Lilith is getting upset at being left off the human “Out of Africa” genotree.

All male lineages can be traced to a supposed “Adam and Eve” that once lived in South East Africa. That is to say all Human DNA can be traced back to two single individuals with origins in Africa that has been dubbed by scientists as “Adam” and “Eve“. However, Female or mDNA is substantially older than Adam’s. Meaning it is possible for traces of Mother’s DNA to be traced back farther than Father’s. yDNA mutates at a faster rate, goes extinct or disappears at a faster rate; dying at the root rather than at the branches, so to speak, which renders various groups of humans more and more genetically distinct.

With that in mind we come back to the plight of Lillith. I refer to her as Lillith drawing upon the Ancient mythologies of the Middle East which tell of a mysterious “first wife” of Adam…. There is solid evidence that humans have evolved from two diverse groups. They were probably once a single group, however any genetic evidence that they evolved from a single group is now irretrievably lost to genetic drift. The dispersian pattern of the descendants of the two groups demonstrate widely diverse origins. The first group of  humans (Adam and Eve) can be confirmed to have originated “Out of Africa.” However, Lillith’s group [The X factor] appears to have had an Atlantic origin. And although some scientists labor intensively to “prove” an African origin based on the established pattern of Adam and Eve, the pattern of inheritance makes it difficult for such a confirmation to emerge.  The patterns of inheritance are too isolated. The dispersal pattern clearly shows haplotype X to have been a North Western Atlantic modal type.

Haplotype X1 appears to have originated prior to the great ice age in the North Western Atlantic.  From its center of origin it dispersed relatively uniformly throughout both North America and Europe, and the Levant prior to the onset of the great Ice Age.  Haplotype X2 appeared as a subtype either during the ice age and did not have time to disperse as with Haplotype X1.

Although scientists labor intensively to prove an “Out of Africa” origin… and even go so far as to suggest its origin in South East Asia (as a result of branching from Haplotype N); the ultimate origin remains a mystery with experts unable to arrive at a consensus. That Haplotype X2 appears in widely isolated pockets (North East America, and the Aegean/Black Sea Region) is likely the result of migration either overland (via river systems) or by ancient seafarers. Modern genetic studies show that a single haplotype with widely separated pockets only occurs as the result of population bottlenecks that occur as a result of migration or cataclysmic occurances and supports the pre-ice age theory of separation of a parent civilization into eastern and western groups by an ice age (20,000-10,000 years ago).  X2 demonstrates a normal dispersal pattern in North American, however the isolated pocket of X2 in the Black Sea region could only have originated as the result of a population bottleneck caused by post glacial migratory relocation by an isolated genetically distinct group of people.  Today the Haplotype X can be found primarily in the Altaic Mountains around Bashkus and Chulca, among the Druze, and among the North American Nuuchahnulth

Scientific logic then would lead us to conclude that both X1 and X2 originated prior to the Ice Age but that  haplotype X2 was divided as a result of ecological or cataclysmic events during of immediately following the ice age (8,000-4,000 BC).

In order to identify the tribes and people whose heritage displays the mysterious X factor. We need to first identify those associated with this inheritance and then analyze their histories and mythologies for  clues  with regard to their common origins. The ancient peoples with their roots in Northern Africa, the Fertile Crescent and the Black Sea were the Parthians, Greeks, Hittites, Assyrians, and Haburites. Among these tribes are those whose mDNA still carries the legacy of the X haplotype.  Embedded in the mythologies and legends of these groups are the clues and distant racial memories of this event.

1) Zoroastrian accounts of pre-ice age civilization, the ice age which destroyed it and man’s retreat into an extensive cave system to survive the event.

2) Plato’s account of the naval power of Atlantis prior to its fall and the cataclysmic events which likely contributed to the onset of the ice age. (Extensive Vulcanism)

3) Areyanic mythologies (preserved in the Gaelic) of the Fomorians

4) Ancient Greek myths regarding the Elysium Fields [Land of Light], man’s triumph over the elements (Gods vs Titans).

5) Gothic Legends of the War of Vesosis [Zeus] and Tanausis [Titans] which was a prediluvian battle that is often misidentified with the battle of Troy or other later battle.

