Elites In Exile
Counterculture, African Heritage, uncommon knowledge, funny stuff, cool stuff, stuff to piss off white conservative republicans, and nerd shit. Why? Because I can.
Enjoy ;]
Elites In Exile
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osvaldoeaf:

Minority report
osvaldoeaf:

Minority report
osvaldoeaf:

Minority report
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Yo. This is too real. God bless the nerds.
Yo. This is too real. God bless the nerds.
Yo. This is too real. God bless the nerds.
Yo. This is too real. God bless the nerds.
Yo. This is too real. God bless the nerds.
Yo. This is too real. God bless the nerds.
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stormchasing12:

red-black-diamonds:


THIS IS THAT SASSY DOG

AHMAHGOD

THIS IS THE BEST POST I’VE EVER SEEN. CAN’T BREATHE

I fucking love this.
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xmorganaartx:

Day 11: A zombie, and of course it had to be him! #RobZombie #Rob #zombie #digital #art #myart #music #metal #industrial #goth #dark
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venusinthefifth:

renabeanz:

Is his art worthy of selling? This is just some of Nyo’s creations.
He doubts it, what do you think.
Please <3 or reblog this so I can show him that he does great work. 
Thanks 

Amazing!!!
venusinthefifth:

renabeanz:

Is his art worthy of selling? This is just some of Nyo’s creations.
He doubts it, what do you think.
Please <3 or reblog this so I can show him that he does great work. 
Thanks 

Amazing!!!
venusinthefifth:

renabeanz:

Is his art worthy of selling? This is just some of Nyo’s creations.
He doubts it, what do you think.
Please <3 or reblog this so I can show him that he does great work. 
Thanks 

Amazing!!!
venusinthefifth:

renabeanz:

Is his art worthy of selling? This is just some of Nyo’s creations.
He doubts it, what do you think.
Please <3 or reblog this so I can show him that he does great work. 
Thanks 

Amazing!!!
venusinthefifth:

renabeanz:

Is his art worthy of selling? This is just some of Nyo’s creations.
He doubts it, what do you think.
Please <3 or reblog this so I can show him that he does great work. 
Thanks 

Amazing!!!
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"You think because he doesn’t love you that you are worthless. You think that because he doesn’t want you anymore that he is right - that his judgement and opinion of you are correct. If he throws you out, then you are garbage. You think he belongs to you because you want to belong to him. Don’t. It’s a bad word, ‘belong.’ Especially when you put it with somebody you love. Love shouldn’t be like that. Did you ever see the way the clouds love a mountain? They circle all around it; sometimes you can’t even see the mountain for the clouds. But you know what? You go up top and what do you see? His head. The clouds never cover the head. His head pokes through, beacuse the clouds let him; they don’t wrap him up. They let him keep his head up high, free, with nothing to hide him or bind him. You can’t own a human being. You can’t lose what you don’t own. Suppose you did own him. Could you really love somebody who was absolutely nobody without you? You really want somebody like that? Somebody who falls apart when you walk out the door? You don’t, do you? And neither does he. You’re turning over your whole life to him. Your whole life, girl. And if it means so little to you that you can just give it away, hand it to him, then why should it mean any more to him? He can’t value you more than you value yourself."
Toni Morrison (via farewell-kingdom)
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xombiedirge:

Superheroes by John Gallagher / Website 

My nigga Lobo, though. This shit goes hard.
xombiedirge:

Superheroes by John Gallagher / Website 

My nigga Lobo, though. This shit goes hard.
xombiedirge:

Superheroes by John Gallagher / Website 

My nigga Lobo, though. This shit goes hard.
xombiedirge:

Superheroes by John Gallagher / Website 

My nigga Lobo, though. This shit goes hard.
xombiedirge:

Superheroes by John Gallagher / Website 

My nigga Lobo, though. This shit goes hard.
xombiedirge:

Superheroes by John Gallagher / Website 

My nigga Lobo, though. This shit goes hard.
xombiedirge:

Superheroes by John Gallagher / Website 

My nigga Lobo, though. This shit goes hard.
xombiedirge:

Superheroes by John Gallagher / Website 

My nigga Lobo, though. This shit goes hard.
xombiedirge:

Superheroes by John Gallagher / Website 

My nigga Lobo, though. This shit goes hard.
xombiedirge:

Superheroes by John Gallagher / Website 

My nigga Lobo, though. This shit goes hard.
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medievalpoc:

DON’T REMOVE THE FORMATTING!!!!!!!
DON’T REMOVE THE FORMATTING!!!!!!!
rollership:

The all-white reinvention of Medieval Europe commonly depicted in popular fiction, films, tv shows and art is entirely that: a fiction. An invention. An erasure. Obviously, people of color have been an essential and integral part of European life, European art, and European literary imagination since time immemorial. To cite “historical accuracy” as a means to project whitewashed images of the past into the future to maintain a fiction of white supremacy is an unconscionable farce.
People of Color are not an anachronism.
Follow.
Ask.
Submit.
I would go so far that it is not so much a reinvention as it is an omission and invention. To say “reinvention” would imply the initial invention included black people: it did, as an afterthought,  but not in a positive light in any stretch. You cannot look at these images without providing context.Indeed, the 6th image of the little girl was PAINTED OUT of the picture she was in - the academics discovered that in 1940s. It was not until the late 1990s that white art historian Gabrielle Langdon brought that to light. And I was the first Black person to tell her categorically that the child was both black and a girl (she agreed and lamented the fact she had only been in contact with white scholars up to that point).    Until I got started on the project back in the nineties information about black people in the middle ages and Renaissance periods were NOT accessible - scattershot at best.  I had to go through the sources *by hand* one by one. Only in the past 5 years has Black academia caught up. The following is a result of over 15 years of cataloging and research.  I recommend that you look at the list and look up the stuff. http://www.africandiasporabibliography.com/
I agree that every researcher that exists owes a debt of gratitude to every inquisitive mind and dedicated knowledge-seeker who came before. Obviously, I wouldn’t have any of the information that I do without the people who gathered it from primary sources, and it’s still exceedingly difficult to get the hard facts unburied from the centuries of people trying to cover it up. I’m genuinely humbled and grateful to all the people who came before me, compiling, scanning, and writing.
The story of Giulia di’ Medici, and how she was painted over, literally, in the 19th century, can be read in the post I made with her. Each of the images in the promotional post comes from an already-published post.
Here’s another link you provided on your webpage about Giulia de’ Medici and another portrait of her as an adult.
As for use of terms “reinvention” versus “invention”, I use the term because it implies both that people of color were there for the initial “invention” of the middle ages, i.e., when it happened and was initially recorded; secondly, because it indicates the purposeful and calculated erasure done in the 19th and 20th centuries by white historians. A lot of the Illuminated Manuscripts I post are recordings of history that had happened a few hundred (or ten) years before.
Basically, primary sources=”invention”; secondary sources from the 19th and 20th century were revised to omit, denigrate, and dismiss people of color, therefore reinventing history.
For those interested in the posts I made for each of the above images, they are as follows:
1. Don Miguel de Castro, Ambassador for the Kingdom of Kongo to Dutch Brazil (1637)
2. Xiang Fei (Fragrant Concubine), of the Uighur, in European Armor (1760)
3. Sir Morien, Black Knight of the Round Table (c. 1200s)
4. Manuel I Komnenos and his second wife Maria of Antioch (c. 1150)
5. Sancho I of Castile and Léon (c. 1129)
6. Portrait of Maria Salviati de’ Medici with Giulia de’ Medici (1537)
7. Mulay Ahmad portrait by Rubens (1609)
8. Adoration of the Magi by David (c. 1490)
9. special post about the Fayoum Mummy Portraits (c. 100 B.C.E.)
10. Miniature from a Psalter, Including a Calendar (c. 1240)

Okay, you just ruined this entire post. This is an original post, with a reply, and my subsequent response!
DON’T REMOVE THE FORMATTING!!!!!!!
It makes this entire conversation weird and unfollowable, as well as removing credit to my blog!!!!
medievalpoc:

DON’T REMOVE THE FORMATTING!!!!!!!
DON’T REMOVE THE FORMATTING!!!!!!!
rollership:

The all-white reinvention of Medieval Europe commonly depicted in popular fiction, films, tv shows and art is entirely that: a fiction. An invention. An erasure. Obviously, people of color have been an essential and integral part of European life, European art, and European literary imagination since time immemorial. To cite “historical accuracy” as a means to project whitewashed images of the past into the future to maintain a fiction of white supremacy is an unconscionable farce.
People of Color are not an anachronism.
Follow.
Ask.
Submit.
I would go so far that it is not so much a reinvention as it is an omission and invention. To say “reinvention” would imply the initial invention included black people: it did, as an afterthought,  but not in a positive light in any stretch. You cannot look at these images without providing context.Indeed, the 6th image of the little girl was PAINTED OUT of the picture she was in - the academics discovered that in 1940s. It was not until the late 1990s that white art historian Gabrielle Langdon brought that to light. And I was the first Black person to tell her categorically that the child was both black and a girl (she agreed and lamented the fact she had only been in contact with white scholars up to that point).    Until I got started on the project back in the nineties information about black people in the middle ages and Renaissance periods were NOT accessible - scattershot at best.  I had to go through the sources *by hand* one by one. Only in the past 5 years has Black academia caught up. The following is a result of over 15 years of cataloging and research.  I recommend that you look at the list and look up the stuff. http://www.africandiasporabibliography.com/
I agree that every researcher that exists owes a debt of gratitude to every inquisitive mind and dedicated knowledge-seeker who came before. Obviously, I wouldn’t have any of the information that I do without the people who gathered it from primary sources, and it’s still exceedingly difficult to get the hard facts unburied from the centuries of people trying to cover it up. I’m genuinely humbled and grateful to all the people who came before me, compiling, scanning, and writing.
The story of Giulia di’ Medici, and how she was painted over, literally, in the 19th century, can be read in the post I made with her. Each of the images in the promotional post comes from an already-published post.
Here’s another link you provided on your webpage about Giulia de’ Medici and another portrait of her as an adult.
As for use of terms “reinvention” versus “invention”, I use the term because it implies both that people of color were there for the initial “invention” of the middle ages, i.e., when it happened and was initially recorded; secondly, because it indicates the purposeful and calculated erasure done in the 19th and 20th centuries by white historians. A lot of the Illuminated Manuscripts I post are recordings of history that had happened a few hundred (or ten) years before.
Basically, primary sources=”invention”; secondary sources from the 19th and 20th century were revised to omit, denigrate, and dismiss people of color, therefore reinventing history.
For those interested in the posts I made for each of the above images, they are as follows:
1. Don Miguel de Castro, Ambassador for the Kingdom of Kongo to Dutch Brazil (1637)
2. Xiang Fei (Fragrant Concubine), of the Uighur, in European Armor (1760)
3. Sir Morien, Black Knight of the Round Table (c. 1200s)
4. Manuel I Komnenos and his second wife Maria of Antioch (c. 1150)
5. Sancho I of Castile and Léon (c. 1129)
6. Portrait of Maria Salviati de’ Medici with Giulia de’ Medici (1537)
7. Mulay Ahmad portrait by Rubens (1609)
8. Adoration of the Magi by David (c. 1490)
9. special post about the Fayoum Mummy Portraits (c. 100 B.C.E.)
10. Miniature from a Psalter, Including a Calendar (c. 1240)

Okay, you just ruined this entire post. This is an original post, with a reply, and my subsequent response!
DON’T REMOVE THE FORMATTING!!!!!!!
It makes this entire conversation weird and unfollowable, as well as removing credit to my blog!!!!
medievalpoc:

DON’T REMOVE THE FORMATTING!!!!!!!
DON’T REMOVE THE FORMATTING!!!!!!!
rollership:

The all-white reinvention of Medieval Europe commonly depicted in popular fiction, films, tv shows and art is entirely that: a fiction. An invention. An erasure. Obviously, people of color have been an essential and integral part of European life, European art, and European literary imagination since time immemorial. To cite “historical accuracy” as a means to project whitewashed images of the past into the future to maintain a fiction of white supremacy is an unconscionable farce.
People of Color are not an anachronism.
Follow.
Ask.
Submit.
I would go so far that it is not so much a reinvention as it is an omission and invention. To say “reinvention” would imply the initial invention included black people: it did, as an afterthought,  but not in a positive light in any stretch. You cannot look at these images without providing context.Indeed, the 6th image of the little girl was PAINTED OUT of the picture she was in - the academics discovered that in 1940s. It was not until the late 1990s that white art historian Gabrielle Langdon brought that to light. And I was the first Black person to tell her categorically that the child was both black and a girl (she agreed and lamented the fact she had only been in contact with white scholars up to that point).    Until I got started on the project back in the nineties information about black people in the middle ages and Renaissance periods were NOT accessible - scattershot at best.  I had to go through the sources *by hand* one by one. Only in the past 5 years has Black academia caught up. The following is a result of over 15 years of cataloging and research.  I recommend that you look at the list and look up the stuff. http://www.africandiasporabibliography.com/
I agree that every researcher that exists owes a debt of gratitude to every inquisitive mind and dedicated knowledge-seeker who came before. Obviously, I wouldn’t have any of the information that I do without the people who gathered it from primary sources, and it’s still exceedingly difficult to get the hard facts unburied from the centuries of people trying to cover it up. I’m genuinely humbled and grateful to all the people who came before me, compiling, scanning, and writing.
The story of Giulia di’ Medici, and how she was painted over, literally, in the 19th century, can be read in the post I made with her. Each of the images in the promotional post comes from an already-published post.
Here’s another link you provided on your webpage about Giulia de’ Medici and another portrait of her as an adult.
As for use of terms “reinvention” versus “invention”, I use the term because it implies both that people of color were there for the initial “invention” of the middle ages, i.e., when it happened and was initially recorded; secondly, because it indicates the purposeful and calculated erasure done in the 19th and 20th centuries by white historians. A lot of the Illuminated Manuscripts I post are recordings of history that had happened a few hundred (or ten) years before.
Basically, primary sources=”invention”; secondary sources from the 19th and 20th century were revised to omit, denigrate, and dismiss people of color, therefore reinventing history.
For those interested in the posts I made for each of the above images, they are as follows:
1. Don Miguel de Castro, Ambassador for the Kingdom of Kongo to Dutch Brazil (1637)
2. Xiang Fei (Fragrant Concubine), of the Uighur, in European Armor (1760)
3. Sir Morien, Black Knight of the Round Table (c. 1200s)
4. Manuel I Komnenos and his second wife Maria of Antioch (c. 1150)
5. Sancho I of Castile and Léon (c. 1129)
6. Portrait of Maria Salviati de’ Medici with Giulia de’ Medici (1537)
7. Mulay Ahmad portrait by Rubens (1609)
8. Adoration of the Magi by David (c. 1490)
9. special post about the Fayoum Mummy Portraits (c. 100 B.C.E.)
10. Miniature from a Psalter, Including a Calendar (c. 1240)

Okay, you just ruined this entire post. This is an original post, with a reply, and my subsequent response!
DON’T REMOVE THE FORMATTING!!!!!!!
It makes this entire conversation weird and unfollowable, as well as removing credit to my blog!!!!
medievalpoc:

DON’T REMOVE THE FORMATTING!!!!!!!
DON’T REMOVE THE FORMATTING!!!!!!!
rollership:

The all-white reinvention of Medieval Europe commonly depicted in popular fiction, films, tv shows and art is entirely that: a fiction. An invention. An erasure. Obviously, people of color have been an essential and integral part of European life, European art, and European literary imagination since time immemorial. To cite “historical accuracy” as a means to project whitewashed images of the past into the future to maintain a fiction of white supremacy is an unconscionable farce.
People of Color are not an anachronism.
Follow.
Ask.
Submit.
I would go so far that it is not so much a reinvention as it is an omission and invention. To say “reinvention” would imply the initial invention included black people: it did, as an afterthought,  but not in a positive light in any stretch. You cannot look at these images without providing context.Indeed, the 6th image of the little girl was PAINTED OUT of the picture she was in - the academics discovered that in 1940s. It was not until the late 1990s that white art historian Gabrielle Langdon brought that to light. And I was the first Black person to tell her categorically that the child was both black and a girl (she agreed and lamented the fact she had only been in contact with white scholars up to that point).    Until I got started on the project back in the nineties information about black people in the middle ages and Renaissance periods were NOT accessible - scattershot at best.  I had to go through the sources *by hand* one by one. Only in the past 5 years has Black academia caught up. The following is a result of over 15 years of cataloging and research.  I recommend that you look at the list and look up the stuff. http://www.africandiasporabibliography.com/
I agree that every researcher that exists owes a debt of gratitude to every inquisitive mind and dedicated knowledge-seeker who came before. Obviously, I wouldn’t have any of the information that I do without the people who gathered it from primary sources, and it’s still exceedingly difficult to get the hard facts unburied from the centuries of people trying to cover it up. I’m genuinely humbled and grateful to all the people who came before me, compiling, scanning, and writing.
The story of Giulia di’ Medici, and how she was painted over, literally, in the 19th century, can be read in the post I made with her. Each of the images in the promotional post comes from an already-published post.
Here’s another link you provided on your webpage about Giulia de’ Medici and another portrait of her as an adult.
As for use of terms “reinvention” versus “invention”, I use the term because it implies both that people of color were there for the initial “invention” of the middle ages, i.e., when it happened and was initially recorded; secondly, because it indicates the purposeful and calculated erasure done in the 19th and 20th centuries by white historians. A lot of the Illuminated Manuscripts I post are recordings of history that had happened a few hundred (or ten) years before.
Basically, primary sources=”invention”; secondary sources from the 19th and 20th century were revised to omit, denigrate, and dismiss people of color, therefore reinventing history.
For those interested in the posts I made for each of the above images, they are as follows:
1. Don Miguel de Castro, Ambassador for the Kingdom of Kongo to Dutch Brazil (1637)
2. Xiang Fei (Fragrant Concubine), of the Uighur, in European Armor (1760)
3. Sir Morien, Black Knight of the Round Table (c. 1200s)
4. Manuel I Komnenos and his second wife Maria of Antioch (c. 1150)
5. Sancho I of Castile and Léon (c. 1129)
6. Portrait of Maria Salviati de’ Medici with Giulia de’ Medici (1537)
7. Mulay Ahmad portrait by Rubens (1609)
8. Adoration of the Magi by David (c. 1490)
9. special post about the Fayoum Mummy Portraits (c. 100 B.C.E.)
10. Miniature from a Psalter, Including a Calendar (c. 1240)

Okay, you just ruined this entire post. This is an original post, with a reply, and my subsequent response!
DON’T REMOVE THE FORMATTING!!!!!!!
It makes this entire conversation weird and unfollowable, as well as removing credit to my blog!!!!
medievalpoc:

DON’T REMOVE THE FORMATTING!!!!!!!
DON’T REMOVE THE FORMATTING!!!!!!!
rollership:

The all-white reinvention of Medieval Europe commonly depicted in popular fiction, films, tv shows and art is entirely that: a fiction. An invention. An erasure. Obviously, people of color have been an essential and integral part of European life, European art, and European literary imagination since time immemorial. To cite “historical accuracy” as a means to project whitewashed images of the past into the future to maintain a fiction of white supremacy is an unconscionable farce.
People of Color are not an anachronism.
Follow.
Ask.
Submit.
I would go so far that it is not so much a reinvention as it is an omission and invention. To say “reinvention” would imply the initial invention included black people: it did, as an afterthought,  but not in a positive light in any stretch. You cannot look at these images without providing context.Indeed, the 6th image of the little girl was PAINTED OUT of the picture she was in - the academics discovered that in 1940s. It was not until the late 1990s that white art historian Gabrielle Langdon brought that to light. And I was the first Black person to tell her categorically that the child was both black and a girl (she agreed and lamented the fact she had only been in contact with white scholars up to that point).    Until I got started on the project back in the nineties information about black people in the middle ages and Renaissance periods were NOT accessible - scattershot at best.  I had to go through the sources *by hand* one by one. Only in the past 5 years has Black academia caught up. The following is a result of over 15 years of cataloging and research.  I recommend that you look at the list and look up the stuff. http://www.africandiasporabibliography.com/
I agree that every researcher that exists owes a debt of gratitude to every inquisitive mind and dedicated knowledge-seeker who came before. Obviously, I wouldn’t have any of the information that I do without the people who gathered it from primary sources, and it’s still exceedingly difficult to get the hard facts unburied from the centuries of people trying to cover it up. I’m genuinely humbled and grateful to all the people who came before me, compiling, scanning, and writing.
The story of Giulia di’ Medici, and how she was painted over, literally, in the 19th century, can be read in the post I made with her. Each of the images in the promotional post comes from an already-published post.
Here’s another link you provided on your webpage about Giulia de’ Medici and another portrait of her as an adult.
As for use of terms “reinvention” versus “invention”, I use the term because it implies both that people of color were there for the initial “invention” of the middle ages, i.e., when it happened and was initially recorded; secondly, because it indicates the purposeful and calculated erasure done in the 19th and 20th centuries by white historians. A lot of the Illuminated Manuscripts I post are recordings of history that had happened a few hundred (or ten) years before.
Basically, primary sources=”invention”; secondary sources from the 19th and 20th century were revised to omit, denigrate, and dismiss people of color, therefore reinventing history.
For those interested in the posts I made for each of the above images, they are as follows:
1. Don Miguel de Castro, Ambassador for the Kingdom of Kongo to Dutch Brazil (1637)
2. Xiang Fei (Fragrant Concubine), of the Uighur, in European Armor (1760)
3. Sir Morien, Black Knight of the Round Table (c. 1200s)
4. Manuel I Komnenos and his second wife Maria of Antioch (c. 1150)
5. Sancho I of Castile and Léon (c. 1129)
6. Portrait of Maria Salviati de’ Medici with Giulia de’ Medici (1537)
7. Mulay Ahmad portrait by Rubens (1609)
8. Adoration of the Magi by David (c. 1490)
9. special post about the Fayoum Mummy Portraits (c. 100 B.C.E.)
10. Miniature from a Psalter, Including a Calendar (c. 1240)

Okay, you just ruined this entire post. This is an original post, with a reply, and my subsequent response!
DON’T REMOVE THE FORMATTING!!!!!!!
It makes this entire conversation weird and unfollowable, as well as removing credit to my blog!!!!
medievalpoc:

DON’T REMOVE THE FORMATTING!!!!!!!
DON’T REMOVE THE FORMATTING!!!!!!!
rollership:

The all-white reinvention of Medieval Europe commonly depicted in popular fiction, films, tv shows and art is entirely that: a fiction. An invention. An erasure. Obviously, people of color have been an essential and integral part of European life, European art, and European literary imagination since time immemorial. To cite “historical accuracy” as a means to project whitewashed images of the past into the future to maintain a fiction of white supremacy is an unconscionable farce.
People of Color are not an anachronism.
Follow.
Ask.
Submit.
I would go so far that it is not so much a reinvention as it is an omission and invention. To say “reinvention” would imply the initial invention included black people: it did, as an afterthought,  but not in a positive light in any stretch. You cannot look at these images without providing context.Indeed, the 6th image of the little girl was PAINTED OUT of the picture she was in - the academics discovered that in 1940s. It was not until the late 1990s that white art historian Gabrielle Langdon brought that to light. And I was the first Black person to tell her categorically that the child was both black and a girl (she agreed and lamented the fact she had only been in contact with white scholars up to that point).    Until I got started on the project back in the nineties information about black people in the middle ages and Renaissance periods were NOT accessible - scattershot at best.  I had to go through the sources *by hand* one by one. Only in the past 5 years has Black academia caught up. The following is a result of over 15 years of cataloging and research.  I recommend that you look at the list and look up the stuff. http://www.africandiasporabibliography.com/
I agree that every researcher that exists owes a debt of gratitude to every inquisitive mind and dedicated knowledge-seeker who came before. Obviously, I wouldn’t have any of the information that I do without the people who gathered it from primary sources, and it’s still exceedingly difficult to get the hard facts unburied from the centuries of people trying to cover it up. I’m genuinely humbled and grateful to all the people who came before me, compiling, scanning, and writing.
The story of Giulia di’ Medici, and how she was painted over, literally, in the 19th century, can be read in the post I made with her. Each of the images in the promotional post comes from an already-published post.
Here’s another link you provided on your webpage about Giulia de’ Medici and another portrait of her as an adult.
As for use of terms “reinvention” versus “invention”, I use the term because it implies both that people of color were there for the initial “invention” of the middle ages, i.e., when it happened and was initially recorded; secondly, because it indicates the purposeful and calculated erasure done in the 19th and 20th centuries by white historians. A lot of the Illuminated Manuscripts I post are recordings of history that had happened a few hundred (or ten) years before.
Basically, primary sources=”invention”; secondary sources from the 19th and 20th century were revised to omit, denigrate, and dismiss people of color, therefore reinventing history.
For those interested in the posts I made for each of the above images, they are as follows:
1. Don Miguel de Castro, Ambassador for the Kingdom of Kongo to Dutch Brazil (1637)
2. Xiang Fei (Fragrant Concubine), of the Uighur, in European Armor (1760)
3. Sir Morien, Black Knight of the Round Table (c. 1200s)
4. Manuel I Komnenos and his second wife Maria of Antioch (c. 1150)
5. Sancho I of Castile and Léon (c. 1129)
6. Portrait of Maria Salviati de’ Medici with Giulia de’ Medici (1537)
7. Mulay Ahmad portrait by Rubens (1609)
8. Adoration of the Magi by David (c. 1490)
9. special post about the Fayoum Mummy Portraits (c. 100 B.C.E.)
10. Miniature from a Psalter, Including a Calendar (c. 1240)

Okay, you just ruined this entire post. This is an original post, with a reply, and my subsequent response!
DON’T REMOVE THE FORMATTING!!!!!!!
It makes this entire conversation weird and unfollowable, as well as removing credit to my blog!!!!
medievalpoc:

DON’T REMOVE THE FORMATTING!!!!!!!
DON’T REMOVE THE FORMATTING!!!!!!!
rollership:

The all-white reinvention of Medieval Europe commonly depicted in popular fiction, films, tv shows and art is entirely that: a fiction. An invention. An erasure. Obviously, people of color have been an essential and integral part of European life, European art, and European literary imagination since time immemorial. To cite “historical accuracy” as a means to project whitewashed images of the past into the future to maintain a fiction of white supremacy is an unconscionable farce.
People of Color are not an anachronism.
Follow.
Ask.
Submit.
I would go so far that it is not so much a reinvention as it is an omission and invention. To say “reinvention” would imply the initial invention included black people: it did, as an afterthought,  but not in a positive light in any stretch. You cannot look at these images without providing context.Indeed, the 6th image of the little girl was PAINTED OUT of the picture she was in - the academics discovered that in 1940s. It was not until the late 1990s that white art historian Gabrielle Langdon brought that to light. And I was the first Black person to tell her categorically that the child was both black and a girl (she agreed and lamented the fact she had only been in contact with white scholars up to that point).    Until I got started on the project back in the nineties information about black people in the middle ages and Renaissance periods were NOT accessible - scattershot at best.  I had to go through the sources *by hand* one by one. Only in the past 5 years has Black academia caught up. The following is a result of over 15 years of cataloging and research.  I recommend that you look at the list and look up the stuff. http://www.africandiasporabibliography.com/
I agree that every researcher that exists owes a debt of gratitude to every inquisitive mind and dedicated knowledge-seeker who came before. Obviously, I wouldn’t have any of the information that I do without the people who gathered it from primary sources, and it’s still exceedingly difficult to get the hard facts unburied from the centuries of people trying to cover it up. I’m genuinely humbled and grateful to all the people who came before me, compiling, scanning, and writing.
The story of Giulia di’ Medici, and how she was painted over, literally, in the 19th century, can be read in the post I made with her. Each of the images in the promotional post comes from an already-published post.
Here’s another link you provided on your webpage about Giulia de’ Medici and another portrait of her as an adult.
As for use of terms “reinvention” versus “invention”, I use the term because it implies both that people of color were there for the initial “invention” of the middle ages, i.e., when it happened and was initially recorded; secondly, because it indicates the purposeful and calculated erasure done in the 19th and 20th centuries by white historians. A lot of the Illuminated Manuscripts I post are recordings of history that had happened a few hundred (or ten) years before.
Basically, primary sources=”invention”; secondary sources from the 19th and 20th century were revised to omit, denigrate, and dismiss people of color, therefore reinventing history.
For those interested in the posts I made for each of the above images, they are as follows:
1. Don Miguel de Castro, Ambassador for the Kingdom of Kongo to Dutch Brazil (1637)
2. Xiang Fei (Fragrant Concubine), of the Uighur, in European Armor (1760)
3. Sir Morien, Black Knight of the Round Table (c. 1200s)
4. Manuel I Komnenos and his second wife Maria of Antioch (c. 1150)
5. Sancho I of Castile and Léon (c. 1129)
6. Portrait of Maria Salviati de’ Medici with Giulia de’ Medici (1537)
7. Mulay Ahmad portrait by Rubens (1609)
8. Adoration of the Magi by David (c. 1490)
9. special post about the Fayoum Mummy Portraits (c. 100 B.C.E.)
10. Miniature from a Psalter, Including a Calendar (c. 1240)

Okay, you just ruined this entire post. This is an original post, with a reply, and my subsequent response!
DON’T REMOVE THE FORMATTING!!!!!!!
It makes this entire conversation weird and unfollowable, as well as removing credit to my blog!!!!
medievalpoc:

DON’T REMOVE THE FORMATTING!!!!!!!
DON’T REMOVE THE FORMATTING!!!!!!!
rollership:

The all-white reinvention of Medieval Europe commonly depicted in popular fiction, films, tv shows and art is entirely that: a fiction. An invention. An erasure. Obviously, people of color have been an essential and integral part of European life, European art, and European literary imagination since time immemorial. To cite “historical accuracy” as a means to project whitewashed images of the past into the future to maintain a fiction of white supremacy is an unconscionable farce.
People of Color are not an anachronism.
Follow.
Ask.
Submit.
I would go so far that it is not so much a reinvention as it is an omission and invention. To say “reinvention” would imply the initial invention included black people: it did, as an afterthought,  but not in a positive light in any stretch. You cannot look at these images without providing context.Indeed, the 6th image of the little girl was PAINTED OUT of the picture she was in - the academics discovered that in 1940s. It was not until the late 1990s that white art historian Gabrielle Langdon brought that to light. And I was the first Black person to tell her categorically that the child was both black and a girl (she agreed and lamented the fact she had only been in contact with white scholars up to that point).    Until I got started on the project back in the nineties information about black people in the middle ages and Renaissance periods were NOT accessible - scattershot at best.  I had to go through the sources *by hand* one by one. Only in the past 5 years has Black academia caught up. The following is a result of over 15 years of cataloging and research.  I recommend that you look at the list and look up the stuff. http://www.africandiasporabibliography.com/
I agree that every researcher that exists owes a debt of gratitude to every inquisitive mind and dedicated knowledge-seeker who came before. Obviously, I wouldn’t have any of the information that I do without the people who gathered it from primary sources, and it’s still exceedingly difficult to get the hard facts unburied from the centuries of people trying to cover it up. I’m genuinely humbled and grateful to all the people who came before me, compiling, scanning, and writing.
The story of Giulia di’ Medici, and how she was painted over, literally, in the 19th century, can be read in the post I made with her. Each of the images in the promotional post comes from an already-published post.
Here’s another link you provided on your webpage about Giulia de’ Medici and another portrait of her as an adult.
As for use of terms “reinvention” versus “invention”, I use the term because it implies both that people of color were there for the initial “invention” of the middle ages, i.e., when it happened and was initially recorded; secondly, because it indicates the purposeful and calculated erasure done in the 19th and 20th centuries by white historians. A lot of the Illuminated Manuscripts I post are recordings of history that had happened a few hundred (or ten) years before.
Basically, primary sources=”invention”; secondary sources from the 19th and 20th century were revised to omit, denigrate, and dismiss people of color, therefore reinventing history.
For those interested in the posts I made for each of the above images, they are as follows:
1. Don Miguel de Castro, Ambassador for the Kingdom of Kongo to Dutch Brazil (1637)
2. Xiang Fei (Fragrant Concubine), of the Uighur, in European Armor (1760)
3. Sir Morien, Black Knight of the Round Table (c. 1200s)
4. Manuel I Komnenos and his second wife Maria of Antioch (c. 1150)
5. Sancho I of Castile and Léon (c. 1129)
6. Portrait of Maria Salviati de’ Medici with Giulia de’ Medici (1537)
7. Mulay Ahmad portrait by Rubens (1609)
8. Adoration of the Magi by David (c. 1490)
9. special post about the Fayoum Mummy Portraits (c. 100 B.C.E.)
10. Miniature from a Psalter, Including a Calendar (c. 1240)

Okay, you just ruined this entire post. This is an original post, with a reply, and my subsequent response!
DON’T REMOVE THE FORMATTING!!!!!!!
It makes this entire conversation weird and unfollowable, as well as removing credit to my blog!!!!
medievalpoc:

DON’T REMOVE THE FORMATTING!!!!!!!
DON’T REMOVE THE FORMATTING!!!!!!!
rollership:

The all-white reinvention of Medieval Europe commonly depicted in popular fiction, films, tv shows and art is entirely that: a fiction. An invention. An erasure. Obviously, people of color have been an essential and integral part of European life, European art, and European literary imagination since time immemorial. To cite “historical accuracy” as a means to project whitewashed images of the past into the future to maintain a fiction of white supremacy is an unconscionable farce.
People of Color are not an anachronism.
Follow.
Ask.
Submit.
I would go so far that it is not so much a reinvention as it is an omission and invention. To say “reinvention” would imply the initial invention included black people: it did, as an afterthought,  but not in a positive light in any stretch. You cannot look at these images without providing context.Indeed, the 6th image of the little girl was PAINTED OUT of the picture she was in - the academics discovered that in 1940s. It was not until the late 1990s that white art historian Gabrielle Langdon brought that to light. And I was the first Black person to tell her categorically that the child was both black and a girl (she agreed and lamented the fact she had only been in contact with white scholars up to that point).    Until I got started on the project back in the nineties information about black people in the middle ages and Renaissance periods were NOT accessible - scattershot at best.  I had to go through the sources *by hand* one by one. Only in the past 5 years has Black academia caught up. The following is a result of over 15 years of cataloging and research.  I recommend that you look at the list and look up the stuff. http://www.africandiasporabibliography.com/
I agree that every researcher that exists owes a debt of gratitude to every inquisitive mind and dedicated knowledge-seeker who came before. Obviously, I wouldn’t have any of the information that I do without the people who gathered it from primary sources, and it’s still exceedingly difficult to get the hard facts unburied from the centuries of people trying to cover it up. I’m genuinely humbled and grateful to all the people who came before me, compiling, scanning, and writing.
The story of Giulia di’ Medici, and how she was painted over, literally, in the 19th century, can be read in the post I made with her. Each of the images in the promotional post comes from an already-published post.
Here’s another link you provided on your webpage about Giulia de’ Medici and another portrait of her as an adult.
As for use of terms “reinvention” versus “invention”, I use the term because it implies both that people of color were there for the initial “invention” of the middle ages, i.e., when it happened and was initially recorded; secondly, because it indicates the purposeful and calculated erasure done in the 19th and 20th centuries by white historians. A lot of the Illuminated Manuscripts I post are recordings of history that had happened a few hundred (or ten) years before.
Basically, primary sources=”invention”; secondary sources from the 19th and 20th century were revised to omit, denigrate, and dismiss people of color, therefore reinventing history.
For those interested in the posts I made for each of the above images, they are as follows:
1. Don Miguel de Castro, Ambassador for the Kingdom of Kongo to Dutch Brazil (1637)
2. Xiang Fei (Fragrant Concubine), of the Uighur, in European Armor (1760)
3. Sir Morien, Black Knight of the Round Table (c. 1200s)
4. Manuel I Komnenos and his second wife Maria of Antioch (c. 1150)
5. Sancho I of Castile and Léon (c. 1129)
6. Portrait of Maria Salviati de’ Medici with Giulia de’ Medici (1537)
7. Mulay Ahmad portrait by Rubens (1609)
8. Adoration of the Magi by David (c. 1490)
9. special post about the Fayoum Mummy Portraits (c. 100 B.C.E.)
10. Miniature from a Psalter, Including a Calendar (c. 1240)

Okay, you just ruined this entire post. This is an original post, with a reply, and my subsequent response!
DON’T REMOVE THE FORMATTING!!!!!!!
It makes this entire conversation weird and unfollowable, as well as removing credit to my blog!!!!
medievalpoc:

DON’T REMOVE THE FORMATTING!!!!!!!
DON’T REMOVE THE FORMATTING!!!!!!!
rollership:

The all-white reinvention of Medieval Europe commonly depicted in popular fiction, films, tv shows and art is entirely that: a fiction. An invention. An erasure. Obviously, people of color have been an essential and integral part of European life, European art, and European literary imagination since time immemorial. To cite “historical accuracy” as a means to project whitewashed images of the past into the future to maintain a fiction of white supremacy is an unconscionable farce.
People of Color are not an anachronism.
Follow.
Ask.
Submit.
I would go so far that it is not so much a reinvention as it is an omission and invention. To say “reinvention” would imply the initial invention included black people: it did, as an afterthought,  but not in a positive light in any stretch. You cannot look at these images without providing context.Indeed, the 6th image of the little girl was PAINTED OUT of the picture she was in - the academics discovered that in 1940s. It was not until the late 1990s that white art historian Gabrielle Langdon brought that to light. And I was the first Black person to tell her categorically that the child was both black and a girl (she agreed and lamented the fact she had only been in contact with white scholars up to that point).    Until I got started on the project back in the nineties information about black people in the middle ages and Renaissance periods were NOT accessible - scattershot at best.  I had to go through the sources *by hand* one by one. Only in the past 5 years has Black academia caught up. The following is a result of over 15 years of cataloging and research.  I recommend that you look at the list and look up the stuff. http://www.africandiasporabibliography.com/
I agree that every researcher that exists owes a debt of gratitude to every inquisitive mind and dedicated knowledge-seeker who came before. Obviously, I wouldn’t have any of the information that I do without the people who gathered it from primary sources, and it’s still exceedingly difficult to get the hard facts unburied from the centuries of people trying to cover it up. I’m genuinely humbled and grateful to all the people who came before me, compiling, scanning, and writing.
The story of Giulia di’ Medici, and how she was painted over, literally, in the 19th century, can be read in the post I made with her. Each of the images in the promotional post comes from an already-published post.
Here’s another link you provided on your webpage about Giulia de’ Medici and another portrait of her as an adult.
As for use of terms “reinvention” versus “invention”, I use the term because it implies both that people of color were there for the initial “invention” of the middle ages, i.e., when it happened and was initially recorded; secondly, because it indicates the purposeful and calculated erasure done in the 19th and 20th centuries by white historians. A lot of the Illuminated Manuscripts I post are recordings of history that had happened a few hundred (or ten) years before.
Basically, primary sources=”invention”; secondary sources from the 19th and 20th century were revised to omit, denigrate, and dismiss people of color, therefore reinventing history.
For those interested in the posts I made for each of the above images, they are as follows:
1. Don Miguel de Castro, Ambassador for the Kingdom of Kongo to Dutch Brazil (1637)
2. Xiang Fei (Fragrant Concubine), of the Uighur, in European Armor (1760)
3. Sir Morien, Black Knight of the Round Table (c. 1200s)
4. Manuel I Komnenos and his second wife Maria of Antioch (c. 1150)
5. Sancho I of Castile and Léon (c. 1129)
6. Portrait of Maria Salviati de’ Medici with Giulia de’ Medici (1537)
7. Mulay Ahmad portrait by Rubens (1609)
8. Adoration of the Magi by David (c. 1490)
9. special post about the Fayoum Mummy Portraits (c. 100 B.C.E.)
10. Miniature from a Psalter, Including a Calendar (c. 1240)

Okay, you just ruined this entire post. This is an original post, with a reply, and my subsequent response!
DON’T REMOVE THE FORMATTING!!!!!!!
It makes this entire conversation weird and unfollowable, as well as removing credit to my blog!!!!
FUSE: sadgreymon: Aint nobody angry at whites child please this is how we...
+
mixedbellie:

cherishedbijou:

readmyshiet:

mochaa-a:

britzoff:

jaidenichole:

atasteforlife24:

solesandaddicts:

lmaooooooo

SCREAMING!!!!!

NOOOOO

hate ya’ll

i really hate yall niggas omg

YOOOOOOOOOO LMAOOOO!!!

LMFAO nah man. Somebody had too much time😩

i hate all yal LMAOOOOOO 

This made my night.
mixedbellie:

cherishedbijou:

readmyshiet:

mochaa-a:

britzoff:

jaidenichole:

atasteforlife24:

solesandaddicts:

lmaooooooo

SCREAMING!!!!!

NOOOOO

hate ya’ll

i really hate yall niggas omg

YOOOOOOOOOO LMAOOOO!!!

LMFAO nah man. Somebody had too much time😩

i hate all yal LMAOOOOOO 

This made my night.
mixedbellie:

cherishedbijou:

readmyshiet:

mochaa-a:

britzoff:

jaidenichole:

atasteforlife24:

solesandaddicts:

lmaooooooo

SCREAMING!!!!!

NOOOOO

hate ya’ll

i really hate yall niggas omg

YOOOOOOOOOO LMAOOOO!!!

LMFAO nah man. Somebody had too much time😩

i hate all yal LMAOOOOOO 

This made my night.
mixedbellie:

cherishedbijou:

readmyshiet:

mochaa-a:

britzoff:

jaidenichole:

atasteforlife24:

solesandaddicts:

lmaooooooo

SCREAMING!!!!!

NOOOOO

hate ya’ll

i really hate yall niggas omg

YOOOOOOOOOO LMAOOOO!!!

LMFAO nah man. Somebody had too much time😩

i hate all yal LMAOOOOOO 

This made my night.
mixedbellie:

cherishedbijou:

readmyshiet:

mochaa-a:

britzoff:

jaidenichole:

atasteforlife24:

solesandaddicts:

lmaooooooo

SCREAMING!!!!!

NOOOOO

hate ya’ll

i really hate yall niggas omg

YOOOOOOOOOO LMAOOOO!!!

LMFAO nah man. Somebody had too much time😩

i hate all yal LMAOOOOOO 

This made my night.