Archives for posts with tag: psychiatry

playboy

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 Howling poster

The Howling (1981)

National Socialists have traditionally appropriated wolf imagery as an expression of their movement’s fierceness, masculinity, and pagan mystique. Hitler’s first Eastern Front headquarters was named the Wolf’s Lair, and Werwolf was the name the Nazis selected for a German guerrilla resistance force during the waning phases of World War II. White nationalists of today will sometimes refer to themselves as werewolves, as well. A close reading of Joe Dante’s horror hit The Howling (1981), however, may convince viewers that Jews are the ones who deserve the mantle of the wolf.

Ilsa She Wolf of the SS

Lupine-themed pop Nazi iconography

“Signed his work,” explains television news producer Christopher (Dennis Dugan), with reference to the gruesome clues furnished by the artistic creations of a murderous maniac – and, as it turns out, a werewolf – in dialogue suggestive of what may be The Howling’s ulterior intention of cluing viewers into the nature of its Hollywood provenance by way of a revelation of method.

The madman is Eddie Quist (Robert Picardo), a sexual pervert stalking anchorwoman Karen White (Dee Wallace). The latter, in an attempt to help police capture Quist, agrees to meet him in an adult video shop, where he lures her into a private booth, activates a sadomasochistic sex loop, announces his intention to possess Karen’s body, and then proceeds to transform and to reveal his true physical nature – that of a wolf.

Dee Wallace

Dee Wallace as Karen White

Thus, in this crucial encounter, key subtext is set into motion. Quist is in his element when surrounded by filth and shows a pronounced interest in pornography – an industry dominated by Jews – and he also seeks to dominate Karen, a character who is significantly beautiful, blonde, surnamed “White”, and a representative, furthermore, of her local news media – another Jewish near-monopoly. Karen’s employer at Channel 6, Fred Francis (Kevin McCarthy), would seem to be one of the last of the WASP old boys’ club.

Picardo

Robert Picardo as Eddie Quist

A search of Quist’s apartment reveals obsessive drawings of monsters (i.e., autobiographical deviant art) and newspaper clippings illustrative of his resentful preoccupations with violence and Christianity. Two visible headlines from articles on his walls read, “The Dismembered Corpse in the Burned Out Church” and “Weird Case of the Murdering Messiah”. Murdering or murdered? Either way, the headlines speak to Quist’s sense of Jewish supremacy and hatred of gentiles.

Appearing as a guest on Channel 6 is a pop psychiatrist, Dr. Waggner (Patrick Macnee), who advises his audience of the benefits to be had from slackening their moral standards when he says, “We should never try to deny the beast, the animal within us.” Psychiatry, of course, being another field famously lorded over by Jews hostile to the traditional ways of Christendom. Dr. Waggner, like Quist, has designs on Karen White, and – using the pretext of her post-traumatic stress resulting from the meeting with Quist – invites her to his rustic retreat, suggestively named the Colony, for what is supposed to be group therapy along with her husband, Bill (Christopher Stone).

Elisabeth Brooks

Elisabeth Brooks as Marsha Quist

The Colony, unfortunately, is a forested den of werewolves, among them folksy locals Charlie (Noble Willingham), Erle (John Carradine), Jerry (James Murtaugh), deceptively friendly sheriff Sam (Slim Pickens), and shapely seductress Marsha (Elisabeth Brooks), a quintessential scarlet woman who sets about dissolving the bonds of Karen’s marriage by making herself aggressively available to Bill. Marsha’s love shack in the woods is adorned by pelts, which – with their six points of paws, head, and tail – abstractly approximate elongated Stars of David.

Pelt of David

Pelt of David

“Karen, you’re really gettin’ paranoid,” Bill accuses when his wife confronts him about his infidelity. “I know,” he says sarcastically, “it’s all a big conspiracy as far as you’re concerned.” Bill’s tactic, then, is to attempt to distract from the fact that he has plainly sold his soul and his services to the alien by smearing his accuser as a “conspiracy theorist”. Sound familiar?

Karen’s new Colony acquaintance Donna (Margie Impert), also a crypto-werewolf, lets slip a hint of her hidden identity when she and Karen happen upon a mutilated cow. “Oh, Jesus,” she blurts with embarrassment, to which Karen automatically tacks on “Christ”. It is Karen, and not crypto-werewolf Donna, who identifies Jesus as the Messiah and not a head of slaughtered cattle.

Donna and Karen

Donna (Margie Impert) and Karen (Dee Wallace)

An isolated redneck community might seem an unlikely representation of Jews, if not for their legendary prowess at passing themselves as common whites. “Your classic werewolf can change shape anytime it wants, day or night, whenever it takes a notion to. That’s why they call ‘em shapeshifters,” explains occult bookseller Walter Paisley (Dick Miller). “Silver bullets or fire,” he goes on. “It’s the only way to get rid of the damn things. They’re worse than cockroaches.”

Joe Bob Briggs

“That’s why they call ’em shapeshifters.” An example of the crypto is John Irving Bloom, who made a career as ersatz good ol’ boy Joe Bob Briggs

The strength of the wolf is in the pack. A single Charles Schumer or Dov Zakheim might pose no threat to the United States; but taken together, as an organized infestation, Jewry comprises a nearly unbeatable hydra. “A secret society exists and is living among all of us,” Karen duly warns her viewers when she returns to television. “They are neither people nor animal, but something in between.”

The less-than-sympathetic and decidedly utilitarian view this secret order of carnivorous creatures takes toward the goyim is made explicit during the scene in which they reveal themselves. The script is worth quoting at this pivotal juncture:

     Jerry: It was a mistake to bring her to the Colony.

     Erle: We should have stuck with the old ways. Raising cattle for our feed. Where’s the life in that?

     Charlie: The humans are our cattle.

     Erle: Humans are our prey. We should feed on them, like we’ve always done. Screw all this “channel your energies” crap.

     Dr. Waggner: But the danger of exposure! We need this shelter to plan! To catch up with society! Times have changed and we haven’t! Not enough.

     Marsha: Shut up, Doc! You wouldn’t listen to me! None of you! “We can fit in,” you said. “We can live with them!” You make me sick.

True to the bookseller’s lore, the werewolves prove to be vulnerable to silver bullets and fire – which is, of course, to say Holocaust – when gentile news producer Christopher, presumably following in the imaginary footsteps of Julius Streicher, rides to the rescue and burns the lot of the flesh-devouring good-for-nothings alive in their barn-synagogue of Satan.

Marsha, the Zionist Werewolf Whore of Babylon, is seen to be the only survivor of this horrible Howlocaust, and one can only assume that she will now be more bloodthirsty than ever, an assumption corroborated when she gazes into the camera and orders a hamburger – specifying that it be cooked rare. The Howling’s end credits then roll over a close-up of the sizzling hamburger patty – a macabre reminder of the final significance of what is meant by “goy cattle”.

“Rare.”

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