THE POSTS MOSTLY BY GEOGRAPHICAL DISTRIBUTION

THE POSTS MOSTLY BY GEOGRAPHICAL DISTRIBUTION

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Boston artist Steve Mills - realistic painting

Wednesday, September 8, 2010

IMPORTANT: Goodbye, America!

Goodbye, America!  (Part 1)
Dr Lasha Darkmoon
April 22, 2010
Kevin MacDonald’s review of Wilhelm Marr’s pamphlet, Der Sieg des Judenthums über das Germanenthum, 1879, (“The Victory of Judaism over Germanism”), is a fascinating compendium of pessimistic quotations in which German political pundit Marr concludes gloomily that there was no hope left for Germany. It was finished — yes, as early as the 1870s. The Jews, he lamented, were simply too formidable a foe. Marr’s pamphlet ends with these chilling words:  
Let us accept the inescapable, since we cannot change it. Its name is: FINIS GERMANIAE — the end of Germany!
I confess I had no idea the outlook was so bleak in Germany as early as 1879. (Marr’s pamphlet has recently been translated into English and is now available in pdf format).  I had been under the false impression that the notion of Jewish domination came much later — after the publication of the Protocols (1903) and the Russian Revolution (1917). 
We have seen it all happen though. Germany was brought to its knees, exactly as Marr predicted. Its cadaver now lies rotting.
Exactly a year ago, the state of Israel demanded from Germany a further 1 billion Euros ($1.4 billion) in Holocaust reparations for its endlessly traumatized Jewish survivors. Sixty-five years after World War II, the grim extortion racket continues unabated. 
The subject that interests me — and which should be of vital importance to Americans undergoing an almost identical trauma at the hands of organized Jewry today — is the question: to what extent was Germany in the days before Hitler’s rise to power a dress rehearsal for what we are witnessing in America right now? What are the parallels?  Is it time to write America’s obituary?
Is it time to say, FINIS AMERICAE — the end of America? 
Here is a pertinent, relatively modern quotation which will serve as a useful coda to the doomladen citations from Marr. Read it carefully. It will not only hammer home the points made by Marr several decades earlier, it will also provide the reader with a sharp reminder of the parallel situation in which America finds itself today. 
With one significant difference: America is in a far worse condition. 
Wilhelm Marr (1819–1904) and his controversial pamphlet of 1879, predicting the end of Germany — sixty-six years before Germany’s catastrophic defeat in World War II in 1945.
Historian Sir Arthur Bryant summarizes Jewish power in pre-1933 Germany:
It was the Jews with their international affiliations and their hereditary flair for finance who were best able to seize such opportunities…They did so with such effect that, even in November 1938, after five years of anti-Semitic legislation and persecution, they still owned, according to the Times correspondent in Berlin, something like a third of the real property in the Reich [my emphasis]. Most of it came into their hands during the inflation… But to those who had lost their all, this bewildering transfer seemed a monstrous injustice. After prolonged sufferings they had now been deprived of their last possessions. They saw them pass into the hands of strangers, many of whom had not shared their sacrifices and who cared little or nothing for their national standards and traditions…
The Jews obtained a wonderful ascendancy in politics, business and the learned professions [in spite of constituting] less than one percent of the population [my emphasis]… The banks, including the Reichsbank and the big private banks, were practically controlled by them. So were the publishing trade, the cinema, the theatres and a large part of the press — all the normal means, in fact, by which public opinion in a civilized country is formed… The largest newspaper combine in the country with a daily circulation of four millions was a Jewish monopoly…
Every year it became harder and harder for a gentile to gain or keep a foothold in any privileged occupation [my emphasis]. … At this time it was not the ‘Aryans’ who exercised racial discrimination. It was a discrimination that operated without violence. It was exercised by a minority against a majority. There was no persecution, only elimination. … It was the contrast between the wealth enjoyed — and lavishly displayed — by aliens of cosmopolitan tastes, and the poverty and misery of native Germans, that has made anti-Semitism so dangerous and ugly a force in the new Europe. Beggars on horseback are seldom popular, least of all with those whom they have just thrown out of the saddle. Sir Arthur Bryant, Unfinished Victory (1940) (slightly edited for brevity)
Throughout history, Christianity, and especially the Catholic Church, has been a countervailing force against organized Jewry — against a “stiff-necked” people who, while claiming spotless innocence and invariably framing their detractors as irrational and pathological haters, have nevertheless been expelled from no fewer than 109 locations since the year AD250. 
