While I was doing some quick research for a recent comment on another thread I came across this article by Nathan Abrams from the Winter 2004 issue of The Jewish Quarterly.  Many MR readers may know this anonymous piece at Heretical.com.  It’s something of a staple for the right on the vexing issue of Jews and pornography.  But unforced confession is so much more convincing than allegation, and TJQ’s piece - which I, for one, had not seen before - is not short of it.  For example:-

Is there a deeper reason, beyond the mere financial, as to why Jews in particular have become involved in porn? There is surely an element of rebellion in Jewish X-rated involvement. Its very taboo and forbidden nature serves to make it attractive. As I written in these pages before, treyf signifies ‘the whole world of forbidden sexuality, the sexuality of the goyim, and there all the delights are imagined to lie ...’ (‘Reel Kashrut: Jewish food in film’, JQ 189 [Spring 2003]).

According to one anonymous industry insider quoted by E. Michael Jones in the magazine Culture Wars (May 2003), ‘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 Jewish fantasy of schtupping the Catholic shiksa.

Furthermore, as Orthodox Jew and porn gossipmonger Luke Ford explains on his website (lukeford.net): ‘Porn is just one expression of [the] rebellion against standards, against the disciplined life of obedience to Torah that marks a Jew living Judaism.’ It is also a revolt against (often middle-class) parents who wish their children to be lawyers, doctors and accountants. As performer Bobby Astyr put it on the same website, ‘It’s an “up yours” to the uncles with the pinky rings who got down on me as a kid for wanting to be musician.’

... Extending the subversive thesis, Jewish involvement in the X-rated industry can be seen as a proverbial two fingers to the entire WASP establishment in America. Some porn stars viewed themselves as frontline fighters in the spiritual battle between Christian America and secular humanism. According to Ford, Jewish X-rated actors often brag about their ‘joy in being anarchic, sexual gadflies to the puritanical beast’. Jewish involvement in porn, by this argument, is the result of an atavistic hatred of Christian authority: they are trying to weaken the dominant culture in America by moral subversion. Astyr remembers having ‘to run or fight for it in grammar school because I was a Jew. It could very well be that part of my porn career is an “up yours” to these people’. Al Goldstein, the publisher of Screw, said (on lukeford.net), ‘The only reason that Jews are in pornography is that we think that Christ sucks. Catholicism sucks. We don’t believe in authoritarianism.’ Pornography 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. Porn is no longer of the ‘what the Butler saw’ voyeuristic type; instead, it is driven to new extremes of portrayal that stretch the boundaries of the porn aesthetic. As new sexual positions are portrayed, the desire to shock (as well as entertain) seems clear.

It is a case of the traditional revolutionary/radical drive of immigrant Jews in America being channelled into sexual rather than leftist politics. Just as Jews have been disproportionately represented in radical movements over the years, so they are also disproportionately represented in the porn industry. Jews in America have been sexual revolutionaries. A large amount of the material on sexual liberation was written by Jews. Those at the forefront of the movement which forced America to adopt a more liberal view of sex were Jewish. Jews were also at the vanguard of the sexual revolution of the 1960s. Wilhelm Reich, Herbert Marcuse and Paul Goodman replaced Marx, Trotsky and Lenin as required revolutionary reading. Reich’s central preoccupations were work, love and sex, while Marcuse prophesied that a socialist utopia would free individuals to achieve sexual satisfaction. Goodman wrote of the ‘beautiful cultural consequences’ that would follow from legalizing pornography: it would ‘ennoble all our art’ and ‘humanize sexuality’.

The KKK no longer means Ku Klux Klan down there in Texas.  Nowadays it means ‘Koochie Kissing Klick’ and Grand Dragon Tommy Floyd Granger (aka “ninth grade coach”) is under investigation for providing girls to upperclassmen for sex.  Apparently “upperclassmen” means basketball players.  I wasn’t able to find pictures identifiably of this illustrious sports legend, but digging through the archives I found what appear to be some representative photos of the coaching staff at the high school and the players being serviced by the New KKK:

“The Three Burials of Melquiades Estrada” is basically a bondage and discipline Passion Play of the US/Mexican border situation from a Mexican viewpoint. If you believe that illegal immigrants are innocent victims, that low income US citizens competing with illegal aliens feel all chummy with illegal aliens to the point they want to share their women with them and are into seeing white male border guards sexually humiliated, bound and dominated—but don’t want to admit it to yourself—you should get a charge out of this porn video.

I could imagine another film—a film about the making of Three Burials in which the writer, director and producers, all doing things like the border patrol was portrayed as doing—masturbating, raping their wives (who then cuckold them with unemployed black gang members), pressuring actresses, actors, lawn keepers and nannies into sex acts and attending donkey shows in TJ—are captured by some unemployed blacks, now turned LA street hoods, and for the last hour of the film are at gun-point made to do menial labor “that Americans won’t do”, finally to be shot and left bleeding at an emergency room stuffed to the gills with very demanding illegal aliens with many crying children suffering from minor ailments but being presented to the staff as on the verge of death.

