“The Idol” is another Khazarian pornification of the world. - The Rolling Stone itself calls The Idol “torture porn.” 

By Jonas E. Alexis, Senior Editor -June 20, 2023

If you don’t think that the Khazarian Cult is no longer in the business of pornifying much of the world or turning dumb Goyim women like Lily-Rose Depp (Johnny Depp’s daughter) and Jennie Kim (of the South Korean group Blackpink) into shiksas, then you haven’t seen some of the episodes in the recent HBO drama TV series called The Idol, which was created by Sam Levinson, Abel “The Weeknd” Tesfaye, and Reza Fahim.  

The Idol, according to one journal, is a “rape fantasy” and is “from the sick and twisted minds of the creator of Euphoria Sam Levinson and Abel ‘The Weekend’ Tesfaye.” The Rolling Stone itself calls the series “torture porn.”[1]

USA Today calls it “sexist, gratuitous,” “exploitive,” and “achingly boring.” 

It continues to say: “It uses nudity, profanity, drugs, semen, sadism, masochism, mental illness and excessive cigarette smoking in its barefaced effort to seem cool and subversive.”[2]

Well, the big question again and again is simply this: haven’t we seen those kinds of subversive programs? And who are the perpetrators? The problem with all the reviews by USA Today and other outlets is that they never dare to even mention who the culprits are. Fortunately, the scholarly world has been able to do that for us. 

Jewish scholar Nathan Abrams declares in his book The New Jew in Film that “older generation of Jewish filmmakers and actors, here [Woody] Allen, [Stanley] Kubrick and [Ron] Jeremy, arguably not only increased the Jewishness of their work, but updated it to match the new post-1990 sensibility by defining it in increasingly sexualized (and pornographic) terms.”^[3]

In other words, given enough “freedom,” Jewish filmmakers will almost certainly turn the film industry into pornography. Why? Keep reading.

In Stanley Kubrick: New York Jewish Intellectual, Abrams argues that Kubrick’s A Clockwork Orange, Eyes Wide Shut, etc., are essentially a projection of Kubrick’s fascination with his Jewish roots and mysticism, particularly the Kabbalah.[4] Jewish scholar Joshua Lambert declares that Jews use pornography and most specifically obscenity “to fight anti-Semitism…”^[5]

He adds that people like Larry David and Sarah Silverman “are challenging America’s powerful religious, family-friendly culture and asserting their Jewishness by glorifying obscenity.”^[6] Back in 2004, Abrams unequivocally declared:

Jewish involvement in porn…is the result of an atavistic hatred of Christian authority: they are trying to weaken the dominant culture in America by moral subversion…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.[7]

Abrams’ work has been published by academic centers like Rutgers University Press, and no one has ever accused him of being an anti-Semite. In fact, he has gotten great accolades for writing provocative works.

Even scholar Laurie Marhoefer, in her penetrating study, Sex and the Weimar Republic: German Homosexual Emancipation and the Rise of the Nazis, provides compelling evidence which indirectly shows that some of the key players who were surreptitiously destroying the German culture through moral corruption and degradation were largely of Jewish extraction. 

But Marhoefer herself would call corruption sexual freedom and democracy. A number of historians have adopted this form of “democracy” and “freedom” over the years.

One of those polite people who vehemently fought against the moral law and order was none other than Magnus Hirschfeld. Hirschfeld was introducing sexual liberation, which, according to Marhoefer, everyone should applaud, but the German traditionalists thought he was bringing disaster. 

This was one reason why Hirschfeld was vehemently browbeaten, not because the traditionalists were by nature anti-Semites. Hirschfeld attempted to use “science” to perpetuate the idea that homosexuality is “purely biological, not pathological,”[8] and that again put him in conflict with the German culture, which viewed the issue as moral and not biological.

