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Among the books reviewed in the June 1978 issue of Playboy is Sex Without Shame: Encouraging the Child’s Healthy Sexual Development by pediatrician Dr. Alayne Yates. Accompanied by an image of a child’s letter block with a nude, masturbating woman depicted on one side (captioned “never too young”), the anonymous review proclaims that the book “couldn’t come at a better time.” Playboy’s nameless critic proceeds:

Last year, the Puritan press generated a national burst of pious outrage over child pornography, the abuse of minors at the hands of callous X-rated film makers, pimps and worse. Behind the campaign was the notion that children need to be protected from all forms of sexuality until they reach an age when they can fully appreciate the subtle nuances of guilt and shame that make sex such a bummer for many adults.

Yates, the reviewer relates, “builds an impressive and often horrifying case against society” and points toward “other cultures and other, healthier, styles of parenting. […] If enough people read this book,” Playboy concludes, “we might actually make the world safe for eroticism.”1

What are the “other, healthier styles of parenting” recommended by Dr. Yates? For her, responsible child-rearing begins with accepting Alfred Kinsey’s claim that infant human beings are self-lubricating orgasm machines. Noting that “Innumerable baby boys were born with fully erect sexual organs” and that “all girl babies lubricated vaginally in the first four to six hours of life” – and are, therefore, apparently ready for sexual intercourse in her expert opinion – Yates perseveres through one of the most repugnant paragraphs ever composed in the English language – if, indeed, it was composed in English first and not transcribed from some obscure Judaic source:

Masturbation culminating in climax may occur as early as the first month of life. The baby girl is the most enthusiastic and proficient. With unmistakable intent, she crosses her thighs rigidly. With a glassy stare she grunts, rubs, and flushes for a few seconds or minutes. If interrupted, she screams with annoyance. Movements cease abruptly and are followed by relaxation and deep sleep. This sequence occurs many times during the day, but only occasionally at night. The baby boy proceeds with distinct penis throbs and thrusts accompanied by convulsive contractions of the torso. After climax his erection (without ejaculation) quickly subsides and he appears calm and peaceful. Kinsey reports that one boy of eleven months had ten climaxes in an hour and that another of the same age had fourteen in thirty-eight minutes.2

Yates dedicates her book “To My Sexy Children”, and Chapter 11, “Keep It in the Family”, opens with a motto attributed to the pedophilia-promoting René Guyon Society: “Sex before eight or else it’s too late.”3 “Incest is not ordinarily accompanied by brutality,” she writes, adding, “It feels good and gets better with practice.”4 “Incest that commences in adolescence is different and devastating,” Yates concedes; but there is “an important lesson to be learned from noncoercive father-and-daughter incest”, namely, that “daughters who experience incest early and without pain or coercion are not damaged by the act itself” – more probably they are damaged by society’s judgmental and old-fashioned prejudices – but “Early erotic pleasure by itself does not damage the child” and “can produce sexually competent and notably erotic young women.”5

At the bottom of the page containing Playboy’s anonymous Sex Without Shame review, and helping to reinforce its theme, is a photograph from Charles R. Collum’s book Dallas Nude of a smiling woman dandling two naked toddlers. Clearly, there was a conscious effort here at normalizing the notion of prepubescent eroticism among the normal heterosexual men who habitually browsed Playboy.

The magazine’s editorial director at the time was Arthur Kretchmer, who once said of his boss, “Hef has never gotten enough credit for inventing the modern world, for creating the post-WWII civilized society.”6 Perhaps, however, as Tablet’s Josh Lambert indicates, it is Playboy’s Hebraic editorial collective that deserves the Israeli settler’s share of the credit for creating a “civilized society” that is increasingly tolerant of pedophilia. “By the 1960s, Playboy and its founder had become household names,” Lambert writes. “But while Hugh Hefner was out making his brand synonymous with the good life, a team of Jewish editors made his magazine one of the liveliest, sexiest, and most progressive reads around.” These included managing editor Sheldon Wax and associate publisher Nat Lehrman.

By the mid-1960s, Playboy’s young editors were charting the magazine’s course. “The whole staff, practically, was Jewish,” Lehrman recalls. “We were the dominant, probably the brighter ones.” Under Spectorsky, Lehrman, Wax, and Kretchmer, and always with Hefner’s approval, Playboy at the same time began to feature Jewish writers, artists, and themes more prominently than ever before.7

Hefner, as an IRS investigation revealed, also did business with CIA front Castle Bank, which counted among its depositors Jewish gangsters Morris Kleinman and Morris Dalitz, whose connections included Meyer Lansky – all august luminaries of that “post-WWII civilized society” cited by Kretchmer, no doubt8. Thank God the Third Reich went down in flames!

Rainer Chlodwig von K.