Blacks trump Mexicans in the competition for innocent victims in Hollywood—so that film might actually get made.

Not since the middle ages when the honorific “sire” really meant something, have western powers been able to combat the profoundly dysgenic consequence of war.  War selects heroism out of the gene pool.

Guess which ethnic group would complain the loudest if any western country tried to institute eugenics organizations to counter the dysgenic effects of war?

Guess which ethnic group is pursuing precisely that policy for their military heroes?

Home Secretary John Reid has called for a mature debate on the immigration challenges facing Britain.

Mr Reid said: “We have to get away from this daft so-called politically correct notion that anybody who wants to talk about immigration is somehow a racist.”

Home Secretary and Scots tough guy Dr John Reid, trying to sound responsive and responsible today.

The problem is that the only discussion worth having is not really about immigration.  It is about the rights and interests of the natives.  It is about determining what they really want, and the practicalities of delivering that.  It is about John Reid’s own politics and the treachery of the political class to which he belongs.

None of that is on John Reid’s radar, of course.  Nor ever will be.

Meanwhile, he is showing a willingness to throw us one or two scraps of something like a public debate.  So here are a few basic suggestions that, if I could, I would make to his face, and which I am confident would shape the debate to be mature as he could possibly wish:-

1) Exclude the voices of immigrants, whose interests always lie in encouraging more immigration.

2) Debate not just on the basis of economics but on ethnic interests.  Project the demographics into the future, and tell us how things are going to be for our children and grandchildren.

3) Eliminate all the usual, rubbishy pieties about the “skills” of immigrants and the precious gifts of diversity.  They only signal your lack of seriousness.  Instead, be honest about racial mean IQ’s, propensities for criminality, black sexualisation etc.

4) Take your time.  The English majority has been subjected to a racist official campaign of some decades longevity.  Give them however long they need to recover their tongues and their sense of self-interest.

5) Be humble and penitent before the will of the people, even if you will never bring yourself to agree with it.  And you won’t.

What a coup the Adnan Hajj affair has been for the alternative media.  LGF and Power Line have emerged as winners, and LGF has had to put up an apology to readers for its difficulty in handling the increased traffic.  While they were no doubt motivated merely by a pro-Bush-Israel agenda, they nevertheless struck another blow for journalistic integrity.  The pity is that the real lack of integrity in the liberal media only interests majority rightists, to which estate neither LGF nor Power Line aspire.

Still, it’s been fun to see Reuters snap to attention and the The Guardian drone on about proportionate representation of the facts.  As if.

I’m taking a quick break from pondering WN so I can reply to a very interesting question which Desmond Jones makes something of a habit of raising here, and to which I referred in my “Prelude” post.

Desmond’s question, essentially, is this:-

If the unique and dangerous level of out-group sympathy which European peoples exhibit today is an evolved trait, is it not more powerful and harder-wired than our instinct for group survival?

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“Everything is Illuminated” is yet another “let’s bury the Ukranian Famine in Holocaustian myths” movie.  It’s not the worst such atrocity.  That distinction belongs to “Harvest of Despair: Life and Death in Ukraine under Nazi Rule” by Karel C. Berkhoff which was published after the _only_ motion picture _ever_ made about the Ukranian Famine, “Harvest of Despair: The Unknown Holocaust” by Slavko Nowytski (contrasted with over a hundred different Holocaustian Passion Plays shown at a theater (and video store and TV) near you).

So what if it is hard to top Berkhoff’s Holodomor Denying Chutzpah.  That doesn’t keep Holocaustian Passion Play producers from trying.  Now we all know why they do this: The year of the Ukranian Famine (aka Holodomor) directly preceded Hitler’s rise to power in Nazi Germany with a popular vote.  Why, if people realized that Stalin’s willing executioners were primarily Jewish, chosen by Stalin, precisely because they were Jews and therefore harbored little sympathy for native Ukranians, for the job of starving to death several million Ukranians, and that they did this just prior to the rise to popular power of the most infamous antisemite in history in nearby Germany, people might start getting heretical ideas, and then their souls would be eternally damned or something worse like becoming *gasp* “Holocaust Relativizers”.  (Under Holocaustianity we don’t need reminding that the root word of “rational” is “ratio” since all we need to know is how Jews are now feeling, have in the past felt and are going to in the future feel.)

One of the more amusing features of many movies about Jewish people, particularly Holocaustian Passion Plays, is the casting.  Frequently the casting directors act like they have a positive aversion to casting Jews or even Jewish looking actors as Jews.  “Everything is Illuminated” is this genre of Holocaustian Passion Play.

No need to go into it.  It is a button-pushing arty film, as are most Holocaustian Passion Plays.  See it at your own risk.