Why has contemporary Christianity failed so abysmally to stand up to the encroachments of organized Jewry and its influence? 
This is a question I will attempt to answer now.
The Christian Zionists and organized Jewry: fools conned by knaves
Despite its history as the only Western institution that has been able at times to resist Jewish power, the Catholic Church, of which I am a hopelessly dysfunctional practising member, has proved to be an acute disappointment. It has been thoroughly subverted from within and without. It offers neither guidance nor leadership. So forget the Catholics—a spent force. 
One is also forced to conclude that there is little hope that American Protestants could come to the rescue. Their infatuated legions — particularly the 60 million Christian Zionists who constitute the most influential group among them — are in many ways as rabid as the fanatical Jews who seem to have infected them with their zealotry, egging them on to find solace in eschatological ecstasies and millenarian mumbojumbo. 
Life is indeed so empty and sterile for these wretched lumpengoyim that the only thing that excites their sluggish sensitivities is the prospect of Armageddon and the thought of universal and catastrophic death — the quicker the better. 
Whipped into a frenzy of religious fervor by the Grahams and the Robertsons, the Falwells and the Hagees, the Lindseys and the La Hayes, these Christian Zionists have become imitation Jews almost indistinguishable from Vladimir Jabotinski and Baruch Goldstein. They believe in a Greater Israel — entailing further conquests of Arab Land — and in the ethnic cleansing of the Palestinians. They have “adopted” illegal settlements and they directly finance the bulldozing of Palestinian homes, the uprooting of olive trees, and the daily oppression of the rightful owners of the Holy Land. They pray every Sunday in their vast soulless churches for the destruction of Iran. And if push came to shove, they would gladly give their blessings to genocide — and call it “the will of God.” 
  
John Hagee, founder of Christians United for Israel: “Fifty million evangelical Christians unite with five million American Jews, standing together on behalf of Israel....The man or nation that lifts a voice or hand against Israel invites the wrath of God.”
There are now 80,000 fundamentalist pastors and clergy preaching their message of madness to these ill-educated Christian masses — in many ways as gullible and gormless as medieval peasants.  The pernicious views of their “pastors” are disseminated by 1000 local Christian radio stations as well as 100 Christian TV stations. See here. 
Consider the unimaginable war crimes committed by the state of Israel just over a year ago in Gaza. The world saw it happen. Judge Goldstone saw it happen. His meticulously documented report makes it abundantly clear that Israel is a criminal nation and that its politicians and generals are steeped in criminality. 
Yet here is Grace Halsell: “Every act taken by Israel is orchestrated by God, and should be condoned, supported, and even praised by the rest of us.”
When I first read this, I couldn’t believe my eyes. Was this woman crazy? Where had she been since 1948? Hadn’t she heard of the Goldstone Report? Did she have no inkling of Israeli war crimes: of Deir Yassin (1948), the Lavon affair (1954), the Sabra and Shatila war crimes (1982), Qana (17 villages wiped out 1996), the Jenin massacre (2002), the Lebanon and Egyptian terrorist attacks and the atrocities in Iraq from 1990 to the present time, the horrific Gaza invasion of 2009? Had she never heard of the King David Hotel bombing of the British? Had she never heard of the Hebron Mosque massacre by Baruch Goldstein? Had she never heard of the sneak attack on the USS Liberty? Had she never heard of American state secrets sold to the Soviets and Chinese?  Had she never heard of white phosphorus and cluster bombs and DIME weapons that slice babies’ bodies in half? 
I need not have worried. 
Halsell, I was relieved to learn, was being ironic. She opposed Zionism as much as I did — as any sane and reasonable person would.
