{"id":172369,"date":"2023-06-21T08:44:31","date_gmt":"2023-06-21T12:44:31","guid":{"rendered":"http:\/\/stateofthenation.co\/?p=172369"},"modified":"2023-06-21T08:48:41","modified_gmt":"2023-06-21T12:48:41","slug":"the-sordid-history-of-the-systematic-pornification-of-the-world-by-the-the-khazarian-cabal","status":"publish","type":"post","link":"https:\/\/stateofthenation.co\/?p=172369","title":{"rendered":"

The Sordid History of the Systematic Pornification of the World by the the Khazarian Cabal<\/span><\/b><\/h2>"},"content":{"rendered":"

\"\"<\/p>\n

\u201cThe Idol\u201d is another Khazarian pornification of the world<\/h1>\n

The Rolling Stone itself calls The Idol \u201ctorture porn.\u201d<\/h3>\n

By\u00a0Jonas E. Alexis, VT Editor<\/p>\n

If you don\u2019t think that the Khazarian Cult is no longer in the business of pornifying much of the world or turning dumb Goyim women like Lily-Rose Depp (Johnny Depp\u2019s daughter) and Jennie Kim (of the South Korean group Blackpink) into\u00a0shiksas<\/em>, then you haven\u2019t seen some of the episodes in the recent HBO drama TV series called The Idol, which was created by Sam Levinson, Abel \u201cThe Weeknd\u201d Tesfaye, and Reza Fahim. \u00a0<\/strong><\/p>\n

The Idol, according to one journal, is a \u201crape fantasy\u201d and is \u201cfrom the sick and twisted minds of the creator of Euphoria Sam Levinson and Abel \u2018The Weekend\u2019 Tesfaye<\/a>.\u201d The\u00a0Rolling Stone<\/em>\u00a0itself calls the series \u201ctorture porn.\u201d[1]<\/a>\u00a0USA Today<\/em>\u00a0calls it \u201csexist, gratuitous,\u201d \u201cexploitive,\u201d and \u201cachingly boring.\u201d It continues to say: \u201cIt uses nudity, profanity, drugs, semen, sadism, masochism, mental illness and excessive cigarette smoking in its barefaced effort to seem cool and subversive.\u201d[2]<\/a><\/p>\n

\n
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Blackpink<\/figcaption><\/figure>\n

Well, the big question again and again is simply this: haven\u2019t we seen those kinds of subversive programs? And who are the perpetrators? The problem with all the reviews by USA Today and other outlets is that they never dare to even mention who the culprits are. Fortunately, the scholarly world has been able to do that for us. Jewish scholar Nathan Abrams declares in his book\u00a0The New Jew in Film<\/em>\u00a0that \u201colder generation of Jewish filmmakers and actors, here [Woody] Allen, [Stanley] Kubrick and [Ron] Jeremy, arguably not only increased the Jewishness of their work, but updated it to match the new post-1990 sensibility by defining it in increasingly\u00a0sexualized (and pornographic) terms<\/em>.\u201d[3]<\/sup><\/a> In other words, given enough \u201cfreedom,\u201d Jewish filmmakers will almost certainly turn the film industry into pornography. Why? Keep reading.<\/p>\n

In\u00a0Stanley Kubrick: New York Jewish Intellectual<\/em>, Abrams argues that Kubrick\u2019s\u00a0A Clockwork Orange<\/em>,\u00a0Eyes Wide Shut<\/em>, etc., are essentially a projection of Kubrick\u2019s fascination with his Jewish roots and mysticism, particularly the Kabbalah.[4]<\/a>\u00a0Jewish scholar Joshua Lambert declares that Jews use pornography and most specifically obscenity \u201cto fight anti-Semitism\u2026\u201d[5]<\/sup><\/a>\u00a0He adds that people like Larry David and Sarah Silverman \u201care challenging America\u2019s powerful religious, family-friendly culture and asserting their Jewishness by glorifying obscenity.\u201d[6]<\/sup><\/a>\u00a0Back in 2004, Abrams unequivocally declared:<\/p>\n

Jewish involvement in porn\u2026is the result of an atavistic hatred of Christian authority: they are trying to weaken the dominant culture in America by moral subversion\u2026Pornography thus becomes a way of defiling Christian culture and, as it penetrates to the very heart of the American mainstream (and is no doubt consumed by those very same WASPs), its subversive character becomes more charged.[7]<\/a><\/p>\n

Abrams\u2019 work has been published by academic centers like Rutgers University Press, and no one has ever accused him of being an anti-Semite. In fact, he has gotten great accolades for writing provocative works.<\/p>\n

Even scholar Laurie Marhoefer, in her penetrating study,\u00a0Sex and the Weimar Republic: German Homosexual Emancipation and the Rise of the Nazis<\/em>, provides compelling evidence which indirectly shows that some of the key players who were surreptitiously destroying the German culture through moral corruption and degradation were largely of Jewish extraction. But Marhoefer herself would call corruption sexual freedom and democracy. A number of historians have adopted this form of \u201cdemocracy\u201d and \u201cfreedom\u201d over the years.<\/p>\n

One of those polite people who vehemently fought against the moral law and order was none other than Magnus Hirschfeld. Hirschfeld was introducing sexual liberation, which, according to Marhoefer, everyone should applaud, but the German traditionalists thought he was bringing disaster. This was one reason why Hirschfeld was vehemently browbeaten, not because the traditionalists were by nature anti-Semites. Hirschfeld attempted to use \u201cscience\u201d to perpetuate the idea that homosexuality is \u201cpurely biological, not pathological,\u201d[8]<\/a>\u00a0and that again put him in conflict with the German culture, which viewed the issue as moral and not biological.<\/p>\n