Marhoefer writes: “Thus laws like Germany’s Paragraph 175, which banned sex between men, conflicted with science. ‘What is natural cannot be immoral,’ Hirschfeld wrote. ‘When state and society, family and individual persist in their old prejudice against homosexual men and women, a prejudice that is based on ignorance, then injustice is done, one that has only a few parallels in human history.”[9]

Hirschfeld “called on his allies in the new government, the Social Democrats, to quickly repeal the sodomy law. They declined to do so.” Hirschfeld’s Institute for Sexual Science “championed the principle that science rather than religious morality ought to dictate how state and society responded to sexuality.”[10]

Cinema, then, was widely used as a form of subversion of the German culture, traditions, and more. Even Eric D. Weitz declares that during that period in Germany, “Many artists, writers, directors, and composers jumped at the chance to work in the new media precisely because they signified a break with the past and provided one more way to express rejection of pre-1918 imperial Germany with its kaisers, generals, nobles, and stuffy, rigid and outmoded art academies.”[11]

Philo-Semitic historian Paul Johnson writes that during the 1920s in Germany, “The area where Jewish influence was strongest was the theatre, especially in Berlin. Playwrights like Carl Sternheim, Arthur Schnitzler, Ernst Toller, Erwin Piscator, Walter Hasenclever, Ferenc Molnar and Carl Zuckmayer, and influential producers like Max Reinhardt, appeared at times to dominate the stage, which tended to be modishly left-wing, pro-republican, experimental and sexually daring.”[12]

Again Hirschfeld (1868-1935), the father of the Gay liberation movement in Germany,[13] used his medical training as a pretext to promote homosexuality and, in 1897, built his own system of “the Scientific-Humanitarian Committee, the first organization anywhere devoted to the protection of homosexual rights.”

Hirschfeld, himself a homosexual, was also “the primary inventor of marriage counseling, Gay liberation, artificial insemination, surgical gender ‘reassignment,’ and modern sex therapy… His goofy persona and conscientiousness transformed Sexology from an anthropological curiosity into popular German science. 

The Berlin monthlies, starting in the mid-twenties, referred to Hirschfeld solicitously as ‘the Einstein of Sex.’”[14]

Hirschfeld was the Einstein of Sex because he “embraced a doctrine known as ‘sexual relativity.’” Hirschfeld specifically used the term “racism” to attack the sexual order. One of the central forces of the sexual order is that if the next generation is to survive, men and women ought to be married and produce children. 

A homosexual act, by definition, is a hindrance to civilization precisely because it inexorably leads to all sorts of social and medical problems. While homosexuals ought to be free to practice their lifestyle in private—after all, isn’t a sexual act a private matter?—they should not seek to subvert the sexual order by trying to change the laws which are based on the natural order.

Hirschfeld indeed was a sex expert and surely he understood what was at stake. While the natural order makes it clear that there are only two sexes—male and female—Hirschfeld postulated another doctrine, one more congruent with his revolutionary ideology. Hirschfeld “wrote that it was ‘unscientific’ to speak of two sexes. 

Between ‘full man’ and ‘full woman’ was an infinite string of sexual/gender possibilities.”[15] Hirschfeld spent a large part of his 1200-page book The Homosexuality of Men and Women deconstructing the sexual order.[16]

Hirschfeld was the Alfred Kinsey of his day and actually put his doctrines into practical use.[17] This began to take place in 1919 when Hirschfeld opened the Institute of Sexology in Berlin. Jewish scholar Mel Gordon of the University of California tells us that the institution “quickly became one of the city’s most curious attractions. 

The Institute’s buildings, including a former mansion, were divided into areas for lectures, consulting offices, study rooms, laboratories, medical clinics, and a museum space devoted to sexual pathology.”[18]

Paul Johnson commented, “The Foxtrot and short skirts, the addiction of pleasure in ‘the imperial sewers of Berlin,’ the ‘dirty pictures’ of sexologist Magnus Hirschfeld or the typical man of the times took on in the mind of the average citizen a repugnance that is difficult to recall in hindsight without some historical effort. 

In a number of highly celebrated provocations, the stage of the ‘20s dealt with topics like patricide, incest, and other crimes and the deepest inclination of the times tended to self-mockery.”[19]

When Hirschfeld was spreading the gospel of sexual liberation throughout Germany, he was attacked by a number of Nazi students, “prompting the publisher of his autobiography to remark that the ‘Nazis had chosen him from the very beginning as a symbol over everything they hated.

