Sex Plague: The Normalization Of Deviance And Depravity

By Lasha Darkmoon,

Published first on Veterans Today:

Is there a covert campaign to deprave and corrupt the masses?
If so, who are the Architects of Evil behind this psyop? [1]

POSTER ON A CLASSROOM WALL Why are they doing this to our children?

POSTER ON A CLASSROOM WALL
Do our children need this?

(More like Jesus HATES YOU!!! Dirty fags- BDL1983)

A recent pamphlet published by the German government contains these chilling words:

“Fathers do not devote enough attention to the clitoris and vagina of their daughters. The child touches all parts of their father’s body, sometimes arousing him. The father should do the same.” [2]

Toddlers are encouraged to indulge in “unlimited masturbation.” Their parents are expected to offer practical demonstrations if need be — the better to produce sexual precocity in their offspring. “Children should learn there is no such thing as shameful parts of the body,” the booklet advises. “The body is a home you should be proud of.”

Children, it is suggested, should be taught the movements of copulation as soon as they reach the age of four, giving them what virtually amounts to a crash course in the Kama Sutra as soon as they have learned to walk.

Depravity, it seems, cannot be taught too early.

In Holland, things have gone further. Here a political party, set up by convicted pedophiles, clamors for the legalization of child pornography and intergenerational sex between children of twelve and adults old enough to be their grandparents. I forgot to mention bestiality. They want to legalize that too. [3]

Who is to blame for the sex addictions we see suppurating all round us? This licentiousness, growing by the day, thanks to the internet and the mass media, is far deadlier and more destructive than it was half a century ago, before the sexual revolution.

Those who are responsible for this sickening depravity are clearly the people who started the sexual revolution. They are the people, moreover, who control the mass media.

Who controls the media?

Who determines the imagery and attitudes drip-feeding steadily into the minds of the public? Who runs Hollywood? Who contaminates mass consciousness? Who defiles the collective mind? Who pulls the puppet strings of marionette man? Who are the Bad Shepherds leading the sheeple astray?

Who are to blame, in short, for letting the world go to hell in a handcart?

I won’t bother to answer these questions. More to the point, I dare not. If you don’t know who owns the media — lock, stock and barrel — you’re wasting your time reading this article.

Art and Sexual Subversion: The Vaginocentric Female Artist

Let me resume here my discussion of sexual depravity which formed the basis of my recent article Secret Sex Life of the Jews; and let me begin by saying a few words on art, a subject I know something about.[4] And then let me proceed to the subject of pornography and consider its deployment in the systematic demoralization of the masses. [5]

First, ask yourself this question: is there anything intrinsically admirable or aesthetically pleasing about British painter Tracey Emin’s attention-seeking leg-and-vagina paintings? When other artists offer us self-portraits, they usually show us their faces. Not Ms Emin. Her idea of a “self-portrait” is to show us her uterus. [6]

Feminist icon Tracey Emin: "I've got it all"

Feminist icon Tracey Emin: “I’ve got it all”

Consider only these titles by the outrageously untalented Emin and draw your own conclusions about the decadent crap being rammed down the throat of the public by the Jews who control the art world [7]: 

Everyone I Have Ever Slept With, Fucking Down An Ally (sic), Asleep Alone With Legs Open (several large-scale canvases of her splayed legs and vagina), I’ve Got It All (legs splayed again, clutching banknotes to her crotch), Weird Sex, CV Cunt Vernacular, Is Anal Sex Legal, Masturbating, Get Ready For the Fuck Of Your Life. [8]

With titles like these, Tracey Emin could hardly fail. Her rich Jewish patron, advertising mogul Charles Saatchi, knew he was on to a good thing when he decided to promote the career of this pretentious confidence trickster masquerading as an artist. [9]

As the Gadarene swine hurtle over the cliff top, Tracey Emin and her kind lead the pack on their way down into the bottomless abyss. These are the dupes of organized Jewry. By doing exactly what appeals to art patrons (almost all Jewish; see below), these infinitely corrupt and untalented opportunists know they will become rich and famous.