Marhoefer writes: \u201cThus laws like Germany\u2019s Paragraph 175, which banned sex between men, conflicted with science. \u2018What is natural cannot be immoral,\u2019 Hirschfeld wrote. \u2018When state and society, family and individual persist in their old prejudice against homosexual men and women, a prejudice that is based on ignorance, then injustice is done, one that has only a few parallels in human history.\u201d[9]<\/a>\u00a0Hirschfeld \u201ccalled on his allies in the new government, the Social Democrats, to quickly repeal the sodomy law. They declined to do so.\u201d Hirschfeld\u2019s Institute for Sexual Science \u201cchampioned the principle that science rather than religious morality ought to dictate how state and society responded to sexuality.\u201d[10]<\/a><\/p>\n

Cinema, then, was widely used as a form of subversion of the German culture, traditions, and more. Even Eric D. Weitz declares that during that period in Germany, \u201cMany artists, writers, directors, and composers jumped at the chance to work in the new media precisely because they signified a break with the past and provided one more way to express rejection of pre-1918 imperial Germany with its kaisers, generals, nobles, and stuffy, rigid and outmoded art academies.\u201d[11]<\/a><\/p>\n

Philo-Semitic historian Paul Johnson writes that during the 1920s in Germany, \u201cThe area where Jewish influence was strongest was the theatre, especially in Berlin. Playwrights like Carl Sternheim, Arthur Schnitzler, Ernst Toller, Erwin Piscator, Walter Hasenclever, Ferenc Molnar and Carl Zuckmayer, and influential producers like Max Reinhardt, appeared at times to dominate the stage, which tended to be modishly left-wing, pro-republican, experimental and sexually daring.\u201d[12]<\/a><\/p>\n

Again Hirschfeld (1868-1935), the father of the Gay liberation movement in Germany,[13]<\/a>\u00a0used his medical training as a pretext to promote homosexuality and, in 1897, built his own system of \u201cthe Scientific-Humanitarian Committee, the first organization anywhere devoted to the protection of homosexual rights.\u201d<\/p>\n

Hirschfeld, himself a homosexual, was also \u201cthe primary inventor of marriage counseling, Gay liberation, artificial insemination, surgical gender \u2018reassignment,\u2019 and modern sex therapy\u2026 His goofy persona and conscientiousness transformed Sexology from an anthropological curiosity into popular German science. The Berlin monthlies, starting in the mid-twenties, referred to Hirschfeld solicitously as \u2018the Einstein of Sex.\u2019\u201d[14]<\/a><\/p>\n

Hirschfeld was the Einstein of Sex because he \u201cembraced a doctrine known as \u2018sexual relativity.\u2019\u201d Hirschfeld specifically used the term \u201cracism\u201d to attack the sexual order. One of the central forces of the sexual order is that if the next generation is to survive, men and women ought to be married and produce children. A homosexual act, by definition, is a hindrance to civilization precisely because it inexorably leads to all sorts of social and medical problems. While homosexuals ought to be free to practice their lifestyle in private\u2014after all, isn\u2019t a sexual act a private matter?\u2014they should not seek to subvert the sexual order by trying to change the laws which are based on the natural order.<\/p>\n

Hirschfeld indeed was a sex expert and surely he understood what was at stake. While the natural order makes it clear that there are only two sexes\u2014male and female\u2014Hirschfeld postulated another doctrine, one more congruent with his revolutionary ideology. Hirschfeld \u201cwrote that it was \u2018unscientific\u2019 to speak of two sexes. Between \u2018full man\u2019 and \u2018full woman\u2019 was an infinite string of sexual\/gender possibilities.\u201d[15]<\/a>\u00a0Hirschfeld spent a large part of his 1200-page book\u00a0The Homosexuality of Men and Women\u00a0<\/em>deconstructing the sexual order.[16]<\/a><\/p>\n

Hirschfeld was the Alfred Kinsey of his day and actually put his doctrines into practical use.[17]<\/a>\u00a0This began to take place in 1919 when Hirschfeld opened the Institute of Sexology in Berlin. Jewish scholar Mel Gordon of the University of California tells us that the institution \u201cquickly became one of the city\u2019s most curious attractions. The Institute\u2019s buildings, including a former mansion, were divided into areas for lectures, consulting offices, study rooms, laboratories, medical clinics, and a museum space devoted to sexual pathology.\u201d[18]<\/a><\/p>\n

Paul Johnson commented, \u201cThe Foxtrot and short skirts, the addiction of pleasure in \u2018the imperial sewers of Berlin,\u2019 the \u2018dirty pictures\u2019 of sexologist Magnus Hirschfeld or the typical man of the times took on in the mind of the average citizen a repugnance that is difficult to recall in hindsight without some historical effort. In a number of highly celebrated provocations, the stage of the \u201820s dealt with topics like patricide, incest, and other crimes and the deepest inclination of the times tended to self-mockery.\u201d[19]<\/a><\/p>\n

