The Sexual Subversion of America, Part 1 of 2
An edited abridgement of E. Michael Jones’ 2003 essay, Rabbi Dresner’s Dilemma: Torah v. Ethnos, presented with pictures and captions by Lasha Darkmoon
I never liked the title of Rabbi Dresner’s book: Can Families Survive in Pagan America? This was published in 1995 by Huntington House out of Lafayettte, Louisiana.
The Jews had prospered in America, we learn from the book, but they had paid a price for their prosperity. The chosen people seemed to flatten into normality, according to Dresner’s pessimistic view, becoming what the prophets had warned against: just like the other nations.
They had succeeded beyond their wildest dreams in assimilating and achieving success. They even succeeded in remaking American culture in the course of the 20th century in their image, but in doing that they also discovered that they were no longer Jews.
Jews, according to Dresner, have tried all things. In the process they have exhausted modernity. And they have discovered, to their chagrin, the puzzling truth that
no license has replaced the Law; no symphony, the Psalms; no country club, the synagogue; no mansion, the home; no mistress, a wife; no towering metropolis, Jerusalem; no impulse, the joy of doing a mitzvah; no man, God. (p. 329)
Samuel H. Dresner was born into an assimilationist-minded Jewish family in Chicago in 1923. He was known in high school, at the time, as obsessed with sports and girls. Before long those obsessions were replaced by a loftier obsession. At the age of 15, Dresner became acutely and painfully aware of suffering in the world around him. As a result of his vision, he turned down what would have been a lucrative career in his uncle’s dress manufacturing business and decided to become a rabbi.
Dresner did not speak Yiddish. He was not a Polish Jew. His wife Ruth comes from a family of Orthodox German Jews. You would, however, not get this impression by reading Families, which is in many ways one long invidious comparison between the Jews of America and the Jews of Eastern Europe.
Dresner felt that Jews were better off, spiritually at least, in the ghettos of Eastern Europe. Now that they had arrived in just about every sense of the word in America, he was afraid that they had become “messengers who forget the message”:
For centuries the Jews, shut up in their ghettos, perfected their souls before God and had something to say to mankind. But no one listened. Now, Jews have the ears of non-Jews on every level of society. What a tragedy if now that the gentiles are listening, the Jews have nothing to say.
Rabbi Dresner was among the first to spot trends destructive of Judaism in literature, film and radical feminism.
I remember asking him what he thought of a piece I did on Jewish/Catholic Kulturkampf, which ended with an analysis of Alan Dershowitz’s The Vanishing American Jew. My point was that the Jews were putting themselves out of business by espousing sexual liberation. Dresner agreed with what I had to say, but added that Jews didn’t like to hear others (i.e., the goyim) say it. It was an honest response, and I valued his honesty.
In another conversation, he complained about me writing about “Jewish villains” and so in response I sent him a copy of my then just released book The Medjugorje Deception, with an inscription to the effect that there were no Jewish villains in it.
“What a tragedy,” Dresner points out, “if now that the gentiles are listening, the Jews have nothing to say.” When Families appeared, this gentile was listening, because he felt that this Jew had something to say.
Dresner singles out Isaac Bashevis Singer and Woody Allen for particular condemnation because of their contemptuous attitude toward things Jewish.
In wondering why Singer is so popular among American Jews and why his portrayal of Polish Jews as sexual degenerates had evoked no protest, Dresner levels a jeremiad of biblical proportions against American Jews, a group which he feels have made a caricature out of Judaism, not only by the vulgarism and crass commercialism that pervades their communal life, but, more to the point, by too often abdicating the intellectual life of the faith to the fads of the time.
The true creed of many American Jews, especially the intellectuals, has become whatever happens at the moment to be “in”: Marxism, deconstruction, consciousness-raising, permissiveness, liberation, cults, and sexual experimentation. (pp. 190-1).
If “the traditional family is under siege” in America, it is largely because of the influence of what Dresner calls “the Hollywood crowd”, a group of people who praise “rebellion, self-fulfillment, and promiscuity” and have a “debased view of the human body and spirit.”