The sad truth is that so many female “artists” — almost all of them rabid feminists and sexual exhibitionists — have nothing to sell but vaginas. [10]

Here are ten other vagina-obsessed females, apart from Tracey Emin and the notorious Annie Sprinkle, who use sex — especially a focus on their own vaginas — to sell their “art”:  Karen Finley, Hannah Wilke, Carolee Schneeman, Andrea Fraser, Sarah Lucas, Marlene McCarty, Vanessa Beecroft,  Malerie Marder, Katy Grannan, and Kembra Pfahler. [11]

Jewish artist Carolee Schneemann, drawing a paper coil from her vagina and calling it "art".  "I saw the vagina," she gushes, "as a spiralled coil ringed with desire."  the vagina..."a spiralled coil ringed with desire."

Jewish artist Carolee Schneemann, drawing a paper snake from her vagina and calling it “art”.

Being unable to paint properly or produce objects of lasting value, these exhibitionists like to display their vaginas to the world and call it “art”. Here is one such exhibitionist, Jewish performance artist Carolee Schneeman [12], pulling a paper snake out of her vagina:

I saw the vagina as a translucent chamber,” she says, “of which the serpent was an outward model: enlivened by it’s (sic) passage from the visible to the invisible, a spiralled coil ringed with the shape of desire and generative mysteries.” [13]

Someone who had no idea what a vagina looked like would have a pretty tough time trying to figure out its appearance from Ms Schneemann’s deathless prose.

Who helps to promote this kind of pretentious claptrap? You don’t need three guesses to answer that question.

In 2001, ARTnews listed the world’s Top Ten Art Collectors. Eight of them were Jews. Ponder these staggering statistics: A people who constitute 0.2% of the world’s population make up 80% of the world’s richest art collectors.

Out of every thousand people in the world, roughly two are Jews. To be precise, one in every 457 people are Jews. [14] Yet go to a conference at which 1000 of the world’s wealthiest art collectors have gathered and you will find, to your amazement, that 800 of them are Jewish.

Phenomenal, isn’t it? [15]

Some of the vaginocentric exhibitionists mentioned above, like lesbian “performance artist” Annie Sprinkle, maintain websites blocked by porn filters. The aptly named Sprinkle—a nom de porn in honor of urolagnia [16] —  is the lady who douched her vagina onstage in 1991, before lying down and opening her legs so that members of the audience, mostly male, could inspect her cervix with the help of a flashlight and speculum.

Annie Sprinkle, Jewish feminist and pornographer, flashing her vagina as an "art form".

Annie Sprinkle, Jewish feminist and pornographer, practicing indecent exposure in a public venue and pretending it’s an “art form”.

Performance artist, prostitute, porn actress, feminist icon, and lesbian diva of depravity, Ms Sprinkle would like us to believe that it is a form of  “art” to masturbate onstage with sex toys, her legs wide open, and invite members of a predominantly male audience to peer up her vagina with torchlight and speculum. (See picture)

She was recently invited by academic officials to show her vagina off at the University of Illinois, a hotbed of Zionist propaganda and power; here she was encouraged to give students an “orgasm workshop” — all this ostensibly in pursuit of “higher education”.  [17]

To make matters worse, Sprinkle’s pathetic “look-at-my-pussy” acts were funded by the National Endowment for the Arts, a mini-empire controlled by the hidden hand of organized Jewry. [18]

If Annie Sprinkle was to acquire fame and fortune by letting dirty old men take a peep between her legs, Hannah Wilke and Karen Finley sought variations in which the vulva was again put to good use.

The Jewish Wilke, being sadly deficient in originality, molded bits of chewing gum into vulvas and stuck them all over her body, calling it “art”.  [19]

Not to be outdone, Karen Finley decided to smear her naked torso with chocolate syrup [20] and performed public acts — using a yam — which I won’t describe in detail in case nuns are reading this article. Rape, flatulence and menstruation formed the least offensive items in Finley’s repertoire. [21]

Like Sprinkle, Wilke and Schneemann, Finley is also Jewish, given that her mother is of Jewish ancestry. [22].

So that’s four Jewish “artists”, all playing with their pussies in front of the world and being paid to do it by a Jewish-controlled government organization called the National Endowment for the Arts.

One begins to discern a subtle pattern here; or maybe it isn’t so subtle.

Performance artist Andrea Fraser [23] — amazingly, she isn’t Jewish! — deserves first prize for sheer chutzpah. She is perhaps an illustration of the truth that however low a slutty Jewess  can sink, a slutty shiksa can sink a bit lower.

This raunchy non-Jewish performance artist, who nevertheless finds it necessary to move in Jewish circles like Madonna and so many other gentile sycophants,  arranged to meet a man at the Royalton Hotel in Manhattan, owned by Jewish hotelier Ian Shrager.

Above the bed, an overhead camera played Peeping Tom. The man was persuaded to part with $20,000 in cash for the privilege of helping to create a “work of art” with the frisky Fraser, the said work of art being a pornographic video filming the two participants copulating on a Queen-size bed. This sex video, now available for posterity, is pretentiously called “Untitled”.  [24]

It’s not “art” we’re dealing with here, of course; it’s pornography pure and simple.

The Jewish Affinity for Porn 

Jews are famously known to dominate [25] the world’s $100 billion a year porn industry, roughly 90 percent of which is generated within the United States. As many as 260 new porn sites go online daily, more than 10 sites an hour. [26]

Since Jews are known to dominate the porn industry and comprise only 2% of America’s population, it is reasonable to suppose that most of the new sites being started up every hour are being started up by Jews.

"CHRIST SUCKS!" — Jewish pornographer Al Goldstein

“CHRIST SUCKS!”
— Jewish pornographer Al Goldstein

It is even more alarming to note how sex is now deployed by many American Jews as a weapon against Christianity with its socially cohesive and family-friendly values.

Jewish pornographer Al Goldstein’s infamous words — “The only reason that Jews are in pornography is that we think that Christ sucks” — surely tell us all we need to know about the bitter hatred felt by so many Jews for the Western countries that have harbored them and given them hospitality for so long. [27]

Jewish hatred for Christianity is legendary, spanning the Jewish political spectrum, from the far left [28] to the neoconservative right [29].

It can hardly be doubted, as the ugly picture of the Jewish pornographer (above) makes only too clear.

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I suggest you read the rest of this article! It’s very enlightening. It certainly shows how wherever the Jew goes, he/she always manages to thoroughly sow the seeds of decay and eventually destroy any healthy society. Rather sickening aren’t they?

– BDL1983

On the Supreme Importance of Æsthetics

Buffalo Jenkins
Daily Stormer
October 22, 2013

brekeratelier

The Aryan racial soul strives for beauty.

The first and most sweeping swindle perpetrated upon the west by its enemies was the obfuscation of the definition of Art. Starting with Kandinsky’s ‘Expressionism’ and bolstered by Clement Greenburg’s ‘Artspeak’ criticism, this new abstract creativity overwhelmed all tradition in art. Swept away in this nihilist flood were traditional art tutelage,inherited skills dating back to prehistory, high culture, good taste, standards or hierarchy in art, naturalism, symmetry, decoration, technical merit, self-determination and ‘becoming’ in art. Styles in painting, sculpture, architecture that had evolved from European antiquity came to a crashing halt on the pages of Judaic ‘art theory’ criticism – a ridiculous construct of universalism that tried (successfully!) to embrace pure abstraction as progressivism in art.

Irony became in vogue. Random splatters of paint, intentionally awkward and ugly forms, childish primitivism became intellectual culture, via reams of this irrational wordsmithing. True progress was hijacked and perverted by cultural Marxism. This later would be the same brand of relativism they found could be successfully applied to all aspects of western tradition and taste, beyond just the false edifying of abstraction as intellectualism, but as a means of attacking every aspect of European culture. The self-eating snake, wracked with guilt, wallowing in weakness and trembling with pity. Their success in art criticism and art theory not only paved the way for total degradation, but the ongoing artlessness of our western world remains and enormous obstacle in allowing us to rediscover our true self-becoming.

