The face of Classical Europe (I)

Were the Greeks blond and blue-eyed?

 

In 2013 I translated this article from the Spanish blogsite Evropa Soberana in fragmented form. Now that I am reviewing The Fair Race’s Darkest Hour for the 2015 edition, I would like to see it reproduced here in a single entry:

 

I remember a movie that came out in 2004. Troy was called. Naturally, many fans of Greece went to see it quite interested; some of them because they sincerely admired Hellas and its legacy. But some uncultivated specimens attended the theaters too. Everyone knows that, in our day, Greece is regarded as a mark of snobbery and sophistication even though you do not know who Orion was, or what was the color of Achilles’ hair according to mythology. The movie’s Helen (one with a look of a neighborhood slut) and Achilles (Brad Pitt) were rather cute. Adding the special effects, advertising and usual movie attendance there was no reason not to see this movie that, incidentally, is crap except for a few redeemable moments.

Upon first glance at the big screen, one of the many reactions that could be heard from the mouth of alleged scholarly individuals, was something like the following:

Outrageous: Achilles and Helen, blond and blue-eyed! Oh tragedy! Oh tantrum! Such a huge stupidity! Irreparable affront! It is obvious that Nazism, fascism, Nordicism, Francoism, anti-Semitism, homophobia and sexism are booming in Hollywood, because who would have the crazy notion to represent the Greeks as blond, when their phenotype was Mediterranean? Only the Americans could be so uneducated and egocentric and ethnocentric and Eurocentric and fascists and Nazis and blah blah…

These good people were not outraged by the desecration of The Iliad; for the absurd and fallacious script, for representing Achilles like an Australian surfer, or Helen as a cunt or the great kings as truckers of a brothel. No. They didn’t give a hoot about that. What mattered was leaving very clearly that they were sophisticated people, conscious of what was happening and that, besides being progressive democrats and international multi-culturalists without blemish, and able to pronounce “phenotype” without binding the tongue, they were also sufficiently “sincere admirers of Greece” to be indignant and losing their monocles before a blond Achilles.

The same could be said about the ultra-educated reaction to the movie 300. When it was released, we could see an outraged mass (and when we say “outraged” we are saying really outraged) complaining in the most grotesque way, by the presence here and there, of blond Spartans throughout the movie—fascist xenophobia by Hollywood and the like. How easy it is for the big mouths when there are large doses of daring ignorance involved, and when they have no idea what it stands to reason.

What I did not expect was to hear similar statements from the admirers of classical culture: people that one generously assumes they have read the Greco-Roman works or that are minimally informed—at least enough to not put one’s foot in it in a such a loudly manner. For Achilles, considered the greatest warrior of all time, and sole and exclusive holder of the holy anger, is described in The Iliad as blond, along with an overwhelming proportion of heroes, heroines, gods, goddesses—and even slaves considered desirable and worthy for the harem of the Greek warriors to seed the world with good genes.

The same could be said of the Spartans if we consider the physical appearance of their northern Dorian ancestors, who had come “among the snows” according to Herodotus. In fact, the movie 300 was too generous with the number of Spartans of dark hair, and too stingy with the number of blonds.

Whoever declares himself an admirer of classical European culture (Greece and Rome) and, at the same time, asserts that it was founded by swarthy, Mediterraneans-like-me folks is placing himself in the most uncomfortable form of self-consciousness. As I have said, if such individual really admired the classical world and bothered to read the classical works, he would have ascertained to what extent Nordic blood prevailed in the leaders of both Greece and Rome—especially in Greece. In short, those who claim being ultra-fans of Greece, Rome or both only throw garbage on themselves by demonstrating that they had not even read the original writings.

There are many truths about Nordic blood and Hellas but perhaps the most eloquent and overwhelming truth is that Greek literature is full of references to the appearance of the heroes and gods because the Greeks liked to place adjectives on all the characters, and nicknames and epithets representing their presence. So much so that it is really hard to find a swarthy character. In the case, for example, of Pindar, it is a real scandal: there is not a single character that is not “blonde,” “golden,” “white,” “of snowy arms,” and therefore “godlike.”