Why Contemporary America is far worse off than pre-National Socialist Germany
I have been accused of needless defeatism by some of my anti-Zionist colleagues. America is far from dead, they assure me. It’s alive and kicking. It’s just a matter of time before good patriotic Americans rise from their slumber, reclaim lost ground, and take back their country. 
I wish I could feel as sanguine about America’s prospects as these optimists do.
I should like to convince you that the problems facing Germany were far less formidable than the problems facing any potential American rescuer today.
One of the serious negative factors facing America today — a problem the Germans never had — is the existence of vast numbers of Christian Zionists in their midst.
Germany of course had to cope with organized Jewry, a group working from within to undermine the foundations of German society. But one scourge Germany did not have, and which America has, is this scourge of a non-Jewish enemy within: the 60 million Christian Zionists acting in cahoots with organized Jewry to oppose the interests of their own people.
America’s Christian Zionists, it would seem, are their own worst enemy — blithely planning their own demise without knowing it.
So here is Problem Number One for those of you who dream that America could once again become the self-conscious ethnic possession of people of European ancestry:  What are you going to do with these 60 million White American renegades who have joined forces with the Enemy? Who are as Jewish as Ariel Sharon or Abe Foxman. Who are hand in glove with AIPAC. Who think ADL means ‘Advanced Divine Leadership’.
How are you going to fit these thoroughly Judaized allies of organized Jewry into your White Homeland?
It cannot be done. So you have a big problem.
Israel and its Jewish-American Double Agents
Another big problem America needs to solve that Germany did not have to cope with is the state of Israel and its powerful lobby in America. Germany did not have Israel hanging round its neck like an albatross. The Germans were not induced to fight wars on behalf of a foreign country. They didn’t invade other countries in order to make the world safe for Israel.
“Since September 11, 2001, the Israeli state, Zionists inside the US government, and the entire leadership of the Major American Jewish Organizations, have been entirely devoted to pushing the US into Middle East wars on behalf of Israel.”  — James Petras, see here.
“Today the Jews rule this world by proxy. They get others to fight and die for them.”  — Prime Minister Mahathir Mohamad of Malaysia, in a speech to the Tenth Islamic Summit Conference at Putrajaya, Malaysia, October 16, 2003.
Almost 5,000 U.S. military personnel have now been sacrificed for Israel in Iraq. These are the “officially acknowledged” figures. The real figures have been put at between 50,000 and 70,000 and are now probably higher. (See here and here.) The number of seriously injured soldiers are perhaps ten times the number of the dead. Meanwhile, the number of Iraqis slaughtered amount to 1.3 million, with four times as many driven into neighboring countries as homeless refugees. The cost to the American taxpayer is (to date) $980 billion, with a total cost of $3 trillion projected if and when the mindless carnage is ever complete. See here.
I think that even the enemies of Zionism before 1948 failed to appreciate the extent to which organized Jewry would maximize its power once it had acquired its own headquarters and homeland — complete with its own military arsenal and espionage facilities. Archimedes provides a hint in his famous quote on the lever, often loosely translated as: “Give me a place to stand and I will move the world.” The Jews now have “a place to stand” — and they certainly are “moving the world.”
The Germans, in addition, did not have a powerful Jewish Lobby holding the entire German government to ransom. German politicians, unlike American ones, were not on Israel’s payroll via campaign contributions from AIPAC and its fabulously rich Jewish supporters. These political donations or “reward money” are bribes in all but name.
Apart from the carrot, there is of course the stick, wielded to good effect by organized Jewry against all American critics of Israel. “Their willing use of force, money and media slander,” James Petras points out, “intimidates any and all critics, including dissident politicians, media, journalists and professors.”
In pre-WW2 Germany, the Mossad did not exist. No Mossad was around to monitor the Internet activities of German politicians to see what financial or sexual shenanigans they were up to. Today, in America, it is reasonable to assume that there is constant surveillance of American politicians by Mossad — if not by AIPAC, the ADL, and their various affiliates. Indeed, the ADL famously settled a spy case that yielded documents with 10,000 names and 600 organizations thought to be insufficiently slavish toward Israel. Legal filings from the case showed that an ADL agent had a floor plan and a key for the office of Alex Odeh, a murdered Arab American leader.  
