Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
In preparing a future post about the Jewish involvement in a particularly nasty New York criminal enterprise, my researches led me to consult Taylor Branch and Eugene Propper’s 1982 book Labyrinth, an investigation into the assassination of Chilean socialist politician Orlando Letelier. I was looking specifically for information about a minor Israeli-American underworld figure, but one unrelated paragraph caught my eye, striking me as absurd and deserving comment. The passage concerns Inés “Mariana” Callejas, a Chilean girl who, seduced by socialism and Zionism, ran off to occupied Palestine to live and work on a kibbutz:
By then she was known as Anat, having rejected as too Catholic her given name, Inés, and her nickname, Mariana. She also made a practical adjustment to the harsh life on the frontier, where the men outnumbered the women four to one, and where many of the refugees, with tattoos and vacant stares from the Holocaust, had little use for the sexual reservations of a proper Chilean girl: more or less for defensive reasons, she married Allan Earnest, an idealistic American agricultural student who had migrated to Israel from Cornell University. After the wedding, they danced the hora around campfires.1
Here liberal authors Branch and Propper, having come across the anecdote of a naive Catholic girl in fear of being raped or possibly even gang-raped by resentful Zionist squatters who were leering at her with “vacant stares”, choose instead to reference the “Holocaust” and its “refugees” with their tearjerking concentration camp tattoos. There is in this passage the insinuation that these men’s behavior is somehow to be excused – that the “sexual reservations of a proper Chilean girl” are more than one ought to expect these poor fellows to endure following all of their sufferings.
Indeed, Preempting the Holocaust author Lawrence Langer warns against “using – and perhaps abusing” the “grim details” of the Jewish catastrophe so as “to fortify a prior commitment to an ideal of moral reality, community responsibility, or religious belief that leaves us with space to retain faith in their pristine value in a post-Holocaust world.” For Langer, “the Holocaust experience challenged the redemptive value of all moral, community, and religious systems of belief.”2 Whether as a result of Langer’s airy considerations or for more cynical reasons, the “Holocaust” would play a crucial role in reshaping sexual morality in the twentieth century.
As E. Michael Jones relates in his book The Catholic Church and the Cultural Revolution, one of ultra-Zionist film director Sidney Lumet’s devious movies would use the Shoah purposefully to sneak tawdrier content into the cinemas:
The revolution finally arrived in 1965, when Hollywood launched another attack on the [Production] Code with the release of The Pawnbroker. During the film a woman playing a black prostitute opened her blouse and exposed her breasts to the camera, breaking, as a result, section 7, sub-section 2 of the Motion Picture Production Code and one of Hollywood’s last remaining taboos. As was the case less than a year earlier, with the release of the sex farce Kiss Me Stupid! (1964), the Production Code approved the film and the Legion [of Decency] condemned it. However, because of the nature of the film, The Pawnbroker would prove to be a much more serious challenge to the Code and the Legion than Dean Martin leering at Kim Novak, the main characters in Kiss Me Stupid!