It was Hitler himself, who, after the fascist students attacked Hirschfeld in Munich in 1920 and left him badly injured, declared him in many public speeches as the very epitome of the repulsive Jew and the enemy of the German people.’”[20]

Six years later, Hirschfeld spread the sexual revolution in Russia under Stalin and hailed it as “marital bolshevism.”[21] Historian Otto Friedrich does not believe that Hirschfeld was taken seriously and therefore achieved next to no “notable goal,” but argues that his work was “a classic of pseudo-scientific pornography.”[22]

This “pseudo-scientific pornography” was projected onto the German culture and turned Berlin in particular into what Jewish homosexual writer and drug addict Klaus Mann (1906-1949) would have called “Sodom and Gomorrah” and “the circus of perversities.”[23]

Starvation and moral devastation were so bad that “girls of twelve or fourteen prostituted themselves after school with their parents’ approval. Illegitimate births had already increased to 22 percent of all births by 1917 (as compared to 5.4 percent in London at the same time) and illegitimate infant mortality soared to an extraordinary 300 per thousand by 1920.”[24]

Obviously these were serious problems, but they were just the tip of the iceberg: “Every kind of sexual perversion was catered to and hotels like the Excelsior and the Adlon hired ‘in house’ male and female prostitutes to entertain the guests. 

As things grew increasingly dire Berlin threw itself into an orgy of dancing, drinking, and pornography and prostitution with je m’en fous being the order of the day.”[25] For most Berliners, the city itself “was a living hell.”[26] This “living hell” was coming from what David Clay Large calls the “Spree-Babylon” in Berlin.[27] It was these issues that “ultimately made Hitler’s rise to power possible.”[28]

Many popular historians, even though they discuss the Weimar Republic, seem to stay away from addressing these historical issues,[29] obviously because these issues are pregnant with meaning. For example, Julia Roos of the University of Indiana writes that “The Nazi attacks on Jews for their alleged control of the white slave trade was effective because it appealed to common anti-Semitic beliefs.”[30]

This was not an anti-Semitic belief at all. As Jewish historian Edward J. Bristow meticulously documents in Prostitution and Prejudice: The Jewish Fight Against White Slavery 1870-1939, Jews played a disproportionate role in sex slavery in the nineteenth and twentieth centuries. 

Bristow begins the book by saying: “Between 1880 and 1939, the Jews played a conspicuous role in ‘white slavery,’ as the commercial prostitution of that era was dramatically called. Not only was this Jewish participation conspicuous, it was historically unprecedented, geographically widespread, and fraught with collective political danger.”[31]

The prostitution business ranged from “almost all parts of North and South Africa, to India, China, Japan, Philippine Islands, North and South America, and also to many of the countries of Europe” where “Yiddish speaking Jews are maintaining a regular flow of Jewesses, trafficked solely for the purpose of prostitution.”[32]

In the late 1860s, there was a small Jewish population in Paris, and it was well known that Jews were disproportionately involved in prostitution there. In fact, “Jewish prostitutes were familiar enough in Paris to have served as the basis for something of a literary convention.”[33]

In 1907, the London Jewish Chronicle noted that “almost every populous centre of Europe and America gives evidence of the extent to which Jewesses immolate themselves to the Moloch of illicit being.”[34]

There were Jewish pimps looking for “the livelihoods that were impossible in Russia, Romania, and Galicia [a region of east central Europe; part of Austria, then Poland, and now Ukraine]” in places like East Africa, Bulgaria, Bosnia, Greece, Turkey, Lebanon, Egypt, India, Ceylon, China, Manchuria, the Philippines, South Africa, Rhodesia, and even Mozambique.[35]

Bristow writes: “Police data for Alexandria in 1903 show that between 70 and 80 per cent of the prostitutes in tolerated houses there were Jewish women from Galicia, Bukovina, and Romania. 