It follows that the potential for blackmailing American politicians (by Israel’s agents) must today be enormous. Sibel Edmonds asks rhetorically, “Are American politicians being blackmailed? Is grass green?” Her answer:  “Of course the blackmail scenario is possible; in fact, highly possible.”
Seven crucial points need to be hammered home.  They show that America is now in a critical situation from which nothing can save it. Nothing except a military coup or violent revolution.
1. Germany did not have to cope with 60 million Christians Zionists collaborating with the goals of organized Jewry; America does.
2. Germany did not have the state of Israel to finance, nor did it have to fight Israel’s wars; America does.
3. Germany’s population of Jews was relatively small compared to America’s: less than 1% of 80 million (roughly 522,000 Jews in 1933) compared to contemporary America’s 2% + of 309 million (over 6 million Jews).
4. Since Israel had yet to be founded, Germany did not have the problem of dual citizens whose primary allegiance is to a foreign country.
5. Although there were Jewish activist organizations in Weimar Germany, they had not achieved the power and influence of the Jewish ethnic infrastructure in the US. Organizations like AIPAC, the ADL, the SPLC, the American Jewish Committee, and the Conference of Presidents of Major Jewish Organizations (to name a few) are lavishly funded and influential in all areas of American life, including law enforcement, foreign policy, and all things multicultural.
6. Jews have also erected the Holocaust Industry as a powerful guilt machine for White Americans. Traditional American culture has been substantially replaced by the culture of the Holocaust and various other non-White victimhoods, endlessly played out in the movies, television shows, and in the schools, all the way from kindergarten through the university.
7.  Above all, Germany was never threatened with multiculturalism. Promoting multiculturalism has been the focus not only of various influential Jewish intellectual movements, it has also been the most important goal of the  organized Jewish community, especially since World War II. Multiculturalism is a deadly weapon against Western civilization — a WMD of truly devastating lethality that in the long run will destroy Christianity, traditional moral values, and traditional nationalist cultures in North America, Europe, and Australia. It will also result in the dispossession and disempowerment of the White race.    
Conclusion: the situation facing America is a grim one. An epidemic of escalating severity threatens us all. In the course of time, this epidemic of evil is likely to infect Eurasia and spread to other parts of the world.
The future looks unimaginably bleak.
 End of Part I. Go to Part II.
Goodbye, America!  (Part 2)
Dr Lasha Darkmoon
April 25, 2010
In the near future, America will have a White minority.
We, the nominally Christian masses of European ancestry, will be surrounded by a sea of strange faces. All these polyglot multitudes, who have been teleported into America — and mainly because of Jewish influence against the will of its White majority — are now pitted against us. They are likely to be our new enemies. They have been shoehorned into America for one purpose only: to make life tough for us. They compete with us for vanishing jobs and diminishing resources, and inevitably they will obtain political power that they will use against us.  
The Multicultural Menagerie
One of the many "benefits" of multiculturalism is that loyalty issues come to the fore. Exhibit A for this is the notorious Jonathan Pollard spy case.
Jonathan Pollard, one in a long line of Jewish American spies. (See here). The total number of Jewish spies convicted or expelled from the US exceeds the number of spies from all other ethnic groups. As Jews make up only 2% of the American population and blacks 14%, there ought to be seven times as many black spies. In fact, there are none.
Requests for Pollard’s release from Jewish sources have been endless — Yitzhak Rabin (1995), Benjamin Netanyahu (2002), Ehud Olmert (2008). But Pollard remains safely behind bars, as if to show us that the old dog still wags its tail. Harvard law professor Alan Dershowitz expresses his anger thus: “As an American and as a Jew, I hereby express my outrage at Jonathan Pollard’s sentence of life imprisonment for the heinous crime he flagrantly committed.”
Sorry, that’s a misquote! It should be:  “...for the crime to which he pleads guilty.” (Pleading guilty to a crime, in Dershowitz’s bizarre Alice-in-Wonderland world, is clearly tantamount to being innocent or at least getting a soft sentence.)