Endnotes

  1. “Books”. Playboy (June 1978), p. 38.
  2. Yates, Alayne. Sex Without Shame: Encouraging the Child’s Healthy Sexual Development (online edition), p. 12.
  3. Ibid., p. 112.
  4. Ibid., p. 118.
  5. Ibid., p. 121.
  6. Leroux, Charles. “Mr. Kretchmer’s Wild Ride”. Chicago Tribune (November 15, 2002): http://articles.chicagotribune.com/2002-11-15/features/0211150002_1_james-kaminsky-arthur-kretchmer-editor-at-maxim-magazine/2
  7. Lambert, Josh. “My Son the Pornographer”. Tablet (February 24, 2010): http://www.tabletmag.com/jewish-arts-and-culture/books/26418/my-son-the-pornographer
  8. Nolen, A. “Do You Have a Key to the Playboy Mansion?” Nolen (February 10, 2015): https://web.archive.org/web/20150212012053/http://anolen.com/
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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY THREE

A_Good_Marriage

Stephen King wrote this blackly comedic thriller about a woman (Joan Allen) who, after celebrating her twenty-fifth wedding anniversary with her seemingly dull accountant husband (Anthony LaPaglia), becomes convinced that he is actually “Beadie”, a patriarchal shitlord serial killer and rapist who has been busily putting strong, liberated women back where they belong – in the grave! Meanwhile, some shabby-looking drifter character (Stephen Lang) seems to be stalking the couple. Who is Beadie and what will the heroine do when confronted with his identity? Finding out should be fun for man-haters and those who enjoy scenes of elderly people screwing.

[WARNING: SPOILERS]

3.5 out of 5 stars. Ideological Content Analysis indicates that A Good Marriage is:

6. Anti-Christian. Allen responds irreverently to a priest’s platitude.

5. Drug-ambivalent. Allen takes a prescription pill to cope with her difficulties. The film, however, warns against alcohol, which impairs judgment.

4. Pro-miscegenation. A congoid can be seen dancing with a white woman at a party.

3. Class-conscious. Prompting the viewer to feel contempt for their social betters is a ridiculous scene in which the leads discuss whether or not to buy a rare coin for $9,000.00. An investigator’s only duty, he says, is to pay his taxes, while LaPaglia contrarily “covers his tracks” from the IRS. The implication would seem to be that the rich will only waste that money they manage to save from redistribution. Allen demonstrates her growth as a character by giving her husband’s belongings to a charity.

2. Misandrist. Sexually insensitive behavior and talk – such “sexist crap” as, for instance, quoting from From Here to Eternity or remarking that a woman’s attire is provocative – is indicative of a psychotic mind that harbors violent hostility toward women.

1. Anti-marriage. Those women who have the misfortune to enjoy “something very rare, a good marriage”, are better off preemptively murdering their spouses – just in case.

Rainer Chlodwig von Kook

Have shopping to do and want to support icareviews? The author receives a small commission for Amazon purchases made through this link: http://amzn.to/1H1stOD

Dallas Buyers Club

Matthew McConaughey, who over the past few years has become one of this writer’s favorite actors working today, is the only reason to watch Dallas Buyers Club, the most recent attempt to subvert and metamorphose the American cowboy into a gay activism icon after the manner of Brokeback Mountain (2005). McConaughey stars as Ron Woodroof, a narrow-minded ne’er-do-well whose life changes forever – or, anyway, for what remains of it – after he is diagnosed with what Andy Warhol called “gay cancer”.

Jennifer Garner portrays a concerned physician, while Jared Leto munches the scenery as junkie transvestite Rayon, who becomes Woodroof’s business partner in the “Dallas Buyers Club”, a grassroots enterprise designed to provide AIDS sufferers with a healthier treatment alternative than the big pharmaceutical competition. Woodroof’s drive to prolong his life and combat the establishment’s market stranglehold is fairly compelling, but squeamish viewers are forewarned that the movie contains such tacky attempts at heart-tuggery as the sight of a sick, self-pitying transvestite drooling blood and whining “I don’t wanna die . . .”

4 out of 5 stars. Ideological Content Analysis indicates that Dallas Buyers Club is:

9. Anti-Christian. Woodroof dresses as a priest while attempting to smuggle drugs into the U.S. from Mexico. The image of an AIDS patient wearing a clerical collar is of course no sartorial accident and works as a barb directed at Catholic moral hypocrisy, so many priests being closeted homosexuals, many of whom are known to have succumbed to AIDS.

8. Anti-drug. Woodruff’s intravenous drug use, along with his inveterate whore-chasing, has put him at greater risk for contracting AIDS. Also, Rayon’s dope addiction only exacerbates his decline.

7. Anti-racist. One of the personal failings Woodroof must overcome is his racism, evidenced by his references to Asians as “chinks” and Saudis as “sand niggers”. As his drug procurement operation goes global, he learns to appreciate the profitability of doing business with foreigners. “I like your style,” he tells a Japanese doctor.

6. Feminist. In addition to overcoming his racism, Woodroof must also come to accept women’s contributions to the modern workforce. “I don’t want a nurse, I want a doctor!” he protests in one early scene.

