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University of Iowa Professor Blames White Marble Statues for Racism

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University of Iowa professor Sarah Bond authored an entire op-ed crediting the use of white marble in classical art for modern day racism — claiming that its beauty is a “dangerous construct that continues to influence white supremacist ideas today.”

Bond’s piece, published on the art and culture website Hyperallergic, asserts that “the equation of white marble with beauty is not an inherent truth of the universe. Where this standard came from and how it continues to influence white supremacist ideas today are often ignored.”

According to Bond, the fact that many of the most prominent classical statues and sarcophagi are made with white marble creates a “false idea of homogeneity.” She asserts that while the Romans did not describe themselves as “white,” the popularity of white statues is what eventually lead to humans ranking those with lighter skin tones as more desirable.

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As no liberal op-ed would be complete without comparing someone or something to Nazis, Bond made sure to do just that.

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Discussing the white marble Roman Apollo of the Belvedere, Bond notes that Dutch anatomist Pieter Camper has used measurements of the statues features, such as the lines running from the nose to the ear and the forehead to the jawbone, to find the formula for perfect beauty. This, according to Bond, is also racist.

“Those ratios were later used by others to create the racist ‘cephalic index,’ which categorized humans based on the width and length of their facial features. The Nazis drew on the index to support notions of Aryan superiority in Germany during the Third Reich,” the professor wrote.

To solve this problem of perceived ancient racism in history, Bond wrote that she doesn’t recommend going and painting the statues — but would like to see “3D reconstructions alongside originals,” essentially rewriting history. She also suggested that museums alter the displays of these historic works of art by using “computerized light projections” to virtually change them.

“It may have taken just one classical statue to influence the false construction of race, but it will take many of us to tear it down. We have the power to return color to the ancient world, but it has to start with us,” the professor wrote.

In a comment to Campus Reform, Bond stated that “the point is simply that Greeks and Romans actually added color to their art and thus white marble was often the canvas rather than the finished product. The exalting of white (and unpainted) marble was then an 18th century construct of beauty rather than representative of the classical view.”

A commentator on Bond’s article, using only the name “Michael,” pointed out that Bond’s call for changing the presentation of historic artifacts “is projecting the concerns of the present onto the distant past, which I thought was a big fallacy which every historian is supposed to avoid. If the classical world didn’t have our notions of “white people” and racism, they also didn’t have our modern notions of anti-racism, multi-culturalism, and diversity as a value.”

In George Orwell’s dystopian novel 1984, the Ministry of Truth also rewrote history. The author wrote that this Marxist tactic is essentially a form of mind control being used by Big Brother to control the population’s perception of reality.

“History is constantly rewritten to suit the current goals of the Party. Only the destruction of human memory will make it possible. Hence the Ministry of Truth (Minitru) modifies history perpetually to the tune of the ideals of the Party,” Orwell wrote.

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Fake Tough Guy Luke Combs Bows to the Far-Left, Cowers Like a Baby

What a little baby.

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It’s officially starting to become clearer and and clearer as to why the majority of Luke Combs’ music involves the artist crying about his girlfriends leaving him. The country music star and ‘She Got the Best of Me’ singer recently went out of his way to preach diversity and inclusion, while also disavowing the confederate flag in an interview with NPR.

Combs seemingly nearly sobbed as he begged for forgiveness for his whiteness and also participated in the ritualistic humiliation of country superstar and folk hero Morgan Wallen. Wallen has been effectively cancelled by our corporate rulers after footage of him saying the ‘n-word’ once as a joke surfaced online.

Ann Powers, Luke Combs and Maren

Combs was joined by fake country artist and techno-pop singer, Maren Morris, who campaigned for Joe Biden and endorsed the deadly BLM/ANTIFA riots that resulted in catastrophic death and destruction last year.  The conversation was aimed at a music video that Combs had previously done with Upchurch which sinfully featured confederate flags and normal looking people.

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“I apologize for being associated with that,” said Combs, “I’ve grown in my time as an artist, and as the world has changed drastically… I am now aware how painful that image can be to someone else. And no matter what I thought at the time… I would never want to be associated with something that brings so much hurt to someone else.” Combs also went on to apologize further, saying: “There’s no excuse for those images…”

A couple other notable moments from Combs during the interview that has now been copyrighted and wiped from the internet include:

“I can’t imagine, thinking back on all the times and places that I’ve seen that flag, if I were a Black man or a Black woman and [had to] just go, ‘This is definitely not somewhere where I’m being welcomed.'”

“Hate is not a part of my core values, and it’s not something that I consider a part of myself at all. I’m just looking… not to say, ‘I’m so sorry, please forgive me.’ I’m here to say, ‘I’m trying to learn. I’m trying to get better.’ I know that I’m a very highly visible member of the country music community right now, and I want to use that position for good and to say that people can change, and people do want to change, and I’m one of those people trying.”

True to her character, after Combs finished repenting to the neo-Marxist establishment, Maren Morris went on to preach her far-left ideology and disavow country music fans: “I appreciate Morgan saying ‘quit defending me’ to his fans, because it’s indefensible. He knows that. We know that,” Morris preached. “All we can do, so there isn’t an elephant in the room, is say that out loud, hold our peers accountable. I don’t care if it is awkward sitting down the row from you at the next awards show.”

“This isn’t about going after people or a fanbase for sport… That doesn’t give me pleasure… Your fans are a reflection of you and what you’re about, and I think that, you can’t control a human being, but you absolutely can let the know where you stand.”

“It’s protecting white people. It’s not protecting Black people. And that’s the long and the short of it.”

Morris went on to suggest that country fans should be policed and subjected to woke rules and regulations if they want her to appear at concerts:

“I don’t want to play those festivals anymore… If you were a Black person, would you ever feel safe going to a show with those flying in the parking lot? No. I feel like the most powerful thing, as artists in our position right now, is to make those demands on large organizations, festivals, promoters… That’s one of the things we can do is say, ‘No. I’m not doing this. Get rid of them.'”

Luckily for Morris, it isn’t likely many fans of her “country music” would even own confederate flags. Morris is most well know for her song with Zedd & Grey titled ‘The Middle’ which many would consider EDM or pop at the least:

Regardless of if you consider Maren Morris a serious country artist or not, she still wields lots of influence within the industry. Her forcing Luke Combs to disavow his own fanbase and then proceeding to fuel anti-white hatred is concerning. The fact that Combs, who reveres himself as a musical tough guy and some sort of god amongst the hillbillies, folded so quickly to cosmopolitan pressure should scare you. The country music industry is typically targeted toward conservative-leaning, rural Christians that love America (and the majority of them would probably be white). If country music falls, which you could argue that it already has, America’s most hated demographic may possibly see itself losing its last true safe haven in entertainment.


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