6) Aztec myths (Originally a North American People): Life at Tamoanchan (the legendary origin of all civilizations); Worship of Atlatonan/Atlatonin) – goddess of the coast; Escape from martial law from Chicomostoc, “the place of the seven caves” [The first migration], The southward journey to Mexico [The second migration, 1035 CE]

7) Haburitic/Mesopotamian stories of Lillith and Adam

Egyptian records of the Tainite Kings and the Bubastis Flood.

4) The biblical account of Noah

5) Assyrian account of Gilgamesh

7) The confirmation in written record of ancient Mesopotamian trade with the mysterious land of Dilmun/Telmun whose climate required the consumption of Mesopotamian wool. The location of this land is purely speculative at this time.

There are many many more myths globally which I could cite but the bibliography is lengthy and I only want to show that the racial memory of Lilith’s homeland as well as the events contributing to its demise and subsequent migrations there from are far from being regional isolates. Suffice it to say that the genealogical and legendary records both support the appearance of X2 in the two isolated regions as the result of population bottlenecks during or shortly following the ice-age. That both haplogroups appear on both continents is consistent with the theory of a wide-spread pre-ice age Northern Hemospheric (Atlantian) civilization followed by subsequent eastern and western migrations by isolated post glacial X2 groups following a series of floods and lakeburst “events”.

© 2010, Secret History X. All rights reserved. On republishing this post you must provide link to the original post.

In 1781 Los Angeles started out as a small Spanish Colonial settlement on the banks of the El Río de Nuestra Señora la Reina de los Ángeles de Porciúncula (Los Angeles River). At that time the emphasis was on swift and functional construction rather than on architecture designed to express the glory of God or the grandeur of the Empire. The pueblo erected by Conquistador Felipe de Neve was simple adobe without ostentatious ornamental display. Faced with the vagaries of colonial living and rebuilding as a consequence of the constant battle with the local river (which flooded annually). The architecture remained utilitarian in design and simple in expression through the first two decades of the 1800′s.

Within the first two decades of the 1800′s, three architecturally significant cathedrals (La Iglesia de Nuestra Señora Reina de los Angeles, Mission San Fernando Rey de España, Mission San Gabriel Arcángel) were erected in the Spanish Neoclassical Minimalist style.

By 1850 the Spanish influence on architecture of the Los Angeles area was on the wane due to the successive waves of migrating Yankees and Jews eager to find work in the area’s emerging oil and mining industries began to flood the Los Angeles River basin. This migration was  fueled by extended labor disputes in the union labor towns of Northern California (San Francisco, Oakland etc.) in the latter decades of the 1800′s. When these displaced and dissatisfied workers fled these towns, they brought with them their open labor shops and set up an industrial base in the L.A. area.

As these immigrants set up homes in the area the architecture of Main Street Los Angeles became nearly indistinguishable from the Main Street of  any similar sized city in the Midwest. Adobe was replaced by fired brick and woodframe construction as the preferred medium of construction. Eastern styles such as Mansard, Victorian, Queen Anne, Eastlake, Anglo-Colonial Revival, and Beau-arts predominated.  Henry Hobson Richardson introduced the concept of the classical column in urban architecture, where the first two floors of city high rise buildings provided a strong formed base for the uniformly modeled floors above topped with a capital comprised of an lavishly decorated top floor that gave architectural definition to the entire building.

Despite the flood of immigrants and construction boom, and because of the availability of arable land surrounding the city, Los Angeles itself remained small until 1900. It was not until after 1900, that Los Angeles experienced its fastest period of growth when the advent of the automobile age enabled Americans from all over, attracted to the mild Mediterranean climate, cheap land, and a wide variety of geography, to migrated over what was now a relatively short drive by truck. Old buildings were razed to make way for newer bigger buildings to accommodate the burgeoning population, and need for public space.