5. Anti-redneck. The spectacle of a gun-toting “homophobic asshole” and piece of “Texas hick white trash” suffering from AIDS and lashing out in his agony as dignified professional women and minorities look on with contempt is pure political porn for liberals, the quintessence of their wishful thinking.

4. Capitalist. Dallas Buyers Club betrays a left-libertarian streak in its combination of social liberalism and celebration of the entrepreneurial spirit, attempting to illustrate how unfettered markets will serve both the small businessman and consumer. “I say what goes in my body, not you.”

3. Anti-corporatism. The IRS, DEA, and particularly the FDA appear as antagonists in the film, the cronyist footmen of big pharma monopolists looking to squeeze the competition. “Now that’s the shit that’ll rot your insides,” Woodroof avers, examining a package of meat in a grocery store. “What a surprise,” he then adds, “FDA-approved.” The FDA, Dallas Buyers Club alleges, merely functions as big pharma’s glorified street pushers.

2. Pro-gay. Through a business partnership that blossoms into a friendship, Woodroof learns to appreciate Rayon as an individual, and comes to appreciate the general plight of homosexuals as he succumbs to the disease they share. AIDS, as the great sexual-sociopolitical equalizer, almost seems to be the movie’s unsung hero. Demonstrating his transformation from homophobe to humanitarian, Woodroof in one scene grabs his bigoted friend T.J. (Kevin Rankin) and holds him in a headlock until he agrees to shake Rayon’s hand. Homosexuals appear as sensitive and nurturing throughout Dallas Buyers Club.

1. Pro-NWO. “Look at this place,” Woodroof muses, surveying the scene in a bohemian clinic south of the border. “Fuckin’ chinks, homos, herbs, hot nurses. You got a regular New World Order goin’ on here . . .”

Rainer Chlodwig von Kook

American Hustle poster

To be perfectly honest, this reviewer was bored for lengthy portions of American Hustle, David O. Russell’s unaccountably lauded opus about the Abscam scandal. Like too many period pieces set in fashion-distinctive epochs, Hustle evinces an overly polished and inorganic quality, more concerned with fussing about its garish clothing, bizarre hairstyles, and flaunting an unwarranted sense of its own super-coolness than with the development of characters deserving of the audience’s interest. As with the less inspired moments in Scorsese’s oeuvre, American Hustle is too content to slide by on the likability of its vintage pop soundtrack and slick but empty visual flair, with – of course! – the obligatory trip to a decadent discotheque.

The performances of Bale, Cooper, and others are fine, but hardly career highlights. Russell’s unconvincing dialogue, co-credited to Eric Warren Singer, bears much of the blame for the film’s lifelessness. Actors can hardly be blamed for failing to salvage compelling drama out of the likes of the following yawners: “This is bullshit. We are bullshit. You were bullshit. You were bullshit.” While no character in American Hustle is particularly sympathetic, there are some affecting moments toward the end of the film when flimflam man Irving Rosenfeld (Bale) begins to feel guilty about misleading and ruining a mark he has come to view as his friend. This in no way justifies a run time in excess of two hours, however – leaving the viewer to wonder whether the tale of this potbellied, philandering Jew con artist with a heart of gold needed to be told at all.

ICA’s advice: For a 70s con game period piece, see Richard Gere in The Hoax instead.

3 out of 5 stars. Ideological Content Analysis indicates that American Hustle is:

8. Pro-drug. Nothing sells marijuana like the sight of a beautiful temptress (Amy Adams) smoking a joint.

7. Anti-American. Check the title.

6. Multiculturalist. Mayor Carmine Polito (Jeremy Renner) maintains friendly relations with the minority community and even adopts a black kid to show what a great guy he is.

5. Pro-gay, with one gratuitous lesbian kiss.

4. Pro-slut. Movie stars making out in a bathroom – how glamorous! Rosenfeld does “the right thing” by marrying single mother Rosalyn (Jennifer Lawrence).

3. Zionist, calling attention to the undying bogeyman of American politicians’ insidious willingness to sell out the country’s well-being to the Arabs. Dismissive reference is also made to (Israel-hating, Palestine-loving) “fuckin’ Jimmy Carter”.

2. Relativistic. “That’s the way the world works. Not black and white like you say. Extremely gray.”

1. Obamist. In union-friendly Carmine Polito, American Hustle portrays the corrupt but humble and likable politician as tragic hero, a man of the people, a caring, avuncular figure genuinely concerned with the welfare of his constituents, and who presides over a system of corruption only so as to create new jobs. “We dream and we build,” he says. Overly zealous investigators like DiMaso (Cooper) are ruining America, Rosenfeld charges, by exposing high misdeeds and so destroying the people’s faith in their leaders. So lay off the Solyndra, Benghazi, NSA, IRS, and other scandals, American Hustle cautions, lest the spiritually vulnerable masses lose their precious hope.

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