According to Dresner, any study of the films which got produced from 1945 to 1985 would reveal “a radical shift in values”, one which turned the world upside down: “Hollywood came to adopt a permissive, value-free attitude in the course of a few decades,” and when it went down the drain, it dragged the rest of America with it:
The underground has taken over. The avant-garde has become the man on the street. Bohemia is Broadway. The filthy jokes formerly restricted to burlesque houses and certain nightclubs are now available on films and TV for the millions. Las Vegas is no longer a city but a condition. (pp. 316-7)
3. Hollywood’s decadence and subversion of morals
Dresner’s critique of Hollywood, however, is not as pointed as it needs to be. To say that the Hollywood elite came to adopt “a permissive, value-free attitude in the course of a few decades”, from 1945 to 1985, is not only not true, it misses certain salient points.
First of all, the Hollywood elite was then, and is now, overwhelmingly Jewish. Secondly, the Jews who ran Hollywood had always had this “permissive, value-free attitude” when it came to matters venereal.
Beginning in the 1920s, the outcry against Hollywood’s subversion of morals was so great that various forms of legislation — federal, state and local — were proposed as an antidote.
As a way of heading off this legislation, Hollywood’s Jews in 1934 entered into a voluntary agreement with the Legion of Decency, a Catholic operation. That agreement was known as the Production Code. The Catholics forced the issue by organizing boycotts at a time when the film industry was reeling from the effects of the stock market crash and their heavy indebtedness to the nation’s banks.
The most memorable and most effective boycott was organized by Cardinal Dougherty of Philadelphia, who forbade that city’s Catholics from watching movies in the city’s movie houses, which at the time were largely owned by Warner Brothers. His efforts created a situation in which Warner Brothers was losing $175,000 a week at the height of the depression.
The man who ran the Production Code office for the next 20 years was a Catholic by the name of Joseph I. Breen, a man who had no illusions about the attitudes of the Hollywood elite during the early 1930s:
They are simply a rotten bunch of vile people with no respect for anything beyond the making of money. . . . Here [in Hollywood] we have Paganism rampant and in its most virulent form. Drunkenness and debauchery are commonplace. Sexual perversion is rampant . . . any number of our directors and stars are perverts. . . . These Jews seem to think of nothing but moneymaking and sexual indulgence. The vilest kind of sin is a common indulgence hereabouts and the men and women who engage in this sort of business are the men and women who decide what the film fare of the nation is to be. They and they alone make the decision. Ninety-five percent of these folks are Jews of an Eastern European lineage. They are, probably, the scum of the earth (Gregory D. Black, Hollywood Censored, p. 70).
4. Jews dominate Hollywood, but you mustn’t mention it
The immigrant Jews who created Hollywood’s major studios were followed by another generation of Jews who founded the nation’s major TV networks — William Paley’s CBS, David Sarnoff’s NBC, and Leonard Goldenson’s ABC.
Today, about two-thirds of leading TV and movie producers are Jewish. Four of the five companies that dominate American entertainment are run by Jews: Gerald Levin, who once considered a rabbinic career, runs Time Warner, Michael Eisner runs Disney, Mel Karmazin and Sumner Redstone run Viacom-CBS, and the Bronfmans run Universal.
This fact is rarely discussed in the mainstream media because Jews control that as well.
When British journalist William Cash wrote about Jewish control of Hollywood in the October 1994 issue of the Spectator, Hollywood and its academic support troops reacted with a rage verging on hysteria.
In the November 13, 1994 issue of Los Angeles Times, Neal Gabler attacked Cash’s article as “an anti-Semitic bleat from a reactionary crackpot” which could have been dismissed out of hand “if it didn’t have a respectable platform in the Spectator and didn’t play to a pre-existing prejudice—that Jews control the US media.”
Neal Gabler, it should be noted, is the author of An Empire of their Own: How Jews Created Hollywood. Gabler, in other words, was attacking Cash for saying precisely what Gabler had already said in his own book.