The turn of the century saw the establishment of several organizations founded by persons who were alarmed by the rate of destruction of historical Spanish Mission style buildings. in 1894 the California Landmarks Club was founded to preserve and restore California’s Mission churches. This organization did much to influence the incorporation of Mission Style elements into buildings other than the religious edifice. Tile roofs, gables, arches, dome, quatrefoil windows and other restoration elements soon found their way into commercial and public buildings and private residences. Contemporary to and often hand in had with this move to incorporate Mission Style elements was the spread of the Contemporaneous with the spread of Mission Revival and its return to a simpler past was the development of the Arts and Crafts movement (among the middle to upper income homeowners) and its less affluent sister the California Bungalow.

Following WWI, impetus was given to revivalist efforts as a new conservatism manifested among the citizenry. Revivalist styles took on a new flamboyant extravagance. In 1915 Bertram Goodhue and his group of fellow architects introduced the Spanish Plateresque and Churrigueresque forms of Mission architecture for use in public and religious buildings that had to this point not been seen outside of Mexico. While the International style, so popular in Europe following WWI, was rejected in favor of Stylized Modernism as inspired by the designs of Frank Lloyd Wright (who despised the European International Style).

American architects, true to the American ethos of adopting anything and everything foreign, translating it and remaking it into its own cosmopolitan image, began a movement which incorporated into its ethic, a reductionist approach to then current design trends. The European Art Nouveau was toned down to a more popular Art Deco which in turn gave way gradually during the latter half of the 20′a to the Streamline Moderne in the 1930s, and a quieter more subdued “Mediterranean” form was adopted in domestic architecture.

Entire neighborhoods took on an exotic flavor and utilized by the area’s film industry as  backdrops and models for locally produced “foreign films.” In fact, the movie industry would have a large impact on the Architecture of Los Angeles, eventually converting the entire city to a virtual film studio. Hollywoodland began in 1888 as a small residential development spearheaded by resident Harvey Henderson Wilcox and his wife, Daeida. It was incorporated as an independent city in 1903 but then annexed to the larger city of Los Angeles in 1910. By 1923 developers Woodruff and Shoults conceive of “Hollywoodland” as a neighborhood of “superb environment without excessive cost on the Hollywood side of the hills,” and construction of Lake Hollywood Reservoir commences to provide the neighborhood with water.

In 1923 land in the Hollywood area was purchased by Hirsz, Aaron, Szmul, and Itzhak Wonskolaser (aka. Harry, Albert, Sam, and Jack Warner) for the purpose of setting up a motion picture studio, not far from the studio offices of Louis Burt Mayer then owner of Louis B. Mayer Pictures and Hollywood resident. Mayer’s business would later merge with Metro Pictures and Goldwyn Pictures Corporation in 1924 under the leadership of Marcus Loew to become MGM Studios.  The name Hollywood would become synonymous with the film industry itself during the Studio Era as westerns were shot in Owens Valley, desert films were shot in Death Valley, Pirate movies were shot in Carmel, winter movies were shot in San Bernardino and movies set in the Mediterranean or the eastern U.S. were shot on location in and around the city of Los Angeles.

During the years from 1922 – 1959, R.M. Schindler and his Wright inspired group of associates who nearly single-handedly transformed Los Angeles into the center of the American Modernist Movement. The more innovative among them spearheading the unfortunately named Postmodern movement. (Rather than being a forward leaning movement, as its name would suggest, Postmodernism actually strives to create a synthesis of past and future by combining the clean modernist lines with features and details from past styles.)

Following WWII this Postmodernism, inspired by the tools and technologies of the Atomic Age, took on an increasingly fantastic expression by incorporating elements of industrial pop culture and iconic mechanical designs.  Los Angeles became the birthplace of the postmodern sub-style known as “Googie” or, alternately, “Populuxe.” The first known instance of Populuxe architecture was the Googie Coffee Shop on the corner of Sunset Boulevard and Crescent Heights which while giving a nod to Streamlined Moderne, wen above and beyond in incorporating interpretive elements of the atomic age. This landmark building was later demolished in 1980′s.

Characteristics of Googie or Populuxe style are  upswept cantilevered roofs, curvaceous, acute angles and geometric  shapes, and bold use of glass, steel, neon illumination, plastic paneling and lines evocative of flight and motion, such as free-form boomerangs, flying saucers, atoms, cutouts, parabolas, and tail fins. Like most of the trendy pop culture based styles (such as Art Deco), most of the buildings of this era have not survived  urbanization pressures and have been demolished to make way for more modernist style buildings.

The latter half of the century (from 1980′s on) saw a return to the core ethics of the Internationalist style. While the Postmodern Style  still dominated the more novel or expressionist elements were toned down or eliminated in favor of a more subtle expression of the stylistic fusionism so characteristic of American Architecture. Key examples of this new direction would be St Matthew’s Episcopal Church in Pacific Palisades, the First Church of Christ, Scientist in Glendale, Frank Gehry’s Walt Disney Concert Hall, and Rafael Moneo’s Roman Catholic Cathedral of Our Lady of the Angels in the Spanish International revival style. The latter structure is unique in its external austerity while its interior maximizes space and the play of light in the earlier Gothic style.

The new millennium has been ushered in with a return to introspection on the part of the American people as a whole. We are asking ourselves questions about sustainability for the future.  While it appears that most of the more imaginative architecture is still being created on L.A.’s west side, (Culver City, Santa Monica, Venice and West Hollywood). Most of the work for new architects is in the fields of interior design. While some factors such as the current poor economy, cultural consumerism, and a highly transitional population have conspired to waste precious architectural talent on empty and short-lived remodeling gigs, other factors such as population pressures and the need for historical preservation work together to move architectural consideration toward the new and relatively unexplored study of Urban Sustainability.

With the average Californian’s new introspection on the need for renewable resources, and sustainable living the architectural style in Los Angeles promises to change again in a major direction that will blends eco-sustainable urban living with more organic contemporary designs (for new buildings) and wholesale Green Conversion of the more historical buildings.  We may in the future end up with a city that resembles more closely the legendary hanging gardens of Babylon than Main Street USA.

Additional References:

Archiplanet: Los Angeles

Chronology of Architecture in Los Angeles

Document LA

Year:	Stylistic Period:Style	Architect:	Example:
1780	Spanish Colonial	Felipe de Neve	Pueblo de Los Angeles
1820	Spanish Neo-Classical Minimalist		La Iglesia de Nuestra Señora Reina de los Angeles, Mission San Fernando Rey de España, Mission San Gabriel Arcángel
1869	Eastern Styles: Italianate	Ezra Kysor	Pio Pico House Hotel
1877	Eastern Styles: Mansard		Shaw House
1894	Eastern Styles: Queen Anne		Wright-Mooers House
	Eastern Styles: Victorian	Bradbeer & Ferris
	Eastern Styles: Victorian	Ernest Coxhead
	Eastern Styles: Victorian	Seymour Locke
	Eastern Styles: Victorian	Merithew and Ferris
	Eastern Styles: Victorian	Joseph Cather Newsome
	Eastern Styles: Victorian	W.F. Norton
	Eastern Styles: Victorian	A.N.W. Parkes
	Eastern Styles: Victorian	Harry Ridgeway
1893	Eastern Styles: Richardson Romanesque	H.H. Richardson	Stimson Block, Stimson House,
1901	Eastern Styles: Richardson Romanesque	H.H. Richardson	Holliston Avenue Methodist Church
1910	Eastern Styles: Beau-Arts	Hudson and Munsell	Museum of Natural History
1925-1933	Eastern Styles: Beau-Arts	John C. Austin	Griffith Observatory, Los Angeles City Hall, and the Shrine Auditorium.
1923-1924	Eastern Styles: Beau-Arts	Robert Farquhar	William Andrews Clark Memorial Library, The Paramour Mansion
	Eastern Styles: Beau-Arts	Morgan, Walls & Clements
	Eastern Styles: Beau-Arts	Walker & Eisen
1902	Mission Revival	A.B. Benton	Mission Inn- Riverside
	Mission Revival	Irving J. Gill
	Mission Revival	Sumner Hunt
	Mission Revival	Lester S Moore
	Mission Revival	Frederick Louis Roehrig
	Arts and Crafts	Joseph J Blick
	Arts and Crafts	Irving J Gill
	Arts and Crafts	Charles and Henry Greene
	Arts and Crafts	Arthur S & Alfred Heineman
	Arts and Crafts	Sylvanus Marston
	Arts and Crafts	Ross Montgomery
	Arts and Crafts	Frederick Louis Roehrig
1925	Mission Revival: Mediterranian	George Washington Smith	Baldwin House
	Mission Revival:	Allison & Allison
	Mission Revival:	John Byers
	Mission Revival:	Roland Coate
	Mission Revival:	Elmer Grey
	Mission Revival:	Myron Hunt
	Mission Revival:	Reginald Johnson
	Mission Revival:	Gordon B. Kaufmann
	Mission Revival:	Marston, Van Pelt, & Maybury
	Mission Revival:	Ross Montgomery
	Mission Revival:	Wallace Neff	Libby Ranch, Pickfair Estate
	Mission Revival:	Parkinson & Parkinson
	Mission Revival:	Irving J. Gill	Dodge House
	Art Deco	Arthur E. Harvey	Selig Retail Store
1927	International Style	Rudolph M. Schindler	Kings Road House, Pueblo Ribera Court, Lovell Beach House, Wolfe House, and How House, Manola Court, Oliver House, Buck House, Rodakiewicz House, Bubeshko Apartments, Mackey Apartments, Goodwin House
1919	American Modernist	Frank Lloyd Wright	Hollyhock House
1929	International Style: American Modernism	Richard Neutra	Lovell Apartments
1865	International Style: American Modernism	Craig Ellwood	Kubly House
1949	International Style: Expressionist	John Lautner	l'Horizon Apartments
1963	International Style: Expressionist	Edward D. Stone	Beckman Auditorium
1985	Postmodern	Frank O. Gehry	Chiat-Day-Mojo Building
1984	Postmodern	Richard Meier	J. Paul Getty Center for the Arts
	Postmodern	Mark Mack	Mack House
1982	Postmodern	Charles W. Moore	St. Matthew's Episcopal Church
1947	International	Gregory Ain	Mar Vista Tract Housing
	International	Charles & Ray Eames
1976	International	Craig Ellwood	Art Center College of Design (Hillside Campus)
	International	Harwell H. Harris
	International	A. Quincy Jones	Sunnylands (Annenberg Estate)
	International	Raymond Kappe	The Benton House
1959	International	Pierre Koenig	The Stahl House
	International	Lotery/Boccato
	International	Richard Meier
	International	Richard Neutra
	International	R.M. Schindler
1936	International	Raphael Soriano	Lipitz House
	International	Smith & Williams
	Postmodern: Neo-Expressionist	Belzberg Architects
	Postmodern: Neo-Expressionist	Rebecca Binder
	Postmodern: Neo-Expressionist	Cavaedium
	Postmodern: Neo-Expressionist	Chu & Gooding
	Postmodern: Neo-Expressionist	Daly, Genik Architects
	Postmodern: Neo-Expressionist	Steven Ehrich Architects
<1969	Postmodern: Neo-Expressionist	Wilton Becket (Ellerbe Becket)	Capitol Records Building, Cinerama Dome, Pan-Pacific Auditorium, Los Angeles Music Center (including the Dorothy Chandler Pavilion), Pauley Pavilion, UCLA, Beverly Hilton Hotel, Parker Center
	Postmodern: Neo-Expressionist	Frederick Fisher & Partners
	Postmodern: Neo-Expressionist	Frank O. Gehry and Associates
	Postmodern: Neo-Expressionist	Gensler Architecture
1978	Postmodern: Neo-Expressionist	Bruce Goff	Japanese Art Pavilion at the Los Angeles County Museum of Art.
	Postmodern: Neo-Expressionist	David Lawrence Gray
	Postmodern: Neo-Expressionist	Melinda Gray
	Postmodern: Neo-Expressionist	Grinstein/Daniels Architects
	Postmodern: Neo-Expressionist	Hodgetts & Fung
	Postmodern: Neo-Expressionist	Glen Irani
	Postmodern: Neo-Expressionist	Franklin D. Israel
	Postmodern: Neo-Expressionist	John Lautner
	Postmodern: Neo-Expressionist	Johnson, Favaro
	Postmodern: Neo-Expressionist	Kanner Architects
	Postmodern: Neo-Expressionist	Koenig Eizenberg Architecture
1992	Postmodern: Neo-Expressionist	Richardo Legoretta	Pershing Square Rennovation
	Postmodern: Neo-Expressionist	Mark Mack
	Postmodern: Neo-Expressionist	Michael Maltzan
	Postmodern: Neo-Expressionist	Marmol Radziner & Associates
1988	Postmodern: Neo-Expressionist	Charles Willard Moore	Beverly Hills Civic Center
	Postmodern: Neo-Expressionist	Morphosis
	Postmodern: Neo-Expressionist	Eric Owen Moss
	Postmodern: Neo-Expressionist	I.M. Pei
1975-1988	Postmodern: Neo-Expressionist	Cesar Pelli	Pacific Design Center, 777 Tower
	Postmodern: Neo-Expressionist	Pugh & Scarpa
	Postmodern: Neo-Expressionist	Michael Rotondi
	Postmodern: Neo-Expressionist	Hak Sik Son
	Postmodern: Neo-Expressionist	Syndesis (David Hertz)
	Postmodern: Neo-Expressionist	Venturi, Scott-Brown & Associates
	Postmodern: Neo-Expressionist	Mehrdad Yasdani
1989	Beau-Arts	Lawrence Halprin	Bunker Hill Steps