One reason the challenge was so serious was the serious artistic intent of the film. The Pawnbroker was not Dean Martin telling dirty jokes. It was an account of a Holocaust survivor whose memories of his dead wife are reawakened by the sight of the prostitute’s bare breasts. The breasts, in other words, served a function in the plot. They were artistically justified breasts – the Legion’s worst nightmare. Because the Legion had only one category for condemned films, the Catholics were put in the unenviable position of lumping The Pawnbroker in the same category with Kiss Me Stupid! They were also put in the position of criticizing a film that had an immediate connection with an important event in recent Jewish history. They were obviously throwing out the art baby with the nudity bath. […]
The Catholic Church lost the culture wars in 1965 when it failed to block pornography. Within seven years, hard-core pornographic films like Deep Throat (1972) and The Devil in Miss Jones (1973) were shown in first run theaters, and Jewish power over the culture increased accordingly. As a result of the mainstreaming of films like Deep Throat, pornography became a weapon in America’s psychological warfare arsenal.3
“The promotion of sexual perversion, pornography and obscenity is one of the biggest weapons in the Jews’ arsenal,” maintains The End of Zion. “The deliberate moral corruption of society can thus be seen as a preventative measure against a potential future Holocaust. The more people are masturbating and thinking about sex, the less they are thinking about what the Jews are doing – much less organizing to fight against them.” The Frankfurt School intellectuals – men like Herbert Marcuse and Wilhelm Reich, who would play an important part in the sexual revolution by running academic interference – were European Jews who had been inconvenienced by the rise of National Socialism. The End of Zion continues:
A standout feature in most stories about the “Holocaust” is the extreme perversity included in them. This, as anyone even vaguely familiar with the Holocaust industry knows, is done to traumatize people into sympathizing with the “poor, inoffensive Jews,” for what they supposedly had to endure during WWII.
The Jews also use the “Holocaust” as leverage to get people to accept perverse garbage that would otherwise be deemed unfit for public consumption. Under the pretense of trying to prevent atrocities such as the alleged “Holocaust” from ever happening again, the Jews force us to accept viewing and reading the most shocking and grotesque imagery that their demented minds can conjure up. People normally would not allow their children to look at piles of dead corpses, for example, yet this is occurring a grand scale in schools every single year – it’s even required by law in many areas. […]
Things got even more bizarre on the Holohoax front after [the book] House of Dolls and The Pawnbroker. Those two stories led directly to the advent of “Naziploitation” films, which are campy, over-the-top, sex and gore, horror fantasy films about evil, cartoonish German Nazis conducting all kinds of weird experiments on Jewish concentration camp prisoners. […]
[1975’s] Ilsa, She Wolf of the SS – the king of all “Naziploitation” films – opens with a written statement claiming that the movie is based on a true story and needs to be seen in order that it “will never occur again.” Within 5 seconds of watching the film you see two people having graphic sex with a clear display of actual penetration. Ilsa is a truly sick movie, almost beyond belief.
Claiming that Ilsa has anything to do with real life events or that it contains uncomfortable truths that need to be seen in order to prevent them from happening again, is an insult to even the dumbest viewer’s intelligence. It is clearly nothing more than trashy, pornographic smut. […]
In a similar vein, Bernardo Bertolucci’s preposterous epic 1900 (1976) features Donald Sutherland in the role of a bisexual fascist pedophile who molests a child before whirling the boy around a room and bashing his head against a wall. One supposes that this character’s inclusion in the film was absolutely necessary in order to make the evil of nationalism positively clear to the audience:
Daniel Mayer Cherkoss (alias Dan Curtis) was able to get gratuitous nudity onto primetime television using a “Holocaust” episode in the 1988-1989 miniseries War and Remembrance. This was followed by the coup of televising Steven Spielberg’s Schindler’s List (1993) unedited and commercial-free on network TV in 1997.
Schindler’s List took this clever subversion technique a step further though; along with the dozens of naked victims shown being abused and exterminated by the Nazis in the film, it also features non-gas chamber related nudity that has nothing to do with the so-called Holocaust, such as Schindler having sex with a woman and multiple women lying on beds with their breasts exposed.
“Never forget,” jests The End of Zion, “that women laid in beds naked while Jews were being Holocausted and converted into lampshades, soap and other useful Nazi accessories.”4
Another utilization of “Holocaust” orthodoxy is its mythologization of innocent homosexuals as martyrs for love. Schoolchildren across the United States are forced to read the ruminations of bisexual moral paragon Anne Frank, and the “Gay Holocaust” is now cited as a preeminent justification for extinguishing “homophobia”5. A 1997 movie, Bent, immortalized the tender souls exterminated by the sexually repressed Germans. What, one wonders, is next – solemn commemoration of Hitler’s fiendish persecution of zoophilic otherkin?