THE HOUSENIGGER REVISITED; SUCCESFULL BROWN, BLACK AND MUSLIM PERSONS IN THE NETHERLANDS ARE SUCCESFULL BECAUSE OF CLIENTISM
Koning Charles II Stuart, The Black Boy, was a black man.
The oldest images of Jesus show him as black, reflecting Black supremacy in the Greek and Roman world
the philosophers of the enlightenment were members of the bourgeoisie and were brown and black in looks.
God was black till 1848 in Europe
Karl marx was called Mohr, because he was so black of skin.
The most famous French Black Madonna de Mont-Brun St.Puy, symbolises that the black elite saw god as black, and she is still revered. There are many Black Madonna's in Europe largest churches. It's not the soot of candles settling alone on hands and face, but they were made to be black. Many are replicas, and do not show the classical African facial traits any more.
Maurits Huygens is not shown at the Huygens museum because he looks like a mulatto. a portrait by Rembrandt, but whitened afetr 1848.
Maria Jacoba van Goor (1687-1737), a rich regent-class woman. Her mother was a niece of Rembrandt, and she was the grandmother of Baroness Isabelle de Charriere. (Belle van Zuylen). This portrait launched the blue blood research.
Rembrandt painted himself as ablack young man. The portrait is whitened with beige paint.
Petronella Borre was the wife of Francois van Aerssen, he was minister of state, and grandmother of governor Cornelis van Aerssen van Sommelsdijck. She has classical African facial traits and frizzled hair on a whitened portrait by Harmen Serin.
Johan van der Werff, neef van Maria Susanna Du Plessis (1739-1795). Hij heeft uitsluitend Europese voorouders, en heeft sterke klassieke Afrikaanse trekken. Maria Susanna was een Zwarte vrouw.
De Staalmeetsres (1662) door Rembrandt ogen nu als witte mannen maar....
...waren ooit clasiek Afrikaanse typen voor 1880. Photo by A.Braun found in Museum Bulletin of the Rijksmuseum in Amsterdam. The paint did not darken, the people were dark skinned.
THE HOUSENIGGER REVISITED;
SUCCESFULL BROWN, BLACK AND MUSLIM PERSONS IN THE NETHERLANDS ARE SUCCESFULL
BECAUSE OF CLIENTISM
To understand the position of so-called foreigners in Holland I read pre-colonial Africa by Diop (1970) and Ancient City by Numa Fustal de Coulanges (1864). De Coulanges did extensive research about ancient Greece, and Diop quotes De Coulanges to make a comparison between Europe and Africa.
When the Dutch declared all the people of color in Holland to be 'allochtonen' they were settling an old score and following the ancient Greeks. The white Europeans are not native to Europe, they came from Central Asia. In Central Asia we find the so-called Ice Mummies that look like blond, white Europeans and not like the surrounding Asian nations. Whites are still trying to proof they are genuinely Europeans and are still following a campaing started in 1848. The idea is that African albinos left Africa as a group, overland, past India and became a foolproof white nation in geographical isolation by intermarriage. They are not albinos anymore but whites with more or less admixture. Because of admixture some whites can tan themselves. But some white people cannot stand the sun for a minute; they stayed close to the albino ancestor. It is not my intention to insult, but a way to explain whites, to show that they resemble albinos in some ways, and that whites came out of Blacks.
De Coulanges never says that the peoples the Greeks called Barbarians were the whites, while the Greeks, the patricians, the nobles were brown and black complexioned Europeans. They were the descendants of the first Europeans who came from Africa, and they were not white. Like Africans they today, they had all complexions but regarded the Blackest African, the classical African as pure of blood. The whites were foreigner, barbarians, slaves, plebeians and serfs. They could never become a Greek citizen because they were not from the soil. They did not belong to the Greek gods; they had their own, different gods. So there was no way for them to be a citizen of any Greece city-state. Religion forbade this.