When Hirschfeld was spreading the gospel of sexual liberation throughout Germany, he was attacked by a number of Nazi students, \u201cprompting the publisher of his autobiography to remark that the \u2018Nazis had chosen him from the very beginning as a symbol over everything they hated, and it was Hitler himself, who, after the fascist students attacked Hirschfeld in Munich in 1920 and left him badly injured, declared him in many public speeches as the very epitome of the repulsive Jew and the enemy of the German people.\u2019\u201d[20]<\/a><\/p>\n

Six years later, Hirschfeld spread the sexual revolution in Russia under Stalin and hailed it as \u201cmarital bolshevism.\u201d[21]<\/a>\u00a0Historian Otto Friedrich does not believe that Hirschfeld was taken seriously and therefore achieved next to no \u201cnotable goal,\u201d but argues that his work was \u201ca classic of pseudo-scientific pornography.\u201d[22]<\/a><\/p>\n

This \u201cpseudo-scientific pornography\u201d was projected onto the German culture and turned Berlin in particular into what Jewish homosexual writer and drug addict Klaus Mann (1906-1949) would have called \u201cSodom and Gomorrah\u201d and \u201cthe circus of perversities.\u201d[23]<\/a>\u00a0Starvation and moral devastation were so bad that \u201cgirls of twelve or fourteen prostituted themselves after school with their parents\u2019 approval. Illegitimate births had already increased to 22 percent of all births by 1917 (as compared to 5.4 percent in London at the same time) and illegitimate infant mortality soared to an extraordinary 300 per thousand by 1920.\u201d[24]<\/a><\/p>\n

Obviously these were serious problems, but they were just the tip of the iceberg: \u201cEvery kind of sexual perversion was catered to and hotels like the Excelsior and the Adlon hired \u2018in house\u2019 male and female prostitutes to entertain the guests. As things grew increasingly dire Berlin threw itself into an orgy of dancing, drinking, and pornography and prostitution with\u00a0je m\u2019en fous<\/em>\u00a0being the order of the day.\u201d[25]<\/a>\u00a0For most Berliners, the city itself \u201cwas a living hell.\u201d[26]<\/a>\u00a0This \u201cliving hell\u201d was coming from what David Clay Large calls the \u201cSpree-Babylon\u201d in Berlin.[27]<\/a>\u00a0It was these issues that \u201cultimately made Hitler\u2019s rise to power possible.\u201d[28]<\/a><\/p>\n

Many popular historians, even though they discuss the Weimar Republic, seem to stay away from addressing these historical issues,[29]<\/a>\u00a0obviously because these issues are pregnant with meaning. For example, Julia Roos of the University of Indiana writes that \u201cThe Nazi attacks on Jews for their alleged control of the white slave trade was effective because it appealed to common anti-Semitic beliefs.\u201d[30]<\/a><\/p>\n

This was not an anti-Semitic belief at all. As Jewish historian Edward J. Bristow meticulously documents in\u00a0Prostitution and Prejudice: The Jewish Fight Against White Slavery 1870-1939<\/em>, Jews played a disproportionate role in sex slavery in the nineteenth and twentieth centuries. Bristow begins the book by saying: \u201cBetween 1880 and 1939, the Jews played a conspicuous role in \u2018white slavery,\u2019 as the commercial prostitution of that era was dramatically called. Not only was this Jewish participation conspicuous, it was historically unprecedented, geographically widespread, and fraught with collective political danger.\u201d[31]<\/a><\/p>\n

The prostitution business ranged from \u201calmost all parts of North and South Africa, to India, China, Japan, Philippine Islands, North and South America, and also to many of the countries of Europe\u201d where \u201cYiddish speaking Jews are maintaining a regular flow of Jewesses, trafficked solely for the purpose of prostitution.\u201d[32]<\/a>\u00a0In the late 1860s, there was a small Jewish population in Paris, and it was well known that Jews were disproportionately involved in prostitution there. In fact, \u201cJewish prostitutes were familiar enough in Paris to have served as the basis for something of a literary convention.\u201d[33]<\/a>\u00a0In 1907, the\u00a0London Jewish Chronicle\u00a0<\/em>noted that \u201calmost every populous centre of Europe and America gives evidence of the extent to which Jewesses immolate themselves to the Moloch of illicit being.\u201d[34]<\/a><\/p>\n

There were Jewish pimps looking for \u201cthe livelihoods that were impossible in Russia, Romania, and Galicia [a region of east central Europe; part of Austria, then Poland, and now Ukraine]\u201d in places like East Africa, Bulgaria, Bosnia, Greece, Turkey, Lebanon, Egypt, India, Ceylon, China, Manchuria, the Philippines, South Africa, Rhodesia, and even Mozambique.[35]<\/a>\u00a0Bristow writes: \u201cPolice data for Alexandria in 1903 show that between 70 and 80 per cent of the prostitutes in tolerated houses there were Jewish women from Galicia, Bukovina, and Romania. At that time the Austrian Consul in the city arranged for the deportation of twenty-two Austrian and Romanian procurers, many of them well-known in the craft, individuals like Israel Klopper of Rio and Joseph Stark, who turns up in the 1915 Constantinople police raid.\u201d[36]<\/a><\/p>\n

Rudolph, a Jew who converted to Christianity at the time, wrote that many of the Jewish women came voluntarily.[37]<\/a>\u00a0Constantinople in the mid-1870s had a colony of Ashkenazi Jewish families who were \u201cinvolved in commercial vice and it was an entrepot for all points east. According to the Anti-White-Slavery Committee at Alexandria, whose president was the Jewish notable Baron Jacques de Menasce, the \u2018customary itinerary\u2019 from Europe was \u2018Alexandria, Cairo or Port Said, Bombay, Colombo, Singapore, Saigon, Hong Kong, and Shanghai.\u2019\u201d[38]<\/a><\/p>\n