Today we have ‘conceptualism’ and ‘abstract expressionism’ ruling our art academies – one may take a lazy preamble into any ‘modern art’ gallery to see what kind of mindless, indefinable childishness this results in. Literal piles of garbage, arranged sex dolls, people standing in animal suits, you may find pretty much anything other than, ironically, actual art. Many voluminous rants about the imagined merits of this perpetual stream of anti-art are printed and spoken of in modern art academies and critical literature. But not a word of it amounts to anything more than liberal guilt, juvenile self-hate, and profuse obsession with human failings and perversions.

Nothing that smacks of beauty, positivity or self-affirmation can fall under this new modernist art definition. All serves to remind us that grandeur is an illusion, human affairs are nihilistically limited, and we are not worth saving. We deserve ugly, lascivious paintings rendered childishly – they are an attack against elitism! But this view is a construct, relying upon egalitarian tropes that are as evil and false as a lie can be. True art is not the all-encompassing cloud of pure creativity where permissiveness enshrines the freedom to announce anything you desire as art. Modernity exists upon a platform of hating true art, or all art before modernism, which they couch in snide blanket terms like ‘realism.’

There is no foundation for modern art abstraction other than proving that the public will accept whatever you tell them to accept. After all the long years of Pollock’s and Picasso’s and Duchamp’s, a cursory Googling of contemporary art definitions lays bare this bizarre and poisonous foundation. A definition of abstract expressionism reveals its basis is ‘A school of painting that flourished after World War II until the early 1960’s, characterized by the view that art is nonrepresentational and chiefly improvisational.’ If this revelation about art is true, that means that Michelangelo, Raphael, Phidias, Sargeant, Turner, Reubens, Titian, DaVinci, and every artist before this movement were completely wasting their time actually learning the craft of painting or sculpture or architecture. They should have been practicing random improvisation, freeing themselves of talent and technical prowess. They should have been splashing paint about like the moronic Pollock, or painting three stripes endlessly like the Judaic con Rothko. The average person assumes that public art comes to them courtesy of respected, talented academics and institutions devoted to furthering and bettering society. They can not fathom or assume that our art ethos is an enormous lie eroding western civilization with hubris and hatred.

This is not art.  It is an act of violence against the human soul.

This is not art. It is an act of violence against the soul.

Modern art cannot exist in the same world as traditional art. Modern art can exist only as a hate-filled backlash against the superiority of that which came before it. If something appears to have no point should one dig deeper until a point manifests? Does it not remain ultimately pointless?

Modern art criticism, from the likes of Clement Greenburg, is the only truly creative aspect of modern art. He pioneered the style of criticism that found praise in the willfully ‘nonrepresentational’. This opened the floodgates to endless reams of eloquent bloviate about ‘redefining art preconceptions’ and all the typical modernist buzz words we’ve come to associate with generic attacks on western values. Vagaries about progressiveness and old ways that are tired and ready for the dustbin of history. Thus, over time, the idea of craftsmanship becomes denigrated – as the painter becomes the illustrator, the true architect a restorer, a traditional fashionista a set designer, and naturalism becomes pastiche. There is a reason that during the Renaissance you didn’t have celebrated artists making random splatters of paint on a canvas in the Uffizi – that is because it is stupid. It is patently on it’s face idiotic. Because a child really could do it. Turner or Rembrandt did not have to compete in the creative arena with a Tracy Emin type character who traipses around confidently arranging mannequins or unmade beds and touting it as art because it is ‘pushing boundaries.’ That is because it takes a society existing, as we do, at a sustained level of luxurious stupidity to even imagine philosophizing such obvious lies.

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This is a great post. I’ve always hated modern art, even before I knew about the Jew…… I must have good instincts! Now I know why I hated it.

– Brett