At that time the Austrian Consul in the city arranged for the deportation of twenty-two Austrian and Romanian procurers, many of them well-known in the craft, individuals like Israel Klopper of Rio and Joseph Stark, who turns up in the 1915 Constantinople police raid.”[36]

Rudolph, a Jew who converted to Christianity at the time, wrote that many of the Jewish women came voluntarily.[37] Constantinople in the mid-1870s had a colony of Ashkenazi Jewish families who were “involved in commercial vice and it was an entrepot for all points east. 

According to the Anti-White-Slavery Committee at Alexandria, whose president was the Jewish notable Baron Jacques de Menasce, the ‘customary itinerary’ from Europe was ‘Alexandria, Cairo or Port Said, Bombay, Colombo, Singapore, Saigon, Hong Kong, and Shanghai.’”[38]

In 1862, when residence restrictions against Jews were removed in Warsaw, Poland, Jews fled to the prostitution business, which became commercial vice in the centre of Warsaw.”[39] By 1889, there was a “prevalence of Jewish brothel-keepers in Warsaw,” where census data proved that between sixteen and nineteen whore houses were run by Jewish women.[40]

Keep in mind that the Jewish population has never been more than four percent in those areas. In 1889, the disproportionate number of Jewish women who ran brothels in Kherson province was stunning—of the 36 licensed brothels there, 30 of them were run by Jewish women.[41]

Similar data was shown to be true by 1910 in Russia.[42] This was also true in America, where the American Consul declared that “the whole business of prostitution is almost exclusively in the hands of Jews.”[43]

By the end of the nineteenth century, a rabbinical court was established in Warsaw among certain Jewish groups to “settle disputes between pimps.”[44] But by 1905, a number of Polish rioters took the issue further. “

For three days they rampaged through brothels, looting and destroying furniture, knifing, beating, and defenestrating pimps and prostitutes.”[45] Obviously Jewish participation in sex trafficking gave rise to anti-Jewish reactions. Anti-Jewish attitudes continued in the year 1882 and beyond.[46]

The mob knew of the undercover work of Jews such as Adolph Weissmann, Sigmund Reicher, Hersch Gottlieb, and Israel Klopper, who were very instrumental in establishing colonies of brothels in South America around the year 1879.[47]

Scholar Sietske Altink laments that “Jewish trafficking in women,” among other things, increased feelings of anti-Semitism. The Zwi Migdal society was considered to be “the largest and most organized example of Jewish trafficking” in Argentina.[48]

On some occasions anti-Jewish representatives would wait “at railway stations to catch traffickers in the act.”[49] In the early 1900s, Buenos Aires, Argentina, had a surplus of Jewish prostitutes and traffickers.

People such as Bercia Bleiberg, Mottl Kerner, Friede Willinsberg, the Cohen family, the Rosenberg family, the Goldenbergs, the Goldstein brothers, and Jacob Zabladovitch had all come to Buenos Aires to open up brothels; some, like the Bleibergs, had to work part-time as house painters because of the competitive market.[50]

Adolf Hitler witnessed Jewish traffickers and prostitutes while in Vienna and then declared: “In no other city of Western Europe could the relationship between Jewry and prostitution…be studied better than in Vienna…

An icy shudder ran down my spine when seeing for the first time the Jew as an evil, shameless and calculating manager of this shocking vice, the outcome of the scum of the big city.”[51] Richard J. Evans objects to Hitler condemning what Evans calls “Weimar’s vibrant culture” and the “sexual freedom” as “degenerate.”[52] But Hitler was right this time.

In short, Julia Roos was wrong about the people behind sex trafficking in the 1920s. Bristow’s study was published by Oxford University Press in 1982, and was later released by Schocken Books in 1983. Roos should have interacted with Bristow’s work, but she never did throughout her book. Others do not even dare to mention the deep forces that were dragging the German culture into a moral sinkhole through the arts. 

Bram Dijkstra of the University of California wrote in Idols of Perversity that “There is no more accurate documentation of the manner in which a culture perceives its moral and social mission than in the works of visual art it produces.”[53]

Thinkers throughout the ages have been saying the same thing. Plato himself talked about this extensively in his work Laws. Dostoyevsky also understood this principle. He argued that there is a symbiotic and implicit relationship between real life and art. Friedrich Nietzsche again understood what Dostoyevsky was getting at. 