It gives me no pleasure to point out that Israel’s present Prime Minister, the thuggish ‘Bibi’ Netanyahu, resorted to moral blackmail in 1998 at the Wye River Conference in order to secure Pollard’s release. “If we signed an agreement with Arafat, I expected a pardon for Pollard,” he said. Quid pro quo, you see. If you give us Pollard, we’ll give you the promise of peace. 
“Once we squeeze all we can out of the United States it can dry up and blow away,” the same Netanyahu reportedly told Pollard, upon exiting Pollard’s prison cell after a friendly social call in 2002. This quote, which is cited all over the Internet, is the sort of thing that, even if inaccurate, reflects the reality that Israel and its Lobby in the US are exploiting American blood and treasure on behalf of Israel.
This is the man who refuses to desist from his ongoing dispossession of Palestine, while at the same time expecting American largesse in exchange for his intransigence — and more American lives, needless to say, lost in foreign wars fought for Israel.
It’s only in America, it seems, that the piper seems unable to call the tune. Another quote:
Netanyahu: “Watch it, boy, don’t dare speak to me like that! WE JEWS CONTROL AMERICA!  Ever heard of the Samson Option?” 
Okay, he didn’t say that! But it’s what he could have said in a parallel universe. It's what he  might well have said in this universe, if he was speaking his real thoughts.
Even American Vice-Presidents, Zionist lackeys though they be, visit Israel only to get spat upon. How do they react to their ritual humiliation at the hands of their Jewish masters?  As the spit lands on their faces, they ask if it’s raining.
“It’s good to be home!” VP Joe Biden gushes, arriving in Israel on an official visit. “The U.S. has no better friend than Israel! Progress occurs in the Middle East when everyone knows there is simply no space between the United States and Israel!”
Stick a tail on this guy and he’d win first prize in a poodle competition.
As if to emphasize the point of Israeli muscularity, Israeli military historian Martin van Creveld invokes the dreaded Samson option."We possess several hundred atomic warheads,” he reminds us ominously, “and can launch them at targets in all directions, perhaps even at Rome. Most European capitals are targets of our air force."
Europe, watch out.
Meanwhile, in America, the Jews have never had it so good. In 2009, 35% of the richest men in America were Jews. This 2% of the population who are the wealthiest group in America and now comprise 25% of Ivy League undergraduates and 40% of Harvard alumni, are indeed voluble in their never-ending complaints about their victimhood. America’s 400 richest men, according to a report in the New York Times (March 23, 2009), own as much as 22% of the nation’s total wealth, and around 140 of these multibillionaires are Jews.        
“Ah, how sweet it is to be Jewish at the end of this 20th century,” Alain Finkielkraut wrote in Le Monde in 1998. “We are no longer history’s accused, but its darlings. The spirit of the times loves, honors, and defends us, watches over our interests; it even needs our imprimatur. Journalists draw up ruthless indictments against the Nazis and their modern collaborators. Churches repent. States do penance.”   
White America smiling ... but not for long
You are this young couple. Here’s what happens to you. This is your fate:
You are kidnapped by four Blacks, three men and a woman, while out on a date. For the next twenty-four hours, you are subjected to systematic torture. Both of you are gang-raped. You, the young woman, are forced to watch your boyfriend being sodomized by three black men, one after the other. What does the black woman do? She stands in the background, watching, a kitchen knife in her hand, waiting to cut off your sweetheart’s penis. This happens. Maybe they all take turns to saw off your darling’s penis. It’s your turn now, White Lady. Let’s see your tits, Bitch! Hey man, pass me that knife! Yes, White Lady, it’s TIME FOR YOUR BREASTS TO BE CUT OFF! They rape you first. They make you drink cleaning fluid. And then they hack off your breasts. Finally, they strangle you to death.
No point going on. Both bodies are found dumped on waste ground later, riddled with bullets.
This happened in January, 2007, near Knoxville, Tennessee, to Christopher Newsom (23) and his girlfriend Channon Christian (21)  This whole grisly affair of Black-on-White violence was carefully covered up by the mainstream media.  Who owns the media? Don’t even ask!