According to Cash:
That every major studio head is Jewish today is no different from 60 years ago. “Of 85 names engaged in production, 53 are Jews,” a 1936 survey noted. And the Jewish advantage holds in prestige as well as numbers. In a recent Premiere magazine “Special Power Issue”—ranking the 100 most powerful people in the ‘Industry’—the top 12 were Jewish. There were no black or British industry executives ranked.
Bill Stadiem, a former Harvard educated Wall Street lawyer who is now a screenwriter in LA, told me that he recently came across an old WASP friend in an LA restaurant who had been president of the Porcellian at Harvard, the most exclusive undergraduate dining-club.
His friend, a would-be producer, was dressed in a black nylon tracksuit and had gold chains on his wrist. Dangling around his neck was a chunky Star of David. Stadiem asked: “Why the hell are you dressed like that?”
The WASP replied: “I’m trying to look Jewish.”
— The Spectator, October 1994
(LD: Dr Jones’ comments on the
complete Jewish takeover of Hollywood were written in 2003 when it was
still considered outrageous to suggest Jewish hegemony in Hollywood. It
was okay for Jews to boast about the fact, but not for gentiles to
deplore it. Since then, there have been much more emphatic claims of
dominance. “I don’t care if Americans think we’re running the news
media, Hollywood, Wall Street or the government,” Jewish columnist Joel
Stein bragged in the Los Angeles Times in December 2008. “I just care
that we get to keep running them.”
Mr Stein’s reckless candor in admitting that the Jews not only ran
Hollywood, but America itself, was to cost him his job at the LA Times.)
William Cash’s and Joe Breen’s candor about Hollywood fills in what Sam Dresner’s account leaves out. It shows that the battle over the sexualization of American culture was largely if not exclusively a battle between America’s Jews and Catholics.
From 1934 to 1965, Hollywood’s Jews were forced to repress their “permissive, value-free attitude” in matters sexual, or at least they were prevented from expressing that attitude in the films that they made. The golden age of Hollywood, which Dresner indirectly praises, was a collaborative effort: it was Catholics saving Hollywood’s Jews from their own worst instincts.
The Catholics eventually lost that battle, with dire consequences for the entire nation. Indeed, Rabbi Dresner’s book is one of those consequences. His book is also an indication that the history of American Culture in the 20th century is in many respects a history of the sexual degeneration of the American Jew.
That means the decline of the Rabbi Dresner Jew and the Rise of the Woody Allen Jew in his place, as an icon for the entire culture. The Catholics lost the culture wars because they internalized Woody Allen Jewish values on sexuality. The cultural prominence of Jews like Woody Allen was especially painful for Dresner—because they had become cultural icons by promoting sexual deviance.
“Don’t knock masturbation. It’s sex with someone I love.”
— Woody Allen, who was later accused by Mia Farrow of sexually molesting their adopted 7-year-old daughter Dylan.
The moral decline that Dresner complains about was in no small amount
attributable to the cultural influence of American Jews, something he
adverts to time and time again in his book.— Woody Allen, who was later accused by Mia Farrow of sexually molesting their adopted 7-year-old daughter Dylan.
6. Jews are “despoilers of morality and corrupters of culture”
“Jews,” Rabbi Dresner tells us, “have played a less than admirable role in the sexual revolution” (p. 155). He continues: “Many liberal rabbis are in the forefront of the pro-abortion movement. In fact, surveys indicate that Jewish women are among the most likely of all groups to support “abortion on demand” (p. 39).
Dresner goes on to cite “a recent Gallup poll and a suppressed B’nai B’rith survey”, which indicates that American Jews are more likely to be divorced and less likely to be married than the average American; that “91 percent of Jewish women agree that every woman who wants an abortion should be able to have one”; that “50 percent of Jewish women signaled a high degree of affinity for feminism compared to only 16 percent among non-Jewish women”, and that Jews favor homosexual rights more than the general population.
The rootless Jews who dominate Hollywood and, as a result, American culture as a whole, have defined themselves, in Dresner’s words, as “despoilers of morality and corrupters of culture.”