So no Greek could overrule the law of the gods, and risk his own life. Barbarians however could become clients, make themselves voluntary slaves to a Greek patron, support him, respect him as social superior, and through him they could live in the city and have benefits. It was forbidden for them to have different opinions than the patron. They could not offer any sacrifice to the gods, but the patron could do this on their behalf.
So we brown and black and Muslims in Holland today are not real citizens. We are allochtonen, not from the soil, and not equal to whites who are from the soil. It's not a matter of merits, or how well we speak the language or how well we are integrated. To belong we first need to please a white citizen, and through him we get employment and riches. This is why many successful blacks come across as housenegro's. The whites view them as less; they only tolerate them as house slaves. Even all allochtonen acquire and have in Holland is not theirs to keep. All they have belongs to the state, and if the allochtonen are forced to submit their belongings, because they have to leave the country, it all goes back to the patron or the state.
Short time ago I learned that the Greek nobility was brown and black, like the Medieval nobility (1100-1848) who was brown and black. We do not know this because all the portraits were repainted beige and pink. This can be understood from Alison McQueen, The Rise of The Cult Of Rembrandt in 19th Century France, 2003. McQueen explains how the revolutionary government of France used Rembrandt as a figurehead for a new art politics and a new aesthetics. She does not seem to know that repainting all the old masters was part of this cult. This is a great secret and taboo among European restorers. It can be understood from arts books when they spare some words from old time restoration practices, without going into details. Claiming not to know what the early restorers did to stop the darkening paint. The old master portraits were declared to have darkened, they showed dark figures, and needed to be 'restored' to what Rembrandt and others supposedly intended: to show the ordinary people: The whites. But whites were never accepted as equal to the brown and black Europeans, until 1848 when they took power, and made Europe white. Whites were not part of 'society ‘like they were not accepted as citizens in Greek city-states.
Black Athena, the fabrication of Ancient Greece by Martin Bernal caused a great stir, because he declared that in 1848 the Ancient Model of Greece, which till then held sway, and said that Greece owed its culture to Egypt, was replaced by an Aryan model which declared Greek civilization as a result of an Aryan invasion from the North. It was a civilization that was fully formed, without influence from elsewhere, least of all from Africa. Bernal was right, but he and the others did not know that the European elite was brown and black of complexion, and their portraits have been altered. When whites came to power they turned the Greek civilization white too. This is what my blue blood is black blood theory 1100-1848 is about. And Bernal came close to discover this. Interesting is that he was a big time scholar and professor, and I'm not. His elaborate discursive proof and four books, and big time physical proof, etymology and what not; could not convince his scientist adversaries.
So I stick to my simple proof: the personal descriptions which say certain people we think of as whites were light brown, brown, very brown, and black of complexion. And they were depicted as such until the whites said the paint had darkened. But we still have dark skinned engravings made from the fresh portraits. This should be sufficient proof that the European elite was not white. Alexander de Great and his foster brother were swarthy or black. The Macedonian royal family was black. Cleopatra was black because Macedonian does not mean white. And no white family could possibly sit on an African throne. She is also described as black. Jane Austen was a brunette of complexion, a brown, not a pink color, and all her personages are elite, and brown or black of complexion.
To understand the position of so-called foreigners in Holland I read pre-colonial Africa by Diop (1970) and Ancient City by Numa Fustal de Coulanges (1864). De Coulanges did extensive research about ancient Greece, and Diop quotes De Coulanges to make a comparison between Europe and Africa.
When the Dutch declared all the people of color in Holland to be 'allochtonen' they were settling an old score and following the ancient Greeks. The white Europeans are not native to Europe, they came from Central Asia. In Central Asia we find the so-called Ice Mummies that look like blond, white Europeans and not like the surrounding Asian nations. Whites are still trying to proof they are genuinely Europeans and are still following a campaing started in 1848. The idea is that African albinos left Africa as a group, overland, past India and became a foolproof white nation in geographical isolation by intermarriage. They are not albinos anymore but whites with more or less admixture. Because of admixture some whites can tan themselves. But some white people cannot stand the sun for a minute; they stayed close to the albino ancestor. It is not my intention to insult, but a way to explain whites, to show that they resemble albinos in some ways, and that whites came out of Blacks.