Christopher Newsom and Channon Christian
 “The details of the crimes were considered so horrific,” we are told, “that the authorities would not release accounts to the news media for fear of putting Blacks in a bad light and upsetting race relations. The facts emerged only when some enterprising reporters checked documents filed in federal court.”  
This case is exceptional only for its psychopathic brutality.  Thousands of other cases occur in which Black-on-White rapes without murder feature, as well as countless cases of unprovoked beatings and verbal abuse of Whites.
Sarah Kreager, 26, suffered broken facial bones and other injuries after she was punched, kicked and dragged off a bus one Tuesday afternoon in January, 2009, by nine black students. Her boyfriend was also severely beaten up. There had been no provocation.
Apart from perfunctory local coverage with no mention of race, these crimes, almost without exception, go unreported by the media. (See here).
These are grounds for despair. Our new elites are of course behind this — we all know that now — deliberately fomenting racial hatred, while portraying White Americans as the underlying cause of that hatred.
Here’s an eerie picture of a future dystopia, the unimaginably grim America that awaits us:
Lasciate ogni speranza, voi ch’entrate! — Abandon hope, all ye who enter here! (Dante’s Inferno)
It’s time to discuss despair. Despair in general. Let’s talk about our despair.
Creating  Despair
Who began the Great Despair? Probably Darwin, without meaning to do so. It’s perhaps worth pointing out that the happiest and most optimistic poem ever written was penned a mere eighteen years before the Darwinian bombshell of 1859.  Here it is. Savor it slowly. It was never to be like this again:
The year's at the spring
And day's at the morn.
Morning's at seven,
The hill-side's dew-pearled,
The lark's on the wing,
The snail's on the thorn,
God's in his Heaven —
All's right with the world
!
— Robert Browning, Pippa Passes, 1841
With the publication of Darwin’s Origin of Species, the mood was to change abruptly. A black cloud settled over the human psyche. Nietzsche was to cry out in anguish, “GOD IS DEAD!” And then, eight years after Darwin’s deathblow, came these — the noblest and most heartrending lines in the English language:  
Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.
 
— Matthew Arnold, Dover Beach, 1867.
“God is dead...”
This is what Thomas Huxley, Darwin’s best friend, had to say after The Origin of Species hit the world like a screaming comet on 24 November 1859:
I know of no study which is so utterly saddening as that of the evolution of humanity. Man emerges with the marks of his lowly origin strong upon him. He is a brute, only more intelligent than other brutes, a blind prey to impulses, a victim to endless illusions which make his mental existence a burden and fill his life with barren toil and battle.
In other words: you might as well blow your brains out!
 
Charles Darwin (1809–1882): “Man still bears in his bodily frame the indelible stamp of his lowly origin. ... What a book a Devil's Chaplain might write on the clumsy, wasteful, blundering low and horribly cruel works of nature. ... I cannot persuade myself that a beneficent and omnipotent God would have designedly created parasitic wasps with the express intention of their feeding within the living bodies of Caterpillars...I cannot persuade myself that a beneficent and omnipotent God would have designedly created that a cat should play with mice.”
No God, no morality: anything goes.
Life is no longer worth living in a world without God. Nietzsche knew this. Even as he pronounced God dead, he anguished: “Formula of my happiness: a Yes, a No, a straight line, a goal.”
In other words: faith, certitude, meaning, purpose. These were the vital ingredients that were needed to make life endurable and invest it with dignity. Dostoevsky felt the same way. For him, nihilism was the ultimate nightmare. The problem was neatly summarized for him in the famous phrase he put into Ivan Karamazov’s mouth: “If God is dead, everything is permitted.”
Having concluded that God was dead, the philosophers of the Frankfurt School naturally believed that all was henceforth permissible. This followed from the premise that God was dead. It could not be avoided. If all was permissible, then the rape and murder of a little child was permissible. Ivan Karamazov was quick to point this out. Torture was permissible. There was no point obeying the Ten Commandments, let alone international law. Why bother?  "For if there's no God,” Ivan Karamazov argued, “there's no such thing as virtue — and no need for it."
“DO WHAT THOU WILT” becomes the only law.
Today, at this very moment in New York City, a Muslim detainee is being tortured. He is being tortured in violation of international law, the American Constitution, and every ethical principle we hold most dear. This man has no criminal record and has not even been put on trial.