Dresner is concerned that others have noticed the same thing.
He cites a letter to a California Lawyer which claims that “the progressive deterioration of morality can be directly attributable to the growing predominance of Jews in our national life.”
Dresner is, of course, appalled, but his book says essentially the same thing. Is Rabbi Dresner, then, an anti-Semite?
Given the canons of contemporary discourse, it depends on how we define the term. Israel Shamir, writing in the Israeli newspaper H’aaretz, recently said that anyone who objected to American global cultural imperialism could now safely be termed an anti-Semite. Unless, of course, he is Jewish, in that instance he is referred to as a “self-hating Jew”, a term which can be defined as referring to anyone who disagrees with the party line as articulated by Abe Foxman, the Bronfmans, the ADL, the AJC and all of the other leaders and organizations that have tried to turn Jews into the avant-garde of the Cultural Revolution.
Rabbi Dresner is at odds with the majority of American Jews. That, in turn, leads to a paradox: America has become more Jewish over the course of the 20th century, but Jews have become less Jewish at the same time, if we define the Jew the way Dresner does, as a follower of the Torah.
The Jew has become an American Cultural Hero, but he has become that largely by espousing sexual degeneracy.
7. Jewish history is “one long battle against sexual deviance”
It should be obvious by now that Dresner does not like Woody Allen, the classic example of how America has become more Jewish while at the same time “American Jews are becoming less Jewish.”
Woody Allen, according to Dresner, has had a “persistent fascination” with incest. He has also been in psychoanalysis for over 30 years, which means that this fascination with incest, whether expressed in his writing or his seduction of his and Mia Farrow’s adopted daughter, Soon Yi Previn, is best explained by an analysis of Freud. Freud, too, was obsessed with incest.
In his book Moses and Monotheism, Freud makes clear that, as in the case of the Pharaohs of Egypt, incest confers god-like status on its perpetrators.
David Bakan has written a book in which he claims that Freud was a follower of the Jewish false Messiah Sabbatai Zevi and that his attack on Moses was really an attempt to abolish the law in the same way that Zevi did, which is to say through ritual impurity.
Jews who promote sexual revolution are following in this tradition: “They conjure up painful memories,” Dresner tells us, “of the infamous seventeenth century false messiah Sabbatai Zevi or his successor, Jacob Frank. Their coming was to mark a new age when the rule of Torah was to be superseded: “What was forbidden is now permitted.” (p.160)
“In biblical times,” Dresner continues, “Judaism waged a battle against sexual excess not unlike the struggle now in progress — and in those earlier times, Mosaic law was victorious. Unbridled sexuality lay at the heart of ancient pagan religion.” (p. 66).
In Dresner’s view, Jewish history is one long battle against sexual deviance:
The early biblical narratives can be read as a continuous attack on the widespread sexual deviance that challenged and often seduced the Israelites, whose fallings away Scripture scrupulously records. (p. 82). What crime was so great that it provoked God to destroy mankind, except for Noah and his family, with a flood? According to the most ancient understanding of the biblical story found in rabbinic sources, it was the violation of the natural order of sexual life (p. 83). God is long-suffering of all manner of crime, save sexual immorality. (p. 85)
Richard Pacheco, retired Jewish porn star and self-confessed sexual degenerate.Asked if he still watched adult movies now that he was a Senior Citizen, the former rabbinical student replied: “Not much. Occasionally I’ll toss one on for masturbation if my wife ain’t around.” (See here). We shall meet up with Mr Pacheco again in Part 2 of this essay.
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The Sexual Subversion of America, Part 2 of 2
An edited abridgement of E. Michael Jones’ 2003 essay, Rabbi Dresner’s Dilemma: Torah v. Ethnos, presented with pictures and captions by Lasha Darkmoon
Anti-Jewish cartoon from a German school book for children (c. 1935) alleging the sexual exploitation of German women by Jewish men.
8. The sexually corrupted have now become the corrupters
The impression one gets by reading Rabbi Dresner’s book—Can Families Survive in Pagan America?—is that over the course of the twentieth century in America the Jews have suffered one of the greatest defeats in their history.