In fact, Nietzsche saw that art and visual images would bring about what he called the transvaluation or reevaluation of all values.[54] Nietzsche understood that without a moral plumb line, the Dionysian sexual revolution will inexorably follow. Nietzsche wrote in the Birth of Tragedy:

The central concern of such [Dionysian] celebrations was, almost universally, a complete sexual promiscuity overriding every form of established tribal law; all the savage urges of the mind were unleashed on those occasions until they reached the paroxysm of lust and cruelty which has always struck me as the ‘witches’ cauldron’ par excellence.[55]

Nietzsche died in 1900, and he never witnessed the transvaluation of all values which he longed for. But eighteen years after his death, the transvaluation of all values began to take place through the arts. 

Revolutionaries like Grosz began to produce perversions in the form of art and sexual liberation. Harvard scholar Maria Tatar writes in Lustmord: Sexual Murder in Weimar Germany:

George Grosz, who painted more than his share of what he called “ladykillers” (in the literal sense of the term) and of their mutilated victims, once had himself photographed in the pose of Jack the Ripper. 

Menacing his victim with a knife pointed at her genitals, he transforms himself from the creative artist who frames, contains, and appropriates the seductive appeal of his model into a murderer prepared to destroy the source of male heterosexual desire and of artistic inspiration.[56]

Tatar moves on to say: “That Grosz not only drew and painted mutilated female corpses but also felt compelled to act out the role of murderer seems telling, particularly when we consider that there was a real erotic tie between the Grosz in the photograph and his model.”[57] Grosz, Tatar suggests, was waging a “violent” war against aesthetic. “

Classic nude studies, street scenes showing prostitutes haggling with their clients over price, brothel settings, and domestic vignettes might seem artificially prudish without exposed bodies. But in leafing through Grosz’s oeuvre, the regularity with which the bare female body is presented in grotesque detail is astonishing.”[58]

Grosz was essentially “de-forming naked bodies,” which in the end turned out to be “repulsive.”[59] Like Alan Moore who uses pornography as a weapon,[60] Grosz, according to some critics, was breaking down “the barriers between the ‘secret’ realm of pornography and the public realm of high art.”[61]

Grosz himself declared: “We worshiped Zola, Strindberg, Weininger, Wedekind—naturalistic enlighteners, anarchistic self-tormenters, devotees of death, and erotomaniacs.”[62] Grosz’s prevailing maxim? “People are swine.”[63] Tartar declares that Grosz began to see himself as a person who is possessed by satanic forces at the age of fourteen.[64]

In short, “Grosz reveals himself to be what Angela Carter has called the ‘pornographer as terrorist.’”[65] Grosz’s work, in Tatar’s own word, was “subversive.”[66] In a similar vein, Otto Dix, Grosz’s revolutionary partner, immediately started a sort of aesthetic war right after World War I was over. 

“What we find in Dix’s postwar artistic production might be called a continuation of war by other means and with a very different adversary. 

It is as if the war functioned as an event that released the creative energies of artists and legitimized the representation of brutal violence directed at the female enemy on the domestic front rather than the male adversary on the military battlefield.”[67]

Dix’s Walpurgis Night (1914), says Tatar, is a classic representation of “erotic energy with demonic sexuality,” and “the drawing represents both female sexuality as both seductive and threatening.”[68]

It was threatening because it is full-blown pornography. Tartar agrees that Dix’s Walpurgis Night displays “a pagan fertility rite at the site of a licentious, self-indulgent orgy.”[69]

Dix himself admitted that he was essentially waging a war on the German culture and ultimately on Logos. “In the final analysis,” Dix pronounced, “all wars are waged over and because of the vulva.”[70] Dix’s Flares (1917), Sexual Murder (1922), Portrait of the Painter Karl Schwesig with His Model (1925), Metropolis (1927-1928), The Seven Deadly Sins (1933), were all aesthetic weapons which were directly aimed at the moral fabric of Germany. 

