Yeah, only Jews look at ****. Of course, we all know
gentiles would NEVER get involved w/**** either --
in front of the camera or otherwise. What was the
name of the Penthouse publisher who got shot?
He wasn't Jewish I don't think. I don't know about
Hugh Hefner.
"Mike" <mgcullin@[EMAIL PROTECTED]
> wrote in message
news:4f753dcd-189c-4405-9da7-01bf27d121e8@[EMAIL PROTECTED]
do all you idiots come from?
On Mar 7, 5:53 pm, Zorh <zx84j33...@[EMAIL PROTECTED]
> wrote:
> It's interesting that this article from a Jewish publication
> openly states that Jews see **** - just as they do
> radical politics - as a means to undermine and eventually
> destroy mainstream culture. IOW, **** serves the same
> purpose as multiculturalism, feminism, mass immigration
> etc.
>
> ~~~~~~~~~~
>
> Triple-exthnics
> Nathan Abrams on Jews in the American **** industry
>
> Nathan Abrams | Winter 2004 - Number
> 196http://www.jewishquarterly.org/article.asp?articleid=38
>
> ***ual revolutionaries
>
> 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 **** 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,
> ***ual gadflies to the puritanical beast'. Jewish involvement in
> ****, 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. Al Goldstein, the
> publisher of Screw, said (on lukeford.net), 'The only reason that
> Jews are in ****ography is that we think that Christ sucks.
> Catholicism sucks. We don't believe in authoritarianism.'
> ****ography 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. **** is no longer of
> the 'what the Butler saw' voyeuristic type; instead, it is driven
> to new extremes of ****trayal that stretch the boundaries of the
> **** aesthetic. As new ***ual positions are ****trayed, 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 ***ual rather
> than leftist politics. Just as Jews have been dispro****tionately
> represented in radical movements over the years, so they are also
> dispro****tionately represented in the **** industry. Jews in
> America have been ***ual revolutionaries. A large amount of the
> material on ***ual liberation was written by Jews. Those at the
> forefront of the movement which forced America to adopt a more
> liberal view of *** were Jewish. Jews were also at the vanguard
> of the ***ual 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 ***, while Marcuse prophesied that a
> socialist utopia would free individuals to achieve ***ual
> satisfaction. Goodman wrote of the 'beautiful cultural
> consequences' that would follow from legalizing ****ography: it
> would 'ennoble all our art' and 'humanize ***uality'. Pacheco was
> one Jewish **** star who read Reich's intellectual marriage of
> Freud and Marx (lukeford.net):
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