Dresner blames this defeat on assimilation, but the irony is that the Jews were corrupting America’s morals at the same time that they were undergoing moral corruption themselves by assimilating so successfully in America.
Assimilation means the adoption of pagan sexual mores of the sort that nearly destroyed the Israelites at the time of the Book of Kings. The Jews who came to America, who arrived from the Polish shtetls, arrived to find a ruling class more interested in Darwin than in Christ. They adopted the worst aspects of modernity and became both the corrupted and—because of their influence in the media—the corrupters simultaneously.
The success that Jews have achieved in media, publishing and academe over the course of the 20th century only magnified the corrupting influence which modernity inflicted on them—and which they would in turn inflict on their host culture.
Dresner’s antipathy toward both Woody Allen and Isaac Bashevis Singer stems from the fact that he is both an American and a Jew, and from the fact that Woody Allen and Singer can be seen as corrupting influences from both perspectives. Dresner’s anger is based on the fact that he sees American Jews succumbing to the perennial temptation of sexual idolatry.
The connection between Singer and Sabbatai Zevi is nothing if not explicit. Dresner notes Singer’s early “fascination with Sabbatianism.” Singer writes: “I read whatever I could about the era of Sabbatai Zevi, in whose footsteps Jacob Frank had followed. In these works I found everything I had been pondering: hysteria, sex, fanaticism, superstition. (p. 184)
Dresner mentions Sabbatai Zevi and his successor Jacob Frank in connection with the sexual corruption of contemporary Jews.
Not only have America’s Jews been corrupted by Sabbatianism, the Sabbatian infection has become the majority position: the lifestyle of Jews has trumped the Jewish style of life based on the Torah as the Jewish norm.
Dresner is in many ways more upset about Singer’s popularity than he is about Woody Allen’s.
Are Singer’s writings ‘true’? [he asks]. The corruption, the adultery, the demonic, the philandering, the decay, the perversion that pervade Singer’s picture of Polish Jewry—is it all true? And if it is not ‘true,’ then why has someone not said so? (p. 177).
And what is that? Sexual liberation in Jewish garb, which is to say, Sabbatianism.
9. Sabbatianism: a Satanic cult promoting “salvation through sex”
The modern Jew is now the devotee of an alternate faith: Sabbatianism.
Jewish silence on Singer “may be a sign of a sickness so severe we do not perceive its symptoms,” Dresner notes.
He considers Singers’ writings one long calumny of eastern European Jews. Why, he wonders, are American Jews so interested in promoting this calumny? Because if eastern European Jewry is what Singer says it was, then, according to Dresner, American Jews
need feel no guilt; they can go about their way, not much different from other Americans, philandering, corrupting, and making of their faith a sham in the comforting belief that it was, after all, always like that. That’s what the Jews of Eastern Europe were—philanderers, adulterers and corrupters: why should American Jews be better?
In the process of succumbing to that corruption, American Jews have played a major role in the corruption of American morals and culture.
American cultural life in the last half of the 20th century, in other words, has been dominated by Jewish rebellion against the Torah and the adoption of the sexual practices and worldview of Sabbatai Zevi.
[LD]: Sabbatai Zevi (left), 1626-1676, the self-proclaimed false Messiah of the Jews, diagnosed as a manic-depressive by Jewish academic philosopher Gershom Scholem. The figure in the center is Nathan of Gaza (1643-1680), Sabbatai Zevi’s chief promoter, a mystic and seer steeped in Talmud and Kaballah who is said to have indulged in orgies of ecstatic dancing and emitted an intoxicating odor associated with the scent of the Garden of Eden. Jacob Frank (far right), 1776-1791, claimed to be a reincarnation of Sabbatai Zevi and preached the bizarre doctrine of salvation through sin, more euphemistically known in Jewish parlance as “purification through transgression.” (Pawel Maciejko, The Frankist Movement in Poland, the Czech Lands, and Germany (1755–1816). Oxford University Press, 2003. (Cited here)
The overwhelming majority of American Jews—as evidenced by the surveys Dresner cites—have defined themselves as sexual revolutionaries; and because of the disproportionate role which Jews play in publishing and the media, they have, in effect, established Sabbatian sexual degeneracy as the American cultural norm.
Judaism, according to Dresner, “stands as inexorably against the new paganism as it did against the old. And so should the Jew.” But at the same time that the American Jew was reaching cultural prominence, he was also converting to Sabbatianism, “an alternate faith.” As a result, “Jewish rebellion has broken out on several levels,” one being “the prominent role of Jews as advocates of sexual experimentation.”
The Jewish elite have used Woody Allen to define the Jew as a sexually deviant cultural bolshevist. As a result, anyone who objects to sexual deviance or Hollywood’s promotion of it gets defined as an “anti-Semite”.
The equation is very simple. Since Hollywood is run by Jews, being anti-Hollywood means being an anti-Semite.
The Woody Allen Jew is, in other words, engaged in Kulturkampf not only with the ‘Christian’ culture which he wants to destroy but with the Sam Dresner Jews who would define the Torah as normative. Since Woody Allen is a cultural icon for most Jews, most Jews have defined themselves as sexual degenerates.
10. How the Anti-Defamation League indirectly helps to promote moral corruption and sexual deviance in America
Luke Ford was raised as a Seventh Day Adventist in Australia. He came to Los Angeles to study and after coming down with chronic fatigue syndrome, spent his time in convalescence listening to Dennis Prager’s radio program. As a result of listening to Prager, he converted to orthodox Judaism.
Since Los Angeles is the center of the pornography industry and since Ford was also interested in pornography, he noticed that Jews dominate the porn industry in Hollywood and decided to discuss the issue on his website, lukeford.com. Luke Ford noticed that “secular Jews play a disproportionate role throughout the sex industry”.
LD: A long list of Jewish porn producers, including male and female Jewish porn stars, is provided next here. (89 names). If you wish to see what some of these characters look like, click on Jewish Faces in Porn.
According to Abe Foxman, even if Jews dominate a particular field, as is the case with both Hollywood and the related pornography industry, that bears no relationship to the fact that they are Jews. To say otherwise is to be an anti-Semite.
Rabbi Dresner notes:
An unusually high percentage of the material on sexual liberation was written by Jews. Jews have been strongly represented in the Playboy enterprises. B’nai Brith’s Anti-Defamation League had no problem presenting their American Freedom Award to Hugh Hefner.
11. Pornography as a form of Cultural Warfare
Luke Ford, according to one report, “insists that pornography constitutes a deliberate attempt by ‘non-Jewish Jews’, alienated from normative Judaism and Christian mores, to undermine Western civilization.”
According to Ford, that is their aim because they are Jews, and they are reaching for even more control than they already have. This is the historic modus operandi of the Jews. They are outsiders everywhere except in Israel, and when they first appear in any Gentile society and begin reaching for power they are resisted. The society treats the Jews as outsiders, as aliens, and attempts to keep them from gaining control. The Jewish method of countering this opposition is to work quietly to accumulate as much wealth as possible. At the same time they work to corrupt the society’s leaders with money and to sow dissension among the masses, to set one social class against another, to break up the society’s solidarity and its cohesiveness, so that there will be less resistance to their penetration of the society.
During the latter half of the 19th century and the first part of the 20th century fomenting class warfare has been their most successful technique in Europe. In Russia, for example, they would have had difficulty in corrupting the enormously wealthy aristocracy with bribes, but their technique of fomenting class warfare succeeded in destroying Russian society and letting the Jews seize control through their Marxist movement.
In the United States, on the other hand, where the political leaders are essentially hucksters and lawyers, the Jews have had much more success with corruption.
Jewish involvement in pornography goes deeper both commercially and philosophically than Abe Foxman is willing to admit. The traditional animus against majority culture, combined with a decline in moral scruple, would naturally lead “the advocates of Woody Allen” to become involved in pornography as a form of cultural warfare.