And Berlin was the site “of a battlefield on which men surrender to a squalid life of mute passivity and a demeaning death. Berlin as Whore of Babylon, as the incarnation of voracious sexuality, was precisely what captured Dix’s imagination.”[71]

But Tatar, like many cultural historians and writers of the Weimar Republic,[72] dares not to mention that Grosz and Otto Dix, among others, were Jewish revolutionaries whose intellectual antecedents have been waging war against the West since the dawn of the Christian movement.[73]

Tatar seems to avoid this issue obviously for political reasons. Jewish scholar Josh Lambert could have easily be spoken to people like Tatar when he writes in Unclean Lips: Obscenity, Jews, and American Culture:

Cultural and legal historians and literary scholars who have studied literary obscenity in the United States and England have tended to avoid the question of the relationship of Jewishness to their subject. 

Not wanting to reproduce the nativist anti-Semitism of Comstock and other antivice crusaders or to provide support for the racist claims about Jewish sexuality trumpeted by avowed anti-Semites, serious scholars of American law and culture tend not to dwell on the Jewishness of so many of the figures who played key roles in the history of obscenity and pornography. 

In the United States, even while these same scholars do attend scrupulously to the religious and ethnic affiliations of Protestants and Catholics. Jewishness is typically mentioned in the finest books on this subject only when it is raised unavoidably by the participants themselves, and scholars then typically eschew any commentary.^[74]

Nazi Germany quickly placed the graphic paintings of George Grosz, Jankel Adler, Rudolf Bauer, Cesar Klein, Max Pechstein, Ludwig Meidner, Otto Dix, Rudolf Schlichter, among dozens of others, under the heading of “degenerate art” because of their pornographic imageries. These people were part of what came to be known as “the new objectivity,” which art historians have now referred to as Post-Expressionism.[75]

Art should be an expression of beauty, and the classical or traditional definition of beauty is the splendor of the truth.  Throughout his own work, Gordon tells us how the Weimar Republic sought to refashion Germany through sexual revolution.[76]

In short, from a scholarly standpoint, it is undeniable that the Khazarian Industry and Mafia have involved in pornography precisely to destroy the moral and social order. 

In fact, it has historically been argued that they are the enemy of the moral and social order. So, what we are seeing in the new HBO project called The Idol is nothing new at all.

The Hollywood Reporter itself has said that “The dark drama/entertainment industry satire has been controversial for both its onscreen depictions of sex and debauchery.”[77] Evie magazine declares that the Idol is “devoid of genuine creativity or meaningful storytelling,” and that it “isn’t worth anyone’s time.”[78] Evie moves on to say that is also the case “with Sam Levinson’s Euphoria…”[79]

The magazine continues, “The series did nothing but deliver disturbing content full of sex and violence that serves no purpose other than to shock the audience.

 There’s a difference between highlighting the behind-the-scenes abuse that happens in the entertainment industry and romanticizing it, and it’s unfortunate The Idol resorted to the latter.”[80] Here is Sam Levinson’s take on the whole issue:

“It’s funny, sometimes things that might be revolutionary are taken too far. We live in a very sexualized world. I can’t speak to other countries, but especially in the States, the influence of pornography is really strong in terms of the psyche of young people. And we see this in pop music, and how it sort of reflects the kind of underbelly of the internet.”[81]

In other words, Levinson thinks he is just a reporter!

Well, who has been coming up with crazy ideas like this? Who has been trying to subvert the moral and social order since the beginning of time? The Chinese? The Japanese? The North Koreans? 

The simple fact is that Levinson’s revolutionary brethren has been at war with the moral order and by extension with everyone who upholds the moral order for generations, and I have described this phenomenon in two studies: Christianity and Rabbinic Judaism (Vol.I), and Kevin MacDonald’s Metaphysical Failure.

[1] Cheyenne Roundtree, “‘The Idol’: How HBO’s Next ‘Euphoria’ Became Twisted ‘Torture Porn,’” Rolling Stone, March 1, 2023.