De Coulanges never says that the peoples the Greeks called Barbarians were the whites, while the Greeks, the patricians, the nobles were brown and black complexioned Europeans. They were the descendants of the first Europeans who came from Africa, and they were not white. Like Africans they today, they had all complexions but regarded the Blackest African, the classical African as pure of blood. The whites were foreigner, barbarians, slaves, plebeians and serfs. They could never become a Greek citizen because they were not from the soil. They did not belong to the Greek gods; they had their own, different gods. So there was no way for them to be a citizen of any Greece city-state. Religion forbade this.
So no Greek could overrule the law of the gods, and risk his own life. Barbarians however could become clients, make themselves voluntary slaves to a Greek patron, support him, respect him as social superior, and through him they could live in the city and have benefits. It was forbidden for them to have different opinions than the patron. They could not offer any sacrifice to the gods, but the patron could do this on their behalf.
So we brown and black and Muslims in Holland today are not real citizens. We are allochtonen, not from the soil, and not equal to whites who are from the soil. It's not a matter of merits, or how well we speak the language or how well we are integrated. To belong we first need to please a white citizen, and through him we get employment and riches. This is why many successful blacks come across as housenegro's. The whites view them as less; they only tolerate them as house slaves. Even all allochtonen acquire and have in Holland is not theirs to keep. All they have belongs to the state, and if the allochtonen are forced to submit their belongings, because they have to leave the country, it all goes back to the patron or the state.
Short time ago I learned that the Greek nobility was brown and black, like the Medieval nobility (1100-1848) who was brown and black. We do not know this because all the portraits were repainted beige and pink. This can be understood from Alison McQueen, The Rise of The Cult Of Rembrandt in 19th Century France, 2003. McQueen explains how the revolutionary government of France used Rembrandt as a figurehead for a new art politics and a new aesthetics. She does not seem to know that repainting all the old masters was part of this cult. This is a great secret and taboo among European restorers. It can be understood from arts books when they spare some words from old time restoration practices, without going into details. Claiming not to know what the early restorers did to stop the darkening paint. The old master portraits were declared to have darkened, they showed dark figures, and needed to be 'restored' to what Rembrandt and others supposedly intended: to show the ordinary people: The whites. But whites were never accepted as equal to the brown and black Europeans, until 1848 when they took power, and made Europe white. Whites were not part of 'society ‘like they were not accepted as citizens in Greek city-states.
Black Athena, the fabrication of Ancient Greece by Martin Bernal caused a great stir, because he declared that in 1848 the Ancient Model of Greece, which till then held sway, and said that Greece owed its culture to Egypt, was replaced by an Aryan model which declared Greek civilization as a result of an Aryan invasion from the North. It was a civilization that was fully formed, without influence from elsewhere, least of all from Africa. Bernal was right, but he and the others did not know that the European elite was brown and black of complexion, and their portraits have been altered. When whites came to power they turned the Greek civilization white too. This is what my blue blood is black blood theory 1100-1848 is about. And Bernal came close to discover this. Interesting is that he was a big time scholar and professor, and I'm not. His elaborate discursive proof and four books, and big time physical proof, etymology and what not; could not convince his scientist adversaries.
So I stick to my simple proof: the personal descriptions which say certain people we think of as whites were light brown, brown, very brown, and black of complexion. And they were depicted as such until the whites said the paint had darkened. But we still have dark skinned engravings made from the fresh portraits. This should be sufficient proof that the European elite was not white. Alexander de Great and his foster brother were swarthy or black. The Macedonian royal family was black. Cleopatra was black because Macedonian does not mean white. And no white family could possibly sit on an African throne. She is also described as black. Jane Austen was a brunette of complexion, a brown, not a pink color, and all her personages are elite, and brown or black of complexion.
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