The Truth of Liars

By Larry D. Crawford

The culture which produced such monumental symbols, not idols, as the sphinx held its ordered morality most highly. The sphinx itself symbolizes the elevation of the mind over the body, the mental over the physical, as in a man rising up above his animal, i.e., baser, desires through a life of Maat (by living the principles of truth, justice, righteousness, balance, harmony, reciprocity and order). Of these facts Afrikan warrior scholars, those who study while preparing us for battle, have no question.

It has taken the mind of the European, the forge of white supremacy, to suggest to our children the interpretation that the sphinx was anything less. This same mind gave Las Vegas’ sphinx blue eyes and bleached Cleopatra’s skin. The number of Afrikans who have been made European or whose color was intentionally misrepresented or omitted in order to fulfill the interrelated lies that Afrikans have contributed nothing of worth to human civilization while Europeans everything is staggering to the imagination.

The most infamous examples are found in a fundamental contradiction of claims to the spirit of "Christian" love and brotherhood, where some of the world’s most phenomenal religious leaders continue to be passed off as European. William Larue Dillard, by tracing the Afrikan genealogy in Biblical Ancestry Voyage, "discover[ed] that all of the [European] countries honored and worshiped the black Madonna, black Mary, and her black baby. They did it for years until the rise of white supremacy in the fourteenth century...when they found all of the statues and everything depicting the black Madonna, they burned and destroyed them." They contradict their own contradictions.

This is the same culture that unisexualized and effeminized the boy pharaoh manufactured in the movie Stargate, reflecting the subconscious European drive to remove our ancestors from the history of the creation of human civilization. Compare this frail characterization with the descriptions of male leadership in the Nile Valley Civilization such as Amenhotep, Menes and Ramses the Great. Miriam Ma’at-Ka-Re Monges addresses this strength among female leadership also in discussing how "the large size of the queen when depicted slaying enemies may indicate that the Kushites associated large size with power...The kandakes were powerful women and in many African societies weight is symbolic of power." (This "distortion" of image to convey a multi-dimensional symbolism is not unusual for our ancestors. As Chancellor Williams relays, "a true representation of the individual was considered vulgar" by them.)

Only a naturally conditioned amorality would allow a people to sink so low as to use The Prince of Egypt, an "innocent" fantasy animation, to shamelessly blame the desecration of the Great Sphinx’s nose on the play of two boys instead of the rightful perpetrator, Napoleon’s cannons. Unless we believe their science, the science that continues to "prove" Blacks genetically their intellectual inferiors, there should be no doubt that this assault was another culturally calculated attempt to remove the obvious fact that the sphinx was created in the image of its Afrikan creators. This was not new behavior among these people. And, regardless of who gave the order to fire, this act speaks to a cultural personality and imperative that has "no morality where race is the variable."

No matter where you travel in time or space, leaders are considered responsible and usually held accountable for the behavior of their chosen and trusted subordinates. And, as Ayi Kwei Armah warns us about "the destroyers," no matter where you travel over the last two and a half centuries, "wherever there is life, even if it be only a possibility, the harbingers of death must go to destroy it. See the footsteps they have left over all the world. Wherever they have been they have destroyed along their road, taking, taking, taking." Knowingly, falsely portraying the acts of European men as that of innocent Afrikan boys is to be expected from those desperately rewriting history in every possible medium that educates.

Now they have taken the liberty of turning Imhotep, the world’s first deified multi-genius white and demented in the movie Mummy. Let us look at the possibility of him being either. With reference to the white skin of the entire cast, minus a few minor actors having the features and complexion of a people now occupying Egypt, Djoser, more commonly known by the Greek name Zozer having now evolved into the western Zoser, the pharaoh whom Imhotep was chief priest to and built the first Step Pyramid for, was black in complexion and features along with the rest of the Afrikans who inhabited and ruled over the lower Nile civilization at that time, approximately 2980 B.C.E. One need only look at face on the fourteenth page of Cheikh Anta Diop’s The African Origin of Civilization to see this.

Black Afrikan dominance, particularly during this period, is indicated by all of our warrior scholars. Chancellor Williams is one whose lessons about The Destruction of Black Civilization speaks volumes of "the first five dynasties, each of which was characterized by great leaders, a period of seven hundred and fifty-five years. The roll call brings forth names that still resound through the corridors of time: Menes, Athothes, Peribsen, Knasekhem, Imhotep, Zoser, Sneferu, Khufu, Khafre, Userkaf, Neferefre, and others who reestablished Ethiopian power as a united empire and held it without serious challenge for almost a thousand years...It was during this same period that stone was first used in building, hieroglyphic writing was first invented, the great pyramids were built, stone quarrying perfected and expanded and Imhotep became the world’s greatest architect and the ‘Father of Scientific Medicine.’ It was seven and a half centuries of the most glorious pages in the history of the black world."