The blue eyes were described as γλαυκώπισ (glaukopis), which derives from γλαῦκος (glaukos), “brilliant,” “shiny.” The Roman writer Aulus Gellius, in his Attic Nights describes the concept of colors in a conversation between a Greek and a Roman. The Roman tells the Greek that glaucum (from which derives the Castilian glaucous) means gray-blue, and the Greek translates glaukopis into Latin as caesia, “sky,” i.e., sky blue. As Günther observes, the very word “iris,” of Greek origin, that describes the color of the eye, could only have been chosen by a people whom clear and bright eye colors dominated (blue, green or gray), and that a predominately swarthy people would have never compared the eye color with the image of the rainbow.

The Greek word for blond was ξανθός (xanthus), “yellow,” “gold,” “blond.” The xanthus color in the hair, as well as extreme beauty, light skin, high height, athletic build and luminous eyes were considered by the Greeks as proof of divine descent.


The physical appearance of Greek gods and heroes

DemeterDemeter as it was conceived by the Greeks. We must remember that the statues had a deeply sacred and religious character for the Hellenes and that, in addition of being works of art, they were also the height of geometric feeling and engineering, since the balance had to be perfect. The Greeks, who had a great knowledge of the analyses of features, represented in their statues not only beautiful people, but beautiful people with a necessarily beautiful soul.

There is a persistent tendency among the Hellenes to describe their idols as “dazzling,” “radiant,” “shiny,” “bright,” “full of light,” etc., something that very obviously correspond to a barely pigmented, “Nordic” appearance. To be more direct, I’ll omit these ambiguous quotes and focus on the concrete: the specific references to the color of skin, eyes, hair, and more. Where possible I’ve inserted the works, specific chapters and verses so that anyone can refer to the original passage.

• Demeter is described as “the blonde Demeter” in The Iliad (Song V: 500) and in Hymn to Demeter (I: 302), based on the mysteries of Eleusis. It is generally considered a matriarchal and telluric goddess from the East and of the pre-Indo-European peoples of Greece. However, here we should be inclined to think that, at best, she was a Europeanized goddess by the Greeks, integrated into their pantheon. The very name of Demeter comes from Dea Mater (Mother Goddess) and therefore would, in a sense, be the counterpart of Deus Pater—Zeus Pater or Jupiter, Dyaus Piter.

• Persephone, daughter of Demeter, is described as “white-armed” by Hesiod (Theogony: 913). At least it is clear here that Persephone was not a brown skinned goddess, nor that her physique coincided with the “Mediterranean” type. It is more reasonable to assume that her appearance was, at best, predominantly Nordic.

• Athena, the daughter of Zeus, goddess of wisdom, insight, cunning and strategic warfare in The Iliad, is described no more no less than a total of 57 times as “blue eyed” (in some variations, “green eyed”), and in The Odyssey a comparable number of times. Pindar referred to her as xanthus and glaukopis, meaning “blonde, blue-eyed.” Hesiod is content to call her “of green eyes” in his Theogony (15, 573, 587, 890 and 924), as well as Alcaeus and Simonides; while the Roman Ovid, in his Metamorphoses, which tells the perdition of Arachne, calls the goddess “manly and blond maiden.”

• Hera, the heavenly wife of Zeus, is called “white-armed” by Hesiod (Theogony, 315), while Homer called her “of snowy arms” and “white-armed goddess” at least thirteen times in The Iliad (I: 55, 195, 208, 572. 595, III 121, V: 775, 784; VIII: 350, 381, 484; XV: 78, 130).

• Zephyrus, the progenitor of Eros along with Iris, is described by Alcaeus (VII-VI centuries BCE) as “golden hair Zephyr” (Hymn to Eros, fragment V, 327).

• Eros, the god of eroticism, considered “the most terrible of the gods,” is described by an unknown, archaic Greek author as “golden-haired Eros.”

Belvedere_Apollo

• Apollo as it was conceived by the very Greek sculptors. We are talking about a Nordic-white racial type slightly Armenized. Along with Athena, he was the most worshiped god throughout Greece, and particularly loved in Sparta.

Apollo is described by Alcaeus as “fair-haired Phoebus.” Phoebus is Apollo. On the other hand, Alcman of Sparta, Simonides (paean to Delos, 84), and an anonymous author, call Apollo “of golden hair,” while another epithet of his by Góngora—a Spanish author of the Renaissance but based on classic literary evidence—is “blond archpoet.” The famous Sappho of Lesbos speaks of “golden-haired Phoebus” in her hymn to Artemis.