© 2010, Secret History X. All rights reserved. On republishing this post you must provide link to the original post.

King Argenteus of Tartessos

This king, whose name is rendered in a variety of ways, is credited by ancient historians with a lifespan of 120 years. According to Herodotus, King Arganthonios ruled Tartessia for 80 years, from 630 BC to 550 BC. It is probable that he is thus credited with this longevity due to a the fact that is name is a title rather than a proper name, and the historians inadvertently credited one man with the works of several generations of kings.

What is certain is that the Biblical kingdom of Tartessos was ruled by this proto-Iranian/Gaelic King  from a capital city  located beyond the Straits of Gibraltar on the southwest corner of the Iberian Peninsula. The prophet Jonah attempted to flee from God’s command by escaping in the hold of a ship that was bound for the capital city of Tartessos (as far away from Nineveh as he could get). After an agonizing journey in the rough waters of the Mediterranean, he was discovered as a stowaway (no doubt while he was barfing from seasickness) and put off on shore.

This King of Kings held mining concerns in Spain, Cornwall, and Wales, with vast trade networks that spanned the Globe. (No small feat for kings in the millenia before the common era). The precious metals and coinage that were exported from his kingdom eventually brought about the collapse of the Persian monetary system. The bible and other ancient histories tell of rich fabrics, leather, peacocks, ivory and exotic foods and spices that were provided to the ancient world via the “Ships of Tartessos“.

This Gaelic king ruled a highly literate population, spoke a language that seems to be some sort of hybrid of the several major languages in extant at the time. I am willing to bet that the tradesmen of this Kingdom/Empire of Tartessos, based as it was on maritime trade, originated of many of the earliest maps that showed not only the coast lines of other continents (including Africa, and north/south America), but showing them with such incredible detail and accuracy that during the middle ages many of them were gathered and burned along with the gnostic scriptures and other historical documents as part of an orchestrated effort of modern Rome to conquer and subdue the peoples of Languedoc and Iberia.

Georgeos Diaz-Montexano

The jewelry depicted in the portrait of Argenteus, by artist Georgeos Díaz-Montexano , actually exists. The rest of the portrait is conjecture based upon the archeological evidence of local custom with regards to style and ethnic connections.

More on the history, culture, kings, capital cities, and records of antiquity with regard to the kingdom of Tartessos including its ties to anti-diluvean Atlantean kingdom of Dilmun and the Tainite Confederation has been authored by Mr Montexano. His research is thorough, factual and based on empirical evidence rather than the radical emotionalism and religious fervor that traditionally accompany other assertions and theories regarding the location of the elusive “Island of Atlantis.”

© 2009, Secret History X. All rights reserved. On republishing this post you must provide link to the original post.