Why be good when evil’s easier? There is nothing either good or bad, but thinking makes it so.
 
“DO WHAT THOU WILT shall be the whole of the law.”  — Aleister Crowley (1875–1947), English Satanist, also known as “the Great Beast”. The Frankfurters would have been tickled pink by his next remark: “I was in the death struggle with self. God and Satan fought for my soul those three long hours. God conquered.  Now I have only one doubt left — which of the twain was God?”
Freud and the Frankfurt School intellectuals — by all accounts a Jewish sect — now set out to manipulate this godless world out of bitter spite and despair. Racked with existential angst and hatred against Europeans and their culture, they created a culture of despair.
To destroy Western civilization now became their clearly articulated aim. “Who will save us from Western civilization?” Georg Lukács, one of the founders of the Frankfurt School, asked rhetorically. He began the “rescue operation” himself, convinced that the best way to do this was to create “a culture of pessimism” and “a world abandoned by God.” (Evangelizing despair.)
Georg Lukács (1885–1971):  “I want a culture of pessimism...a world abandoned by God”
It was of vital importance to these spiritually deracinated Jews — with a chip on their shoulders two thousand years long — to launch a blitzkrieg of cultural iconoclasm against the Western countries that had harbored them for centuries and done their utmost to assimilate them. They saw Christianity as their main enemy and set out to destroy it: to undermine the family, to turn parent against child, to blur the lines between good and evil, to promote sexual promiscuity and moral relativism — in short, to strip man of his dignity and reduce him to the level of a beast.
A key component of the culture of despair and nihilism  was sex. Western mores on sexuality  — mores that had the effect of building strong families and providing a safe, loving environment for children — became a prime target of these revolutionaries. Solace and salvation henceforth lay in a hedonistic creed of sexuality.
It was Freud who said, “Sexual morality — as society in its extreme form, the American, defines it — is contemptible. I advocate an incomparably freer sexual life.” (See here.) Other Jewish intellectuals — notably Herbert Marcuse and Wilhelm Reich along with a phalanx of supporters in the media and the universities — marched in lockstep behind Papa Sigmund and spread the message to the masses: salvation through sex.
Freud: “Sexual morality ... is contemptible. I advocate an incomparably freer sexual life.”
This cultural nihilism also spread to politics. Appointing himself mankind’s chief  evangelist for moral anarchy, Frankfurt School luminary Walter Benjamin announced blandly: “To organize pessimism means nothing other than to expel the moral metaphor from politics.” 
This sentence needs deconstruction. I understand it thus. Fussy distinctions between good and evil should be removed from the realm of politics. If you can get away with flouting international law, as Israel does, then by all means do so. If you want to torture people, as the American government obviously does, don’t let moral scruples stand in your way. DO WHAT THOU WILT.
Following policies like this can be extremely effective, if only for this reason: The human psyche cannot bear to exist in a world in which such vile abominations are freely practised. Result?  Existential dissonance. Despair. The culture of pessimism and nihilism.
Walter Benjamin did well to map out a strategy of systematic despair creation. His own ideas got to him, working for him only too well. He committed suicide — hoist by his own petard.
I have said this before. Let me say it again. This is how the song goes:
Let’s create a culture of pessimism!  Let’s make western civilization stink! Let’s create a godless world and drive people to despair! Let’s corrupt society’s values and make life impossible! In short, LET’S CREATE HELL ON EARTH! To undermine. To corrupt. To create discord. To drive crazy. To destroy.
Verbs to remember.
Dostoevsky:  If God is dead, everything is permitted! Homo homini lupus — man is a wolf to man.
Dostoevsky: “If God is dead, everything is permitted.”
The Frankfurt School intellectual, with his philosophy of iconoclastic chaos creation, is Dostoevsky’s Ivan Karamazov in the flesh.
I hasten to give back my entrance ticket to heaven! As I’m an honest man, I give it back right away! It's not God I don't accept, Alyosha — only I most respectfully return him the entrance ticket.
Sigmund Freud: "If only Americans knew, we are bringing them the plague!" 