• The god Rhadamanthus, son of Zeus and Europa, is described as blond in The Odyssey, and Strabo calls him “the blond Rhadamanthus” in his Geographica (Book III, 11-13).

• Dionysus is called by Hesiod “golden-haired” (Theogony 947).

• Hecate, goddess of the wilderness and also of the Parthians, is described by an unknown Greek poet as “golden haired Hecate, daughter of Zeus.”

Artemis

• Artemis (illustration), the sister of Apollo is described by Sappho and Anacreon (Hymn to Artemis) as “blond daughter of Zeus.”

• The goddess Thetis, mother of Achilles, is called by Hesiod “of silver feet” (Theogony 1007), and by Homer “of silvery feet” (Iliad, I: 538, 556, IX : 410; XVI : 574, XVIII : 369, 381, XIV:89). Needless to say that a brown-skinned woman cannot have silvery feet: this is an attribute of extremely pale women.

• The Eunice and Hipponoe mermaids are described as “rosy-armed” by Hesiod (Theogony, ll. 240-264).

• Aphrodite, daughter of Zeus, goddess of love, beauty and female eroticism, is always described as a blonde. Its conventional title is almost always “Golden Aphrodite.” Ibycus (in Ode to Polycrates) calls Aphrodite “Cypris of blond hair.” Aphrodite held the title of Cypris (Lady of Cyprus) because the Greeks believed she was born in Cyprus, where she was particularly revered. In Hesiod’s Theogony she is called “golden Aphrodite” (824, 962, 975, 1006 and 1015) and “very golden Aphrodite” (980). In Homer’s Iliad we have “Aura Aphrodite” (IX: 389), and in The Odyssey as “golden haired.”

• The Graces were described by Ibycus as “green eyed” (fragment papery, PMG 288).

Above I listed Wilhelm Sieglin’s conclusions regarding the Hellenic pantheon as a whole. Let us now see the heroes.

• Helen, considered the most beautiful woman ever and an indirect cause of the Trojan War, was described by Stesichorus, Sappho (first book of poems, Alexandrian compilation) and Ibycus as “the blonde Helen” (Ode to Polycrates).

• King Menelaus of Sparta, absolute model of noble warrior, brother of Agamemnon and legitimate husband of Helen is many times “the blond Menelaus” both in The Iliad (a minimum of fourteen times, III: 284, IV: 183, 210, X: 240, XI: 125; XVII: 6, 18, 113, 124, 578, 673, 684, XXIII: 293, 438) and The Odyssey. Peisander described him as xanthokómes, mégas en glaukómmatos, meaning “blond of big blue eyes.” In Greek mythology, Menelaus is one of the few heroes who achieved immortality in the Islands of the Blessed.

• Cassandra, the daughter of Agamemnon and sister of Orestes, is described by Philoxenus of Cythera with “golden curls,” and by Ibycus as “green-eyed Cassandra.”

• Meleager is described as “the blond Meleager” by Homer (Iliad, II: 642), and in his Argonautica

Apollonius of Rhodes also describes him as blond.

• Patroclus, the teacher and friend of Achilles, is described as blond by Dion of Prusa.

• Heracles is described as strongly built and of curly blond hair, among others, by Apollonius of Rhodes in Argonautica.

• Achilles, considered the greatest warrior of the past, present and future, is described as blond by Homer in the Iliad when he is about to attack Agamemnon and, to avoid it, the goddess Athena retains him “and seized the son of Peleus by his yellow hair” (I:197).

• The Greek hero Ajax (Aias in the Iliad) is described as blond.

• Hector, the Trojan hero,[1] is described as swarthy in the Iliad.

• Odysseus, king of Ithaca, Achaean hero at Troy and protagonist of Homer’s Odyssey, is generally considered as swarthy. However, this can be tempered. Although he is described as white skinned and “dark bearded” in The Odyssey, his hair ishyakinthos, i.e., color of hyacinths. Traditionally this color was translated as “brown” but it was also said that the hyacinths grown in Greece were of a red variety. If true, that would make Odysseus red-haired.

• Odysseus in any case differs from the Greek hero prototype: tall, slender and blond. It was described as lower than Agamemnon but with broader shoulders and chest “like a ram” according to Priam, king of Troy. This could more likely be a physical type of a Red Nordid [2] than a typical white Nordid Greek hero. It should also be mentioned that Homer used so frequently to call “blonds” his heroes that, in two lapses, he described Odysseus’ hair as xanthos in The Odyssey.

• Laertes, the father of Odysseus, was blond according to Homer’s Odyssey.

• Penelope, Odysseus’ wife, and queen of Ithaca, was blonde in Homer’s Odyssey.

• Telemachus, son of Odysseus and Penelope, was blond in Homer’s Odyssey.

• Briseis, the favorite slave in the harem of Achilles—captured in one of his raids, and treated like a queen in golden captivity—was “golden haired.”

• Agamede, daughter of Augeas and wife of Mulius, was “the blonde Agamede” according to Homer (Iliad, XI: 740).

• In his Argonautica Apollonius of Rhodes describes Jason and all the Argonauts as blond. The Argonauts were a männerbund: a confederation of warriors which gathered early Greek heroes, many direct children of the gods who laid the foundations of the legends and fathered the later heroes, often with divine mediation. They took their name from Argos, the ship they were traveling and did their Viking-style landings.

Below I reproduce some passages of Nordic phenotypes in Greek literature. Note that these are only a few examples of what exists in all of Greek literature:

• “Blonder hairs than a torch” (Sappho of Lesbos, talking about her daughter in Book V of her Alexandrian compilation).

• “Galatea of golden hair” (Philoxenus of Cythera, The Cyclops or Galatea).

• “…with a hair of gold and a silver face” (Alcman of Sparta, praising a maiden during a car race).

• “…happy girl of golden curls” (Alcman of Sparta, in honor of a Spartan poetess).

Berlin_Painter_Ganymedes_Louvre

• “…blonde Lacedaemonians… of golden hair” (Bacchylides, talking about the young Spartans).

• Dicaearchus described Theban women as “blonde.”

The German scholar Wilhelm Sieglin (1855-1935) collected all the passages of Greek mythology which referred to the appearance of gods and heroes. From among the gods and goddesses, 60 were blond and 35 swarthy-skinned. Of the latter, 29 were chthonic-telluric divinities; marine deities such as Poseidon, or deities from the underworld. All of these came from the ancient pre-Aryan mythology of Greece. Of the mythological heroes, 140 were blond and 8 swarthy.

In this article, we have seen many instances of mythological characters, which is important because it provides us valuable information about the ideal of divinity and perfection of the ancient Greeks and points out that their values were identified with the North and the “Nordic” racial type. However, Sieglin also took into account the passages describing the appearance of real historical characters. Thus, of 122 prominent people of ancient Greece whose appearance is described in the texts, 109 were light haired (blond or red), and 13 swarthy.

_____________________

See also:

“The face of Classical Europe (II):
Were the Romans blond and blue-eyed?”

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Footnotes:

[1] “Trojan”—i.e., a non-Greek.

[2] An explanation of terms like “red Nordid,” “slightly Armenized,” etc., appears in other article of the website Evropa Soberana, also reproduced in this blog.

Downton Abbey

downton-abbey-wallpaper-8

I have said that, of all recent TV series I have seen, I only found inspiring the first episode of The White Queen. Now I might recommend a series which message, at least until the first season that I watched, is not necessarily negative.

Downton Abbey is a series created by English actor and novelist Julian Fellowes, first aired in Britain on September 2010. The series depicts the lives of the aristocratic Crawley family and their servants in the post-Edwardian era starting with the sinking of the Titanic. Of the only season I’ve watched to date my favorite line upon which the entire drama evolves—that in the recent past women had no right of inheritance—is a dialogue between two humble servants:

“It is the law.”

“Well: it is a wicked law.”

These well-intentioned Britons were naïve of course. We know better now. We now know that from the corruption of women all evils follow. Just compare the decent world of Downton Abbey with today’s Hollywood degeneracy (that incidentally even quite a few white nationalists like).

Remember for instance that filthy film, Basic Instinct when Sharon Stone, during the interrogation scene, shows her pubic hair to the male interrogators. That’s what happens when women are allowed to inherit immense fortunes from their late parents, as Catherine Tramell (Stone) did in Basic Instinct. Remember also when the detectives visited her Pacific Heights mansion to find only Catherine’s lesbian lover, etcetera.

My dream is that later in this century and the next one the West will revert to the mores of Jane Austen in the ethnostate. What I most loved about Downton Abbey, which rather depicts the late Victorians of the early 20th century is that, with the exception of a Turk who died in the aristocratic mansion, non-whites simply don’t exist in that world.

Italian scum

“White Nationalists treat Mediterraneans like Republicans treat Mestizos.”

Stubbs


The 1924 US immigration Act was aimed at restricting the Southern and Eastern Europeans, among them Jews who had migrated in large numbers since the 1890s, as well as prohibiting the immigration of Middle Easterners, East Asians, and Indians. Thanks to it, the quotas for immigration from Southern Europe were so restrictive that there were more Italians, Greeks, Hungarians, Portuguese, Romanians, Spaniards, Chinese, and Japanese that left the United States than those who arrived as immigrants. Alas, white Christians are crazy, and after their saner periods they cannot control their ethno-suicidal impulses. A good example of this is precisely how the Italian mafia infected a previously Nordic, genuinely white nation.

Recently, at home, I watched a few scenes from both the first two Godfathers and Goodfellas. Tommy DeVito (interpreted by Joe Pesci in Goodfellas), inspired in a mafia fellow of the real US world, is one of the most repulsive characters I have ever seen on the big screen. Presently I can no longer tolerate watching the whole films. I find that Italian subculture nauseating. That’s why, at the beginning of the second Godfather film, set in the year when I was born, Senator Geary’s words after he attended the First Communion celebration for the son of Michael Corleone, the head of the Corleone crime family, are notable. That’s in fact my favorite line of all mafia films I’ve ever seen.

the-godfather-2-senator

After the public ceremony, Senator Geary meets with Michael in his office. The Corleone family had obtained control of several casinos in Nevada. Geary offers to help Michael obtain a disputed gaming license in exchange for an exorbitant bribe, and this is how he addresses the godfather in front of his private gang:

Because I intend to squeeze you. I don’t like your kind of people. I don’t like to see you come out to this clean country [I remember how I loved these words while watching the film in the middle 1970s!] with your oily hair, dressed up in those silk suits, passing yourselves off as decent Americans. I’ll do business with you, but the fact is that I despise your masquerade, the dishonest way you pose yourself. Yourself and your whole fucking family.

Unfortunately, since many white nationalists are dense or dishonest enough to see “white” when a non-snatched individual sees “brown” or “olive,” I only will be able to share this soliloquy with non-“snatched” folks.

Published in: on October 14, 2013 at 7:10 pm  Comments (7)  

Ten films I recommend

Hamlet-1948

1. Hamlet (1948) 

2. Sleeping Beauty (1959)

3. Andrei Rublev (1966) 

4. 2001: A Space Odyssey (1968)

5. Planet of the Apes (1968)

6. Death in Venice (1971)

7. Iphigenia (1977)

8. Sense and Sensibility (1995) 

9. Artificial Intelligence (2001)

10. Pride and Prejudice (2005)

My Fair Lady

My_fair_lady_poster


As a kid I watched My Fair Lady on the big screen: a film that won eight Academy Awards in 1964. I am in my middle fifties now. One of the advantages of having living more than half a century is that you remember My Fair Lady as if you had watched it a couple of weeks ago. This means that the visual mores of the time are still fresh in my mind as if it was something that (psychologically) happened a fortnight ago. My little sisters treasured their memories too and talked about the movie at home.

My Fair Lady can be watched in YouTube, at least in the country in which I am living for the moment. If you click here, starting with “Pickering, why can’t a woman be more like a man?” (hour 2:28 to 2:32), you will see that “a fortnight ago” men regarded women as totally different creatures.

For people of my age it is like if an esoteric fashion took over society “a fortnight ago” turning the world upside down—something absolutely impossible to transmit to younger people since they didn’t build their psyches in the early 1960s.

That’s why for people like me even most white nationalists are, mixing old film metaphors, body-snatched degenerates. We older folks still have memories of an age when decency and the most obvious facts about the differences between the sexes were widely acknowledged by most.

Nonetheless, even now, during the West’s darkest hour, the new generation can make a difference by failing to renew their Cable services; disconnect the aerial antenna to avoid temptations, purchase old-time movies in DVD form, and spend their relaxing hours watching only the films that their grandparents saw in the luxurious, old-fashioned theaters of yore.

In defense of Hitler and his National Socialism

 
Excerpted from William Pierce’s response to one of the Letters to the Editor originally published in National Vanguard No. 103, Jan.-Feb. 1985:
 

ss_woodcut_poster

The Second World War was the great watershed in the collapse of the West. Had any major Western nation—in particular, Britain, France, or America—had the integrity to resist the Jews and avoid being drawn into their worldwide conspiracy against Germany, there would have been no world war, but only a war between National Socialist Germany and the Marxist Soviet Union. Germany would have won, Marxism would have been eradicated, and it would have been the beginning of the end for the Jews everywhere.

Instead, Western men were persuaded by their bought politicians, their Judeo-Christian priests, and the Jewish manipulators of public opinion in their midst to take up arms against their German brothers in an unholy crusade to eradicate National Socialism, so that the Jews and the Marxist cancer they had unleashed on the world could survive. Before the Second World War the West was still viable; afterward it was not.

The catastrophe of 1945, with the triumph of the Jew and his allies, made inevitable the opening up of the immigration floodgates for non-Whites into Britain and the United States; the destruction of American White public schools; the enactment of laws curtailing White freedom of association and the rights of White employers and renters (and with them the rights of White employees and tenants); the rise of feminism, homosexuality, and drug use; the breakdown of the traditional family structure; a soaring miscegenation rate; and the displacement of healthy White art, music, literature and drama by a Judeo-democratic-Hollywood schlock culture. It also led to the metastasis of the Marxist cancer throughout huge areas of Europe and the rise of malignant Zionist power in Palestine—a power which surely would be the instigator of the Third World War.

It behooves those of us who still hope that enough healthy genes for a new beginning can be salvaged from the coming chaos, therefore, to understand everything we can about the Second World War; about its preeminent personality, Adolf Hitler; and about his ideology, National Socialism, from the eradication of which logically followed the evils briefly accounted above. That’s why National Vanguard often has articles on these subjects and will do so in the future.

Were the Greeks blond and blue-eyed?

greek_blonds

This piece has been chosen for my collection The Fair Race’s Darkest Hour. It has also been merged within a single entry.

Bimbo queen

bimbo!I have now watched the thirty episodes of the three seasons of Game of Thrones and really loved the visuals of the series (with the exception of the botched desert scenes with that dumb blonde).

With racially-conscious directors such beautiful art, in a series filmed in the ethnostate based on fantasy dramas of writers that presently might only be children, will certainly inspire and bring much good to the white psyche and morals.

However, I must rephrase what I said yesterday. Among other problems, the fatal flaw in Game of Thrones is that the bimbo Daenerys Targaryen looks like she will be destined to conquer and rule the kingdoms of earth. Just compare the bimbo with the manly Tywin Lannister. How I would love to dress like him!

tywin-lannister

Quite a few female characters of Game of Thrones behave like men. In my humble opinion this is Jewish propaganda destined to debilitate our self-image and self-esteem in the real world. Remember my quotable quote of the last week? “If a woman has only manly virtues, we run away…”

Thanks Herr Nietzsche. It is a pity that quite a few feminized western males in the pro-white movement believe otherwise.

Harry Potter’s niglets


Operation Order Number Five:

“Anyone, man, woman or child
with skin the color of shit
is to be shot on sight.
They had their chance to
leave over the past five years.”

In Harold Covington’s fantasy novels, after the ethnostate was created “the theaters were showing virtually nothing made after 1965 or so,” and a technique was developed to fix a few films made from the late 1960s to the first decades of the 21st century. The technique allowed the film industry to replace black faces with white faces in those famous movies for kids that merited inclusion in the reformed theaters.

I stole the subtitles under the following images from Robert Berry, who analyzes the black student body of Hogwarts Academy in the very first of the Potter films:


HP1

This is Lee Jordan. With a good two minutes of screen-time in this movie, he’s the most prominent black character in the film. While some students focus on potions, spells, or the dark arts, Lee is apparently attending Hogwarts on a sports scholarship.



HP2

Next we have an unnamed boy whose function at the school is almost limited to giving funny looks when someone says something startling. As the closed caption excerpt shows, he at least gets a line of dialogue, which makes him the only other black character in the movie that does.



HP3

This mysterious Gryffindor Quidditch player has a few cool action scenes, and scores some points for her team, but doesn’t contribute much else after she’s knocked unconscious from her broom. Though not named in the film, the books identify her as Angelina Jordan.


HP4

The rest of the roles are merely extras. Here we have the same unnamed boy mentioned above, with two girls among the first year inductees.


HP5

And at the Hufflepuff table, if you blink, you’ll miss this
black chap talking with his buddies, near the movie’s end.



HP6

Here there are three more during a slightly chaotic
scene in the banquet hall.



HP7

And here’s a girl just waiting in the hallway,
staring at Harry mysteriously as they walk by.



HP8

The gent on the right looks like
Gary Coleman’s pal “Dudley” from Strokes!



HP9

Here’s the only appearance from this lighter skinned black
student during the “Sorting Hat” sequence at the film’s start.



HP10

And when it appeared that all the black students were a part of the Gryffindor group, a quick eye can catch two Slytherin students during the big Quidditch match.


HP11

And here’s another, but she seems to be the least enthusiastic of the bunch. Kind of hard to be too excited, I imagine, when the leader of the Aryan Nation, Draco Malfoy (the blond at the center: the bad kid of the film), is the most dominant student in the class.


HP12

Two girls that you’ll never see again in the film.


HP13

A boy who appears for this split second during the mail delivery
scene as a member of Gryffindor, only to never show up again, either.



HP14

There are a few black adults in the faculty as well. Here’s a gender neutral wizard to the right of Dumbledore in a rare shot in which candles aren’t hovering in front of her/his face.


HP15

And seated next to Professor Snape are two other black
faculty members. We never see them again, either.



The above pics come, as already said, from the first Potter film. But in that very film outside Hogwarts I remember an adult black face in the Leaky Cauldron pub, and another face with skin the color of shit in Diagon Alley.

When the producers of the series changed directors after the second Potter film, the inclusion of niglets and black adult wizards became even more apparent. The sixth film, when the characters reach full-blown adolescence, was the most offensive: a beautiful teen English rose, Ginny Weasley, one of the main characters of the series, is engaged with a black student and even kisses him passionately on the mouth.

But the perpetrator here was none other than the author herself, J. K. Rowling. Indeed, compared to Rowling’s book, in the movie comparatively little of Ginny’s relationship with the young negro is depicted.

The Brigade excerpts, chapter XVII

by Harold Covington


“Taking Down Tinsel Town”


Covington in uniform
“Gentlemen, I don’t have to tell you that ever since the invention of the motion picture over a century ago, the movie industry has been the most completely Jewish field of private enterprise in the world, with the exception of international banking and the stock exchange. Even today, Yiddish is considered to be Hollywood’s second language. Literally so. It is spoken regularly on movie lots and sound sets, and in every office and casting department and boardroom. The senior executive office complex of every major production studio contains a private synagogue or chapel called a mincha, with one or more rabbis attached, as well as special glatt kosher catering facilities and kitchens. Entire boards of directors in Hollywood and also at their parent companies in New York sometimes hold Jewish religious services prior to meetings. Every crucial, non-technical job on the business and creative end of any major movie is either held by a Jew or is in the power of a Jew, from the studio heads, the producers and the directors, down to the scriptwriters, the casting directors, the agents, the accountants, and anything to do with the money. Even in areas that seem to be controlled by Gentiles, you will find that somewhere along the line during the process, Jews have crucial input and veto power. This control by the Tribe is pervasive and complete, and it extends into television as well, with the exception of two of the major cable networks, which are heavily Jewish in their senior personnel but are owned by consortiums of super-wealthy Protestant evangelical Christians of the Israel-worshipping persuasion, who are in their own way even more poisonous in their evil than the Jews themselves, because they have no excuse for turning on their own blood.

“I do not need to tell you of the terrible and largely irreversible damage that Hollywood has done to the white race and to Western civilization over the past century. For four generations, the international bankers and the corrupt politicians have committed unspeakable crimes against humanity, especially the war after war after bloody war they have plunged our people into for Jewry’s sake, but it is Hollywood and Hollywood’s mutant bastard spawn television that has made the white people of America and the world swallow these atrocities and actually support them with enthusiasm. It is Hollywood that has spent the past 50 years pushing every conceivable kind of perversion of body and mind down the throats of white people. It is Hollywood that has turned the loathsome practice of homosexuality into something cute and trendy, the subject for silly jokes, when it is in fact a poison of the very soul. It is Hollywood that has turned white women as portrayed on film into either mindless sex objects, or else degendered, masculinized, man-hating neurotics. It is Hollywood that has poisoned the minds and broken the spirits of generation after generation of white children who are now beyond recovery, and turned them into whiggers. The bankers have stolen our money. The federal government of the United States has stolen our lives and our freedom and soaked the earth with Aryan blood, spilled to save a filthy race of Asiatic parasites. But Hollywood has stolen our peoples’ minds and souls, and in some ways that makes Hollywood more evil to my mind even than the sinks of iniquity centered in New York and Washington, D.C. Comrades, we will go down to southern California, we will grip this monster by the throat, and we will cut its heart out!