In 1862, when residence restrictions against Jews were removed in Warsaw, Poland, Jews fled to the prostitution business, which became commercial vice in the centre of Warsaw.\u201d[39]<\/a>\u00a0By 1889, there was a \u201cprevalence of Jewish brothel-keepers in Warsaw,\u201d where census data proved that between sixteen and nineteen whore houses were run by Jewish women.[40]<\/a>\u00a0Keep in mind that the Jewish population has never been more than four percent in those areas. In 1889, the disproportionate number of Jewish women who ran brothels in Kherson province was stunning\u2014of the 36 licensed brothels there, 30 of them were run by Jewish women.[41]<\/a>\u00a0Similar data was shown to be true by 1910 in Russia.[42]<\/a>\u00a0This was also true in America, where the American Consul declared that \u201cthe whole business of prostitution is almost exclusively in the hands of Jews.\u201d[43]<\/a><\/p>\n

By the end of the nineteenth century, a rabbinical court was established in Warsaw among certain Jewish groups to \u201csettle disputes between pimps.\u201d[44]<\/a>\u00a0But by 1905, a number of Polish rioters took the issue further. \u201cFor three days they rampaged through brothels, looting and destroying furniture, knifing, beating, and defenestrating pimps and prostitutes.\u201d[45]<\/a>\u00a0Obviously Jewish participation in sex trafficking gave rise to anti-Jewish reactions. Anti-Jewish attitudes continued in the year 1882 and beyond.[46]<\/a><\/p>\n

The mob knew of the undercover work of Jews such as Adolph Weissmann, Sigmund Reicher, Hersch Gottlieb, and Israel Klopper, who were very instrumental in establishing colonies of brothels in South America around the year 1879.[47]<\/a>\u00a0Scholar Sietske Altink laments that \u201cJewish trafficking in women,\u201d among other things, increased feelings of anti-Semitism. The Zwi Migdal society was considered to be \u201cthe largest and most organized example of Jewish trafficking\u201d in Argentina.[48]<\/a>\u00a0On some occasions anti-Jewish representatives would wait \u201cat railway stations to catch traffickers in the act.\u201d[49]<\/a><\/p>\n

In the early 1900s, Buenos Aires, Argentina, had a surplus of Jewish prostitutes and traffickers. People such as Bercia Bleiberg, Mottl Kerner, Friede Willinsberg, the Cohen family, the Rosenberg family, the Goldenbergs, the Goldstein brothers, and Jacob Zabladovitch had all come to Buenos Aires to open up brothels; some, like the Bleibergs, had to work part-time as house painters because of the competitive market.[50]<\/a><\/p>\n

Adolf Hitler witnessed Jewish traffickers and prostitutes while in Vienna and then declared: \u201cIn no other city of Western Europe could the relationship between Jewry and prostitution\u2026be studied better than in Vienna\u2026An icy shudder ran down my spine when seeing for the first time the Jew as an evil, shameless and calculating manager of this shocking vice, the outcome of the scum of the big city.\u201d[51]<\/a>\u00a0Richard J. Evans objects to Hitler condemning what Evans calls \u201cWeimar\u2019s vibrant culture\u201d and the \u201csexual freedom\u201d as \u201cdegenerate.\u201d[52]<\/a>\u00a0But Hitler was right this time.<\/p>\n

In short, Julia Roos was wrong about the people behind sex trafficking in the 1920s. Bristow\u2019s study was published by Oxford University Press in 1982, and was later released by Schocken Books in 1983. Roos should have interacted with Bristow\u2019s work, but she never did throughout her book. Others do not even dare to mention the deep forces that were dragging the German culture into a moral sinkhole through the arts. Bram Dijkstra of the University of California wrote in\u00a0Idols of Perversity<\/em>\u00a0that \u201cThere is no more accurate documentation of the manner in which a culture perceives its moral and social mission than in the works of visual art it produces.\u201d[53]<\/a><\/p>\n

Thinkers throughout the ages have been saying the same thing. Plato himself talked about this extensively in his work\u00a0Laws<\/em>. Dostoyevsky also understood this principle. He argued that there is a symbiotic and implicit relationship between real life and art. Friedrich Nietzsche again understood what Dostoyevsky was getting at. In fact, Nietzsche saw that art and visual images would bring about what he called the\u00a0transvaluation or reevaluation of all values<\/em>.[54]<\/a>\u00a0Nietzsche understood that without a moral plumb line, the Dionysian sexual revolution will inexorably follow. Nietzsche wrote in the\u00a0Birth of Tragedy<\/em>:<\/p>\n

The central concern of such [Dionysian] celebrations was, almost universally, a complete sexual promiscuity overriding every form of established tribal law; all the savage urges of the mind were unleashed on those occasions until they reached the paroxysm of lust and cruelty which has always struck me as the \u2018wit<\/a>ches\u2019 cauldron\u2019 par excellence.[55]<\/a><\/p>\n

Nietzsche died in 1900, and he never witnessed the transvaluation of all values which he longed for. But eighteen years after his death, the transvaluation of all values began to take place through the arts. Revolutionaries like Grosz began to produce perversions in the form of art and sexual liberation. Harvard scholar Maria Tatar writes in\u00a0Lustmord: Sexual Murder in Weimar Germany<\/em>:<\/p>\n

George Grosz, who painted more than his share of what he called \u201cladykillers\u201d (in the literal sense of the term) and of their mutilated victims, once had himself photographed in the pose of Jack the Ripper. Menacing his victim with a knife pointed at her genitals, he transforms himself from the creative artist who frames, contains, and appropriates the seductive appeal of his model into a murderer prepared to destroy the source of male heterosexual desire and of artistic inspiration.[56]<\/a><\/p>\n

Tatar moves on to say: \u201cThat Grosz not only drew and painted mutilated female corpses but also felt compelled to\u00a0act out<\/em>\u00a0the role of murderer seems telling, particularly when we consider that there was a real erotic tie between the Grosz in the photograph and his model.\u201d[57]<\/a>\u00a0Grosz, Tatar suggests, was waging a \u201cviolent\u201d war against aesthetic. \u201cClassic nude studies, street scenes showing prostitutes haggling with their clients over price, brothel settings, and domestic vignettes might seem artificially prudish without exposed bodies. But in leafing through Grosz\u2019s oeuvre, the regularity with which the bare female body is presented in grotesque detail is astonishing.\u201d[58]<\/a><\/p>\n

Grosz was essentially \u201cde-forming<\/em>\u00a0naked bodies,\u201d which in the end turned out to be \u201crepulsive.\u201d[59]<\/a>\u00a0Like Alan Moore who uses pornography as a weapon,[60]<\/a>\u00a0Grosz, according to some critics, was breaking down \u201cthe barriers between the \u2018secret\u2019 realm of pornography and the public realm of high art.\u201d[61]<\/a>\u00a0Grosz himself declared: \u201cWe worshiped Zola, Strindberg, Weininger, Wedekind\u2014naturalistic enlighteners, anarchistic self-tormenters, devotees of death, and erotomaniacs.\u201d[62]<\/a>\u00a0Grosz\u2019s prevailing maxim? \u201cPeople are swine.\u201d[63]<\/a>\u00a0Tartar declares that Grosz began to see himself as a person who is possessed by satanic forces at the age of fourteen.[64]<\/a><\/p>\n

In short, \u201cGrosz reveals himself to be what Angela Carter has called the \u2018pornographer as terrorist.\u2019\u201d[65]<\/a>\u00a0Grosz\u2019s work, in Tatar\u2019s own word, was \u201csubversive.\u201d[66]<\/a>\u00a0In a similar vein, Otto Dix, Grosz\u2019s revolutionary partner, immediately started a sort of aesthetic war right after World War I was over. \u201cWhat we find in Dix\u2019s postwar artistic production might be called a continuation of war by other means and with a very different adversary. It is as if the war functioned as an event that released the creative energies of artists and legitimized the representation of brutal violence directed at the female enemy on the domestic front rather than the male adversary on the military battlefield.\u201d[67]<\/a><\/p>\n

Dix\u2019s\u00a0Walpurgis Night<\/em>\u00a0(1914), says Tatar, is a classic representation of \u201cerotic energy with demonic sexuality,\u201d and \u201cthe drawing represents both female sexuality as both seductive and threatening.\u201d[68]<\/a>\u00a0It was threatening because it is full-blown pornography. Tartar agrees that Dix\u2019s\u00a0Walpurgis Night<\/em>\u00a0displays \u201ca pagan fertility rite at the site of a licentious, self-indulgent orgy.\u201d[69]<\/a><\/p>\n

Dix himself admitted that he was essentially waging a war on the German culture and ultimately on Logos. \u201cIn the final analysis,\u201d Dix pronounced, \u201call wars are waged over and because of the vulva.\u201d[70]<\/a>\u00a0Dix\u2019s\u00a0Flares\u00a0<\/em>(1917),\u00a0Sexual Murder<\/em>\u00a0(1922),\u00a0Portrait of the Painter Karl Schwesig with His Model<\/em>\u00a0(1925),\u00a0Metropolis<\/em>\u00a0(1927-1928),\u00a0The Seven Deadly Sins<\/em>\u00a0(1933), were all aesthetic weapons which were directly aimed at the moral fabric of Germany. And Berlin was the site \u201cof a battlefield on which men surrender to a squalid life of mute passivity and a demeaning death. Berlin as Whore of Babylon, as the incarnation of voracious sexuality, was precisely what captured Dix\u2019s imagination.\u201d[71]<\/a><\/p>\n

But Tatar, like many cultural historians and writers of the Weimar Republic,[72]<\/a>\u00a0dares not to mention that Grosz and Otto Dix, among others, were Jewish revolutionaries whose intellectual antecedents have been waging war against the West since the dawn of the Christian movement.[73]<\/a>\u00a0Tatar seems to avoid this issue obviously for political reasons. Jewish scholar Josh Lambert could have easily be spoken to people like Tatar when he writes in\u00a0Unclean Lips<\/em>:\u00a0Obscenity, Jews, and American Culture:<\/em><\/p>\n

Cultural and legal historians and literary scholars who have studied literary obscenity in the United States and England have tended to avoid the question of the relationship of Jewishness to their subject. Not wanting to reproduce the nativist anti-Semitism of Comstock and other antivice crusaders or to provide support for the racist claims about Jewish sexuality trumpeted by avowed anti-Semites, serious scholars of American law and culture tend not to dwell on the Jewishness of so many of the figures who played key roles in the history of obscenity and pornography in the United States, even while these same scholars do attend scrupulously to the religious and ethnic affiliations of Protestants and Catholics. Jewishness is typically mentioned in the finest books on this subject only when it is raised unavoidably by the participants themselves, and scholars then typically eschew any commentary.[74]<\/sup><\/a><\/p>\n

Nazi Germany quickly placed the graphic paintings of George Grosz, Jankel Adler, Rudolf Bauer, Cesar Klein, Max Pechstein, Ludwig Meidner, Otto Dix, Rudolf Schlichter, among dozens of others, under the heading of \u201cdegenerate art\u201d because of their pornographic imageries. These people were part of what came to be known as \u201cthe new objectivity,\u201d which art historians have now referred to as Post-Expressionism.[75]<\/a>\u00a0Art should be an expression of beauty, and the classical or traditional definition of beauty is the splendor of the truth.\u00a0 Throughout his own work, Gordon tells us how the Weimar Republic sought to refashion Germany through sexual revolution.[76]<\/a><\/p>\n

In short, from a scholarly standpoint, it is undeniable that the Khazarian Industry and Mafia have involved in pornography precisely to destroy the moral and social order. In fact, it has historically been argued that they are the enemy of the moral and social order. So, what we are seeing in the new HBO project called The Idol is nothing new at all.<\/p>\n

\"\"<\/a><\/p>\n

The\u00a0Hollywood Reporter<\/em>\u00a0itself has said that \u201cThe dark drama\/entertainment industry satire has been controversial for both its onscreen depictions of sex and debauchery.\u201d[77]<\/a>\u00a0Evie\u00a0<\/em>magazine declares that the Idol is \u201cdevoid of genuine creativity or meaningful storytelling,\u201d and that it \u201cisn\u2019t worth anyone\u2019s time.\u201d[78]<\/a>\u00a0Evie\u00a0<\/em>moves on to say that is also the case \u201cwith Sam Levinson\u2019s Euphoria\u2026\u201d[79]<\/a><\/p>\n

The magazine continues, \u201cThe series did nothing but deliver disturbing content full of sex and violence that serves no purpose other than to shock the audience. There\u2019s a difference between highlighting the behind-the-scenes abuse that happens in the entertainment industry and romanticizing it, and it\u2019s unfortunate The Idol resorted to the latter.\u201d[80]<\/a>\u00a0Here is Sam Levinson\u2019s take on the whole issue:<\/p>\n

\u201cIt\u2019s funny, sometimes things that might be revolutionary are taken too far. We live in a very sexualized world. I can\u2019t speak to other countries, but especially in the States, the influence of pornography is really strong in terms of the psyche of young people. And we see this in pop music, and how it sort of reflects the kind of underbelly of the internet.\u201d[81]<\/a><\/p>\n

In other words, Levinson thinks he is just a reporter!<\/p>\n

Well, who has been coming up with crazy ideas like this? Who has been trying to subvert the moral and social order since the beginning of time? The Chinese? The Japanese? The North Koreans? The simple fact is that Levinson\u2019s revolutionary brethren has been at war with the moral order and by extension with everyone who upholds the moral order for generations, and I have described this phenomenon in two studies:\u00a0Christianity and Rabbinic Judaism<\/em>\u00a0(Vol.I), and\u00a0Kevin MacDonald\u2019s Metaphysical Failure<\/em><\/a>.<\/p>\n

[1]<\/a>\u00a0Cheyenne Roundtree, \u201c\u2018The Idol\u2019: How HBO\u2019s Next \u2018Euphoria\u2019 Became Twisted \u2018Torture Porn,\u2019\u201d\u00a0Rolling Stone<\/em>, March 1, 2023.<\/p>\n

[2]<\/a>\u00a0Kelly Lawler, \u201cReview: HBO\u2019s \u2018The Idol\u2019 is sexist, gratuitous, exploitative \u2026 and achingly boring,\u201d\u00a0USA Today<\/em>, June 9, 2023.<\/p>\n

[3]<\/a>\u00a0Nathan Abrams,\u00a0The New Jew in Film: Exploring Jewishness and Judaism in Contemporary Cinema<\/em>\u00a0(New Brunswick: Rutgers University Press, 2012), 72.<\/p>\n

[4]<\/a>\u00a0Nathan Abrams,\u00a0Stanley Kubrick: New York Jewish Intellectual<\/em>\u00a0(New Brunswick: Rutgers University Press, 2018), chapter 5.<\/p>\n

[5]<\/a>\u00a0Josh Lambert, \u201c\u2018Dirty Jews\u2019 and the Christian Right,\u201d Haaretz,\u00a0<\/em>March 2, 2014.<\/p>\n

[6]<\/a>\u00a0Ibid.<\/p>\n

[7]<\/a>\u00a0Nathan Abrams, \u201cTriple-exthnics,\u201d\u00a0Jewish Quarterly<\/em>, Winter 2004.<\/p>\n

[8]<\/a>\u00a0Laurie Marhoefer,\u00a0Sex and the Weimar Republic: German Homosexual Emancipation and the Rise of the Nazis\u00a0<\/em>(Toronto: University of Toronto Press, 2015), 4.<\/p>\n

[9]<\/a>\u00a0Ibid.<\/p>\n

[10]<\/a>\u00a0Ibid.<\/p>\n

[11]<\/a>\u00a0Eric D. Weitz,\u00a0Weimar Germany: Promise and Tragedy\u00a0<\/em>(Princeton: Princeton University Press, 2009), 250.<\/p>\n

[12]<\/a>\u00a0Paul Johnson,\u00a0A History of the Jews\u00a0<\/em>(New York: Harper Perennial, 1988), 479.<\/p>\n

[13]<\/a>\u00a0See for example Ralf Dose,\u00a0Magnus Hirschfeld: The Origins of the Gay Liberation Movement<\/em>\u00a0(New York: Monthly Review Press, 2014).<\/p>\n

[14]<\/a>\u00a0Mel Gordon,\u00a0Voluptuous Panic: The Erotic World of Weimar Berlin\u00a0<\/em>(San Francisco: Feral House, 2006), 153.<\/p>\n

[15]<\/a>\u00a0Ibid., 153-154.<\/p>\n

[16]<\/a>\u00a0See Magnus Hirschfeld,\u00a0The Homosexuality of Men and Women\u00a0<\/em>(New York: Prometheus Books, 2000).<\/p>\n

[17]<\/a>\u00a0Gordon,\u00a0Voluptuous Panic<\/em>, 153-163.<\/p>\n

[18]<\/a>\u00a0Ibid., 164.<\/p>\n

[19]<\/a>\u00a0Paul Johnson,\u00a0Modern Times<\/em>\u00a0(New York: HarperCollins, 1983 and 1991), 115.<\/p>\n

[20]<\/a>\u00a0E. Michael Jones,\u00a0Monsters from the ID: The Rise of Horror in Fiction and Film\u00a0<\/em>(Dallas: Spence Publishing Co., 2000), 141-142.<\/p>\n

[21]<\/a>\u00a0Ibid., 142.<\/p>\n

[22]<\/a>\u00a0Otto Friedrich,\u00a0Before the Deluge: A Portrait of Berlin in the 1920s\u00a0<\/em>(New York: Harper Perennial, 1995), 233.<\/p>\n

[23]<\/a>\u00a0David Clay Large,\u00a0Berlin<\/em>\u00a0(New York: Basic Books, 2000), 157.<\/p>\n

[24]<\/a>\u00a0Alexandra Richie,\u00a0Faust\u2019s Metropolis: A History of Berlin<\/em>\u00a0(New York: Carroll & Graf, 1998), 322-323.<\/p>\n

[25]<\/a>\u00a0Ibid., 323.<\/p>\n

[26]<\/a>\u00a0Ibid.<\/p>\n

[27]<\/a>\u00a0David Clay Large, Berlin: A Modern History (New York: Basic Books, 2000), 96.<\/p>\n

[28]<\/a>\u00a0Richie,\u00a0Faust\u2019s Metropolis,<\/em>\u00a0324.<\/p>\n

[29]<\/a>\u00a0See Mary Fulbrook,\u00a0A History of Germany, 1918-2008: The Divided Nation\u00a0<\/em>(Malden, MA: Blackwell, 2009); Detlev J. K. Peukert,\u00a0The Weimar Republic\u00a0<\/em>(New York: Hill & Wang, 1989); Peter Gay,\u00a0The Weimar Republic: The Outsider as Insider\u00a0<\/em>(New York: W. W. Norton, 2001).<\/p>\n

[30]<\/a>\u00a0Julia Roos,\u00a0Weimar Through the Lens of Gender: Prostitution Reform, Woman\u2019s Emancipation,<\/em>\u00a0and German Democracy, 1919-33<\/em>\u00a0(Ann Arbor: University of Michigan Press, 2010), 207.<\/p>\n

[31]<\/a>\u00a0Edward J. Bristow,\u00a0Prostitution and Prejudice: The Jewish Fight Against White Slavery, 1870-1939<\/em>\u00a0(New York: Schocken, 1985), 1.<\/p>\n

[32]<\/a>\u00a0Ibid.<\/p>\n

[33]<\/a>\u00a0Ibid., 20.<\/p>\n

[34]<\/a>\u00a0Ibid., 11.<\/p>\n

[35]<\/a>\u00a0Ibid., 181, 196-197.<\/p>\n

[36]<\/a>\u00a0Ibid., 192-193.<\/p>\n

[37]<\/a>\u00a0Ibid., 193.<\/p>\n

[38]<\/a>\u00a0Ibid., 182.<\/p>\n

[39]<\/a>\u00a0Ibid., 53-54.<\/p>\n

[40]<\/a>\u00a0Ibid., 55.<\/p>\n

[41]<\/a>\u00a0Ibid., 56.<\/p>\n

[42]<\/a>\u00a0Ibid., 55-56.<\/p>\n

[43]<\/a>\u00a0Ibid., 56.<\/p>\n

[44]<\/a>\u00a0Ibid., 60.<\/p>\n

[45]<\/a>\u00a0Ibid.<\/p>\n

[46]<\/a>\u00a0Ibid., 79<\/p>\n

[47]<\/a>\u00a0Ibid., 113-115.<\/p>\n

[48]<\/a>\u00a0Sietske Altink,\u00a0Stolen Lives: Trading Women in Sex and Slavery<\/em>\u00a0(London: Scarlet Press, 1995), 11-12.<\/p>\n