We are in the last days of a dying civilization. The writing is on the wall. Unless a miracle now occurs, we are history.
Dr. Lasha Darkmoon (email her) is an academic, age 31, with higher degrees in classics.  A published poet and translator, she is also a political  activist with a special interest in Middle Eastern affairs. ‘Lasha Darkmoon’ is a pen name.

IMPORTANT:The Plot Against Art

The  Plot  Against  Art, Part 1

Dr Lasha Darkmoon
September 19, 2009
“Never before have so few been in a position to make fools, maniacs or criminals of so many.”
HG Wells, The Shape of Things to Come.
I’ll begin with a confession: I am a failed artist. Ever since I can remember, I have wanted to paint. The only thing that stopped me was lack of talent. The first time I did a self-portrait, checking with the mirror in my bedroom to see how I was getting on, my mother put an abrupt end to my artistic ambitions by exclaiming, “Gosh, what a cute little chimp!”
It was a rude awakening for a nine-year-old artist.
About a decade later, I asked myself was art was all about. One day I found this sentence in a biography of Burne-Jones, and I jotted it down in my diary and pondered it for a day or two, “I mean by a picture a beautiful romantic dream of something that never was, never will be — in a better light than any light that ever shone — in a land no one can define or remember, only desire — and from forms divinely beautiful.”
Art as it used to be, when painters knew how to paint. This would now be considered kitsch.
When I read that sentence, I almost fainted. I was a sensitive girl, given to fits of swooning at the slightest opportunity. It was then I realized there was no real difference between poetry and painting, between painting and music. All, in their own ways, sought for God — albeit a God who might not exist — but a God nonetheless. God was beauty. God was longing. God was the fire in the rose.
That’s what I thought then. I was young and foolish.
Art, I found out later, was about making money. Organized Jewry taught me this. Art dealer Paul Rosenberg says, “A painting is only beautiful when it sells.” Jewish president of the Marlborough Gallery, Frank Lloyd, confirms this: “There is only one measure of success in running a gallery: making money.”  
The question we need to ask is: Who runs the Art Market and how did it become a freak circus? 
Art Should Make You Miserable
Let’s take a little trip round the art world with Israel Shamir. Mr Shamir, after all, is not only well-informed about art but is also a tour guide in Jerusalem. He agrees with me about the sacral nature of art. “No art without Christ,” he says. By “Christ” he means much more than the historical Jesus. He means the Logos, or Christ Principle, the rule of law in a divinely ordered universe.  
Since Darwin and Freud, there has been a complete “revaluation of all values.” Everything has been turned upside down. We can mostly attribute this parlous state of affairs to the machinations of organized Jewry, in particular to a group of revolutionary thinkers known as the Frankfurt School.  (For a detailed introduction to the ideas of these neo-Freudian Marxists, most of whom were Jewish refugees from Hitler’s Germany who fled to America, see Chapter 5 of Kevin MacDonald’s The Culture of Critique).
Just as one of these Frankfurters, Theodor Adorno, set out to destroy Western music, assuring the world that atonal music was a good thing because it was discordant and ugly, others in the group set out to destroy art and push it to its reductio ad absurdum: lights going on and off  in an empty room, unmade beds with condoms and bloodstained panties strewn around, and sealed cans containing the artist’s own excrement.
Tracey Emin's  My Bed
Piero Manzoni's Artist's Shit
One of the founders of the Frankfurt School, Georg Lukács, asked rhetorically, “Who will save us from Western civilization?” He began the rescue operation himself, convincing himself that the best way to do this was to create “a culture of pessimism” and “a world that has been abandoned by God.” Cool. 
Another of these mental giants, Walter Benjamin, believed that the purpose of art was to make people as miserable as possible, for pessimism was an essential preliminary to world revolution. “To organize pessimism,” he pointed out portentously, “means nothing other than to expel the moral metaphor from politics.” Benjamin succeeded only too well in making himself miserable. He committed suicide. 
Marxist revolutionary Willi Munzenberg made no bones about his mission in life. It was to destroy Western civilization. No kidding. To accomplish this, he said, the Frankfurