. The history of Europe could be understood as
a battle between these two brown tribes. In the end, the bourgeoisie called
itself Caucasians to side with the white Caucasians, to topple their common
enemy: the nobility. Human Race as a social construct, for a purpose: a mean to
an end. Yet, the bourgeoisie stole the French Revolution, and because of noble
restorations like that by Napoleon, the whites had to fight on till 1848. To
forestall backsliding they then had all portraits changed to white, and made
ancient Greece white, to hide the fact that whites were the barbarians, the
serfs and villains, the Greys, canaille, out casts and the common people and
did not contribute to the European civilization. This fraud was started in 1848
and whites are still trying to make Blacks the immigrants, and have made
themselves the aristocracy by the sleight of hand, changing of the portraits
and genre pieces. This is the weakest point in their armour of lies, as we can
still study the over painting. But because of these fake over paints, also
present in your White House, their white supremacy is since 1848 is based on
fake over paints of the brown and black European and American elites. Racism
against Blacks was invented around 1760 by the bourgeois philosophers who were
brown and black, and was intended as a liberation ideology, a new religion,
against the nobility that self-identified as Black with heraldic Moors. With
the many, little figures of Blacks, we find in Western art. They also
identified as Black and good Christians, and superior, with King Balthasar and
many Black Madonna’s in the greatest churches. These were mostly destroyed
around the French Revolution and we are shown their black replicas, often with
the facial traits changed. The US Founding Fathers, the Framers of the US
Constitution, and all slave masters in the Americas were exponents of the European
brown and black faced bourgeoisie, and they engaged in trade, which was
forbidden to nobles. (Nobles married heiresses from trade, as Othello and
Desdemona did. Othello was a heraldic Moor, a symbol of nobility, and the
highest-ranking person in Venice. As a skilled military leader, he chose a
military solution for his marital problems by killing Desdemona. So, Iago
tricked Othello the Moor of Venice, into killing his beloved Syria….oops his
beloved wife, Desdemona. He knew Othello would react with violence, because of
his violent profession. There is no racism against Blacks in Othello, just some
mild joking at the expense of the nobility, by Shakespeare who was a member of
the brown and black complexioned bourgeoisie, the gentry.) The early American
political elite were brown and black complexioned Europeans. Swedish John
Hanson had classical African facial traits, next to dark skin. White cannot be
equated with European. Blacks just not become white like that. And the concept
of Human Races has been rejected outside the US. George Washington had black
skin, and his French ancestor looks Black. Today, there cannot be an equal
debate about the state of affairs between Blacks and whites if we do not
address the on-going deception with the over painting of portraits in 1848. And
that this 165 years old fraud is still maintained by the friendly, smiling
white museum and art elite. As I’m blocked everyway to peacefully present my
case, and my solution for a peaceful end of racism against Blacks, I appeal to
you both. We just need to point to the fake portraits, and we even need not
raise our voices. Just you both say the word and it will make you a hero
forever. As I believe there are many whites that do not hate Blacks, who are
married to Blacks, were raised by Blacks, worship alongside Blacks, or have
Black children. So, they will also welcome an end of Racism against Blacks. The
Black bogeyman nobles are dead and gone, and they are not coming back to flay
whites alive to bind books or make shoes with their skins. Black history is not
Black slavery alone, and insisting on stigmatising Blacks as slaves and victims
is the mental enslavement and intimidation of Blacks. Often perpetrated by
their own Black intellectual elite, and some have access to you too. Kindly
help me to end Racism against Blacks today in a peaceful way.
BE ADVICED
THAT IF YOU JOIN ME YOU WILL BE BLOCKED FROM MANY INTERNET FORUMS, YOU WILL BE
PUT UNDER OBSERVATION BY THE CALVINIST CHURCH EVEN IF YOU ARE NOT A MEMBER,
SECURITY PEOPLE IN THE LIBRARY WILL SPY ON YOU, AND THEY WILL SENT PEOPLE AFTER
YOU IN THE STREET TO SLANDER YOU IN A MOST GRIEVOUS WAY.
Egmond Codfried
Curator
Suriname Blue Blood Is Black Blood Museum
Eemstraat 36
2515 VS Den Haag
http://minglecity.com/profiles/blogs/international-campaign-against-false-whitened-over-paints-of-all?page=5
The Hague,
2 September 2013
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, and slaves. For the whites were considered Central Asian
immigrants 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 folly 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. Dido was the Queen of Carthago.
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
http://minglecity.com/profiles/blogs/international-campaign-against-false-whitened-over-paints-of-all?id=2322904%3ABlogPost%3A27420775&page=1
bluebloodisblackblood@hotmail.com