There was a cheer from around the table; the men found the project to their liking. “At this point I’ll turn the floor over to Lieutenant Hill,” said Morehouse.

“Thank you, Red, and isn’t this a great audience in our studio tonight?” There was a chuckle from the assembled men. “I need to begin by explaining just what has precipitated this operation, which by the way, has been designated Operation We Are Not Amused,” said Hill. There was more laughter. “Obviously, any revolutionary movement within North America has to deal with the Hollywood problem at some point or other. It’s pretty obvious that barring some catastrophic event, the NVA [Northwest Volunteer Army] is here to stay as a permanent feature of Northwest life, and for us, to survive is eventually to win. The time has come for us to take our offensive for balance in the media right into the belly of the Beast.”

“Now we are about to start…” Harry Hannon interjected.

“But it’s not just simple fear that’s made Hollywood go a little easy on us so far,” Red Morehouse said. “I don’t want to get metaphysical, but Hollywood has always been the American ruling establishment with its heart on its sleeve, and southern California has always taken point in the culture wars, openly and brazenly, so you can read them like a book. And I can sense a deep and definite malaise. The Jewish and liberal establishment down there is not just afraid, they’re puzzled, disturbed, confused. They don’t know what to make of us quite yet. They’ve never seen white men act like this before—hell, no one in living memory has seen white men act like this before. Comrades, even if we were all wiped out tomorrow, the NVA has managed to achieve one incredible accomplishment, and something that for the entire century, no one ever thought was possible. We have reintroduced the gun into American politics, the ultimate fount of all law and political power.”

Morehouse smiled and shook his head in admiration. “For the first time since the Civil War, the United States of America no longer has a credible monopoly of armed force, and that fact has thrown the whole ruling élite in this country for a loop, unbalanced them. We’ve taken a hundred years of this shit from these people. No more! It ends now!”

“Who gets to be the hammer?” asked Tommy Coyle eagerly.

“Sorry, Tom,” said Morehouse, genuinely commiserating. “You and Harry are too badly needed up here with your brigades, and that goes for you battalion commanders as well. I’m afraid the reason you are here is because we’re going to need your help and your concurrence to cherry-pick your units. The actual hammering will be planned and organized by the Third Section, but the nails will be from Portland and the North Shore.”

“What will be your plan of attack, Lieutenant Randall?” asked Hatfield.

“The main strategic objective here is to neutralize the Hollywood movie and television apparatus as an effective weapon of enemy propaganda,” said Randall. “It is now such a weapon because of the Jewish control of these industries. We have to get the Jews’ hands off the levers of power and creative control down there as much as possible, not only by terminating individual hebes, but by establishing a credible deterrent sufficient to prevent those reptiles from producing dingo doo like those things there.”

Randall pointed to the scripts on the coffee table. “They have to know that even to contemplate producing an anti-NVA movie or television episode means bloody near certain death. We won’t be so much going after movie stars or actors themselves as we will be taking down the Jews who actually decide what movies and shows are made, and what their contents will be—studio heads, producers, directors, and screenwriters, and the moneymen. We have several objectives. First, to physically prevent these Jews from doing the dirty. A dead Jew can’t make an anti-white movie. Secondly, to create a psychological disincentive to make propaganda movies and telly for the Americans, since live Jews and liberals don’t wish to become dead ones. Finally, and this is a long-term goal, we want to demonstrate to the extensive Gentile community in the movie and television world down there that Jewish control of their industry, their money, their speech, and their creative talents is not some kind of perpetual, God ordained inevitability. We want to show them and the whole world that Jewish power can be broken, right in the heart of their own oldest and most cherished empire in this country.”

“In a way, we’re trying to show the stars and the genuine film artists down there the same thing we’re trying to show our own people here in the Homeland—that it is possible to resist, and that the enemy is not invincible.”


Chechar’s note:

Just compare Covington’s views about Hollywood to Counter Currents’ opposite views and leave a comment: either below, or in a recent thread.

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