[49]<\/a>\u00a0Ibid., 12.<\/p>\n

[50]<\/a>\u00a0Bristow,\u00a0Prostitution and Prejudice<\/em>, 121-123.<\/p>\n

[51]<\/a>\u00a0Ibid., 84.<\/p>\n

[52]<\/a>\u00a0Richard J. Evans, \u201cBritain\u2019s Reichstag Fire moment,\u201d\u00a0Prospect Magazine<\/em>, August 29, 2019.<\/p>\n

[53]<\/a>\u00a0Bram Dijkstra,\u00a0Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Si<\/em>\u00e8cle Culture\u00a0<\/em>(New York: Oxford University Press, 1986), 6.<\/p>\n

[54]<\/a>\u00a0See E. E. Sleinis,\u00a0Nietzsche\u2019s Revaluation of Values: A Study in Strategies<\/em>\u00a0(Urbana and Chicago: University of Illinois Press, 1994); Julian Young, Friedrich Nietzsche: A Philosophical Biography<\/em>\u00a0(Cambridge: Cambridge University Press, 2010); E. Michael Jones,\u00a0Dionysos Rising: The Birth of the Cultural Revolution Out of the Spirit of Music\u00a0<\/em>(San Francisco: Ignatius Press, 1994), chapter 2.<\/p>\n

[55]<\/a>\u00a0Friedrich Nietzsche,\u00a0The Birth of Tragedy<\/em>\u00a0(New York: Doubleday, 1956), 25-26.<\/p>\n

[56]<\/a>\u00a0Maria Tatar,\u00a0Lustmord: Sexual Murder in Weimar Germany<\/em>\u00a0(Princeton: Princeton University Press, 1995), 4.<\/p>\n

[57]<\/a>\u00a0Ibid., 6; emphasis in original.<\/p>\n

[58]<\/a>\u00a0Ibid., 100-101.<\/p>\n

[59]<\/a>\u00a0Ibid., 101; emphasis in original.<\/p>\n

[60]<\/a>\u00a0See Todd A. Comer and Joseph Michael Sommers,\u00a0Sexual Ideology in the Works of Alan Moore: Critical Essays on the Graphic Novels<\/em>\u00a0(Jefferson, NC: McFarland and Company, 2012).<\/p>\n

[61]<\/a>\u00a0Tatar,\u00a0Lustmord<\/em>, 102.<\/p>\n

[62]<\/a>\u00a0Ibid., 103.<\/p>\n

[63]<\/a>\u00a0Ibid., 104.<\/p>\n

[64]<\/a>\u00a0For further details, see\u00a0Kevin MacDonald\u2019s Metaphysical Failure<\/em>.<\/p>\n

[65]<\/a>\u00a0Ibid., 113.<\/p>\n

[66]<\/a>\u00a0Ibid.<\/p>\n

[67]<\/a>\u00a0Ibid., 68.<\/p>\n

[68]<\/a>\u00a0Ibid., 69.<\/p>\n

[69]<\/a>\u00a0Ibid.<\/p>\n

[70]<\/a>\u00a0Ibid., 74.<\/p>\n

[71]<\/a>\u00a0Ibid., 85.<\/p>\n

[72]<\/a>\u00a0See for example Barbara Ulrich,\u00a0The Hot Girls of Weimar Berlin<\/em>\u00a0(Los Angeles: Feral House, 2002).<\/p>\n

[73]<\/a>\u00a0See for example Ruth Langer,\u00a0Cursing the Christians?: A History of the Birkat HaMinim<\/em>\u00a0(New York: Oxford University Press, 2012); Jacob Yuval,\u00a0Two Nations in Your Womb: Perceptions of Jews and Christians in Late Antiquity and the Middle Ages<\/em>\u00a0(Berkeley: University of California Press, 2006); for similar studies, see Elliott Horowitz,\u00a0Reckless Rites: Purim and the Legacy of Jewish Violence<\/em>\u00a0(Princeton: Princeton University Press, 2006); Rodney Stark,\u00a0The Rise of Christianity: A Sociologist Reconsiders History\u00a0<\/em>(Princeton: Princeton University Press, 1996).<\/p>\n

[74]<\/a>\u00a0Josh Lambert,\u00a0Unclean Lips: Obscenity, Jews, and American Culture<\/em>\u00a0(New York: New York University Press, 2013), 10.<\/p>\n

[75]<\/a>\u00a0Dennis Crockett,\u00a0German Post-Expressionism: The Art and the Great Disorder,1918-1924<\/em>\u00a0(University Park: Pennsylvania State University Press, 1999), 1.<\/p>\n

[76]<\/a>\u00a0Gordon,\u00a0Voluptuous Panic<\/em>, 15-16, 17, 20, 21, 22, 24, 25, 44.<\/p>\n

[77]<\/a>\u00a0Scott Roxborough, \u201cCannes: Lily-Rose Depp, The Weeknd on Depicting the \u201cPornification\u201d of American Pop Culture in Sexually Explicit \u2018The Idol,\u2019\u201d\u00a0Hollywood Reporter<\/em>, May 23, 2023.<\/p>\n

[78]<\/a>\u00a0\u201cThese Scenes In \u201cThe Idol\u201d Are So Disgusting The Show Got A 9% Score On Rotten Tomatoes,\u201d\u00a0Evie<\/em>, May 24, 2023.<\/p>\n

[79]<\/a>\u00a0Ibid.<\/p>\n

[80]<\/a>\u00a0Ibid.<\/p>\n

[81]<\/a>\u00a0Ibid.<\/p>\n

___
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