It’s not enough for our globalist overlords to attempt to physically erase the white majority demographics of the West, as totalitarian ideologies are wont to do: they are determined to similarly erase its past achievements. From art to science and technology, the globalist left is waging a steady war of extermination on “Whiteness” in all its manifestations.
Indeed, the very words white and whiteness have become little more than epithets.
Modern academics and sundry culture vultures apparently cannot bear to see a white achievement without feeling a burning desire to paint it black. Or at least brown. Which, given the general level of achievement of modern artists and academics, is probably an entirely appropriate hue.
The obsession with ’blackwashing’ even the greatest white achievements is an odd one. For people making strident claims of black greatness, blackwashing white achievements seems to suggest that they struggle to find great black achievements to lay claim to.
Instead, such activists have to try and lay spurious claims to notably non-black greatnesses. Which is, I suppose, something of a backhanded compliment. White achievements, it seems, are so towering that they’re the envy of those who would praise non-whites.
It’s bad enough that they insist that modern ‘black’ achievements are superior, as if we’re supposed to believe that the talentless scrawls of Jean-Michel Basquiat are on a level with Picasso, let alone Michelangelo. Or that Chris Ofili’s literally shit-spattered offerings are equivalent to Marcel Duschamp’s cheeky ‘found objects’ (actually, they may be onto something, there). Similarly, we’re supposed to pretend that the witless posturing of gangsta rap or ‘drill’ are musical achievements on par with the complex musical compositions of Lennon and McCartney, let alone the towering musical greatness of a Bach, Beethoven or Mozart.
Worst of all, we’re finger-wagged that the slovenly grammar and moronically bad spellings of black slang are not the hootings and gruntings of uneducated thugs, but a wholly valid form of English language.
But if the traducing of modern white culture and achievement are bad enough, the systematic dismantling of past white greatness is even worse.
Most obviously egregious is the ‘Netflix adaptation’ phenomenon. This is where canonically white characters from literature or older movies and tv are ‘re-imagined’ as black (female, homosexual, transgender, etc) for a supposed MODERN AUDIENCE (to quote popular critic Will “The Critical Drinker” Jordan) which seems mostly to be an avatar of the vanishingly small world of Hollywood writer’s rooms.
Hence we have The Little Mermaid, from a Danish folk tale, re-cast as a black goblin with orbital hypertelorism, or Snow White (a German folk tale, whose protagonist is literally described with skin as ‘white as snow’) re-cast with a rather homely Hispanic actress. Not to mention the Wicked Witch of the West played by a hyper-negroid actress who resembles the late Michael Clarke Duncan in drag (well, I guess the Witch is supposed to be ugly, but Margaret Hamilton at least had to don a fake nose and chin to fit the part).
Stepping out of the realm of fantasy, and away from the poor excuse of ‘Huh, they’re only fictional characters!’ (even if, contrary to the awful Rings of Power, Tolkien’s elves were explicitly pale-skinned, as per the linguistic origins of the word elf in the proto-Germanic alp, meaning white), history and historical fiction get similarly bastardised.
Viking Scandinavia was notably white, yet somehow modern television tries to convince us that the very white and very male (the patronymic surname is a bit of a giveway) Haakon Sigurdsson was in fact a black woman. What about ancient Rome? Surely that was, per Ridley Scott’s latest epic, a multi-racial empire, kind of like LA but with togas and swords.
Well, yes, Rome was definitely a multi-racial empire, but black Africans were extremely thin on the ground. Even Rome’s African provinces and conquests, such as Egypt and Carthage, were very much not black. The Punic people of Carthage were Semitic, not blacks. They migrated from ancient Phoenicia, in the Levant, to modern-day Tunisia, some 1200 years before Christ.
The ‘We Wuz Kangz’ fantasies of Afro-Centrists aside, ancient Egypt was hardly darkest Africa, either. Genetic studies show a dearth of sub-Saharan DNA in ancient Egypt. Less than 10 per cent by the time of Christ. Even 2,000 years later, this has barely risen to 14 per cent. When the distinctive Egyptian culture of hieroglyphs and pyramids first emerged some 5,000 years ago, its population was largely descended from ancestral Caucasian farmers migrating west.
Yet, even New York’s Metropolitan Museum of Art tries to assert, against all evidence, that blacks were responsible for ancient Egypt’s cultural glories.
The reason there were so few sub-Saharans in the classical Mediterranean world is simple geography. The Sahara was a formidable barrier to north-south traffic. While the Nile formed an ancient highway into modern-day Sudan, the Sudd swamp on the upper Nile blocked Mediterraneans from reaching the blackest parts of Africa by river. By land, southern and west Africa was all but cut off from the Mediterranean by the immense barrier of the Sahara.
Until camel caravans began crossing the Sahara in later times, it was difficult (though not impossible, as the rare spectacle of a rhinoceros fighting in the Colosseum showed) for Romans to cross the desert. Mostly, it simply wasn’t profitable. Nor were coast-hugging Roman sailors much inclined to venture south in the Atlantic. Trade with the rich Indies to the east was easy: sail down the Red Sea, then have the steady monsoon winds in the Indian Ocean carry ships directly across.
So, while there was a trickle of blacks into ancient Egypt and Roma, mostly from East Africa, a trickle it truly was. The idea that the classical world was some kind of analog of the modern USA is simply ludicrous.
As for northern Europe: well into modern times it remained whiter than the driven snow. Especially its arts and culture. No matter how much the “diversity” obsessed Globalists might wish otherwise.
When they can’t just make up a convenient Magic Black Person, the Globalists simply berate past whites for being, well, so white. For instance, a recent retrospective of the genius German landscape painter Caspar David Friedrich, by the Hamburg Kunsthalle, raged against the “absence” of Nigerian “immigrants” in 18th century Germany.
In fact, according to the ludicrous programme of the retrospective, Friedrich’s obsession with accurately peopling the German landscape with German people makes him practically a Nazi. Despite that fact that he died nearly half a century before Hitler was born. Also despite the fact that Friedrich mostly just painted achingly beautiful landscapes, with people generally reduced to small-scale observers, similar to the Chinese and Japanese landscape tradition so heavily influenced by Taoism (though Friedrich can have known little of either).
The problem is that the people in those landscapes are white. Indeed, given Friedrich’s penchant for bleak winter scenes, so are the landscapes. Clearly, then, a white supremacist.
Yet, no matter how much the Globalist elite might wring their hands, the sheer greatness of Friedrich’s genius cannot be denied by even the most Philistine academic. Much like that genuinely nasty anti-Semite, composer Richard Wagner.
Friedrich, like Wagner, like Van Gogh, like Mozart or Shakespeare, is simply too great to be erased. Instead, in a kind of reverse-commissar, the Globalist elite bowdlerise him, instead.
The Kunsthalle retrospective included such nauseating modern abominations as Friedrich’s masterwork, Wanderer Above the Sea of Fog (1818), doctored into a “climate change” hellscape of burning trees – computer-generated, of course, mastery of brush and paint being beyond the limited skills of modern “artists”.
Even when they try to paint, much like Hitler himself, all they prove is that political ideology is a poor substitute for basic draftsmanship, let alone even a modicum of talent. Case in point, Kehinde Wiley’s The Prelude (Babacar Mane) (2021), another modern pastiche of Friedrich, which is long on sneering but pathetically short on painterly skill.
Which brings us back to the question of why globalists are so obsessed with blackwashing white greatness, rather than finding black greatness capable of standing on its own as its equal.