Yosef A.A. ben-Jochannan’s Africa: Mother of Western Civilization explains that Djoser brought Imhotep from the southern part of the Nile Valley Civilization, better known as Ethiopia, where the people were even darker than those in the northern provinces. Logically, even though from this it should make common sense, Imhotep was darker in complexion than Djoser. Given the concentration, relative political powerlessness, and limited military technology of the Arabs, Afrika’s first invaders (Europeans weren’t even minor players yet), at that time, it is virtually impossible genetically and culturally for Imhotep to have been anything but a Black Afrikan.

Again, through exploiting the innocence of intent assumed of fictional accounts, the silver screen has created "truth" for our children reflecting its white supremacist cultural groundings. If it was not designed to rewrite history, or obscure the truth at the least, why would the names of real people of history be attached to lies without basis in any historical fact? Any names could have been fabricated and the profits would have been the same. There was no qualifier anywhere stating, "This movie is a work of fiction. Any resemblance to actual events or persons, living or dead, is entirely coincidental."

Finally, in reference to the quality of the character of and the international reverence paid Imhotep before his death, at his ascension beside honored ancestors and for centuries afterward, in contrast to his depiction as an insane megalomaniac and rightly cursed lovesick adulterer, J.A. Rogers recorded in the first volume of World’s Great Men of Color that "Imhotep’s fame increased with his death. He was worshiped as a medical demi-god from 2850 B.C. to 525 B.C., and as a full deity from 525 B.C. to A.D. 550. Kings and queens bowed at his shrine...Even early Christianity worshiped him as the Prince of Peace." Richard Poe adds in Black Spark, White Fire that "the ancient Egyptians did worship a certain Great Architect as a god. His name was Imhotep. Five thousand years ago, the earliest pharaohs were buried in box-like, mud-brick tombs called ‘mastabas.’ But, one day – around 2660 B.C. by most estimates – a pharaoh named Djoser instructed his court architect, Imhotep, to build him a royal tomb like no other...In building the Step pyramid of Djoser...Imhotep had effectively improvised a new science of monumental stonemasonry. In the words of the Egyptian historian Manetho, ‘Imuthes [Imhotep]...was the inventor of the art of building with hewn stone’...Imhotep was still remembered in Egypt two thousand years after his death and was worshiped as a god, with his principal shrine at Sakkara. He was honored not only as an architect and a sage, but also as the founder and patron of all medical arts, for which reason the Greeks identified Imhotep with their god of medicine, Asklepios, and called his temple the Asklepion." It must be noted that Egyptian priests, unlike many European priests and their colored clones, were at the apex of an individually internalized moral social order. Imhotep is still considered the epitome of devotion to universal law and humanity.

It is one thing to lie. It is another to know the truth but spawn even more lies to buy time because so many of those you oppress rightly refuse to lose memory of your "forked tongue" as they find their Way and discard yours. I call it impacted lies, the telling of more and more lies based on the uncorrected originals. When you have told so many lies on top of each other over the centuries that telling the truth about one of your early, foundational lies would unravel all the lies that have been defensively piled on top of it, thus exposing you for what you truly are, you have no choice but to continue to lie. When your ability to maintain your privilege and control other’s reality is based on the lies about what you are and who they are, you can not tell the truth.

Make no mistake. Europeans know exactly what they are doing. They are not stupid. Those of us who want to play the "Europeans have changed so why can’t we all get along" game may be. But they’re not. They knew that Mummy would convince everyone who watches the movie in this western cultural wasteland that Imhotep was white. If color is irrelevant, why are they still trying to make it white? As far as Imhotep’s fabricated insanity, it gave the movie action, a plot. Insanity is natural to European media. Without excessive sex and/or violence it does not exist. What is significant in a permanently white supremacist racist society is the color of the players, the single most important optical illusion binding oppressed to oppressor. Blacks have qualified for supervillian status no more than we have for superhero. Both capacities require a white intelligence. Believe what you want. But only the truth of our warrior scholars will set us free. Wherever Afrikans find themselves, they must never forget that "a lie is nothing for a liar to tell," ever.

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Larry D. Crawford has been an Assistant Professor of Sociology at Morehouse College since 1991, and has been recognized for his dedication to students and community alike. He serves as the advisor to numerous student organizations at Morehouse College as well as other institutions in the Atlanta University Center.