The most significant thinker in this regard is Wilhelm Reich, a Jew from Galicia who was a student of both Sigmund Freud (quite literally) and Karl Marx. He was a man who tried to create an intellectual marriage between their two quintessentially revolutionary ideologies. Reich wrote the book on sexual revolution and many Jewish porn stars have read it. Richard Pacheco is one.
Five years before I got my first part in an adult film [Pacheco explained] I went down to an audition for an X-rated film with my hair down to my ass, a copy of Wilhelm Reich’s Sexual Revolution under my arm and yelling about work, love and sex, which were Reich’s three principles. These things have got to be in balance or your life is going to be fucked.(Pacheco didn’t get the job, but he still went on auditioning.)
Five years later I auditioned for another X-rated film. That very day, I also interviewed at Hebrew Union Seminary to do rabbinical study. I made the choice that the kind of rabbi I would be, if I became one, was one that could have been performing in sex films as part of his experience.
The connection between Jews and pornography is like the connection between Jews and Bolshevism: both are forms of revolutionary activity.
Jews become involved in pornography for reasons similar to why they become involved in Communism, which is to say, not just because they happened to be Jews, but because being Jewish—as they and Sabbatai Zevi and Wilhelm Reich defined it—found logical expression in producing pornography as a form of cultural warfare through moral subversion.
Just as the Jews were the vanguard of the political revolution in Russia (1917 and later), so they are in the vanguard of sexual revolution in the United States (1960s and later). When the attraction of communism began to pale, they dedicated themselves just as fervently to sexual liberation.
Like Rabbi Dresner, Luke Ford feels that
Virtually all movements to change the world come from the Jews: Christianity, secular humanism, Marxism, Socialism, Communism, feminism, the labor movement. That’s part of the reason that Jews are hated. The world doesn’t want to be changed.
12. Conclusion
Pornography becomes a Jewish fantasy. Even when Catholics are involved, they are generally involved on Jewish terms. According to one industry insider, “the leading male performers through the 1980s came from secular Jewish upbringings and the females from Roman Catholic day schools.” The standard porn scenario became, as a result, a Polish Jewish fantasy: the horny Jew schtupping the Catholic shiksa.
Porn star Nina Hartley agrees. “I have not yet met a Jewish guy who wasn’t a horny rabbit. They get to have sex with all these beautiful blonde women. Where else are you going to get a succession of shiksas [non-Jewish females] to bed you down?”
What Miss Hartley leaves out of her description is the cultural dimension. Pornography becomes a way of defiling Christian women, which, as Eldridge Cleaver pointed out in another context, is just another way of defiling Christianity and all it stands for.
“Rape,” according to Cleaver, “is an insurrectionary act.” By defiling the white woman, Cleaver “was defying and trampling upon the white man’s law, upon his system of values,” something Cleaver found “most satisfying” (Soul on Ice, p. 14).
The same thing could be said of Jewish involvement in pornography.
When Luke Ford asked Al Goldstein, the publisher of Screw magazine, why so many Jews were involved in pornography, Goldstein, unlike Abe Foxman, did not say the connection was fortuitous. He instead got to what one might call the theological heart of the matter:
The only reason that Jews are in pornography is that we think that Christ sucks. Catholicism sucks. We don’t believe in authoritarianism.
Luke Ford interviewed Goldstein on one occasion. In response to Ford’s question, “Do you believe in God?” Goldstein answered,
I believe in me. I’m God. Fuck God! God is your need to believe in some super being. I am the super being! I am your God, admit it. We’re random. We’re the fleas on the ass of the dog!
“A really efficient totalitarian state,” Aldous Huxley once noted, “would be one in which the all-powerful executive of political bosses and their army of managers control a population of slaves who do not have to be coerced, because they love their servitude.”
A population of slaves will quickly swear its allegiance to what it sees as the source and guarantor of its pleasures.
These pleasures, in the form of the most addictive pornography, are now being promoted by organized Jewry as a form of political control. By demoralizing the masses, Jews help to weaken the power of the non-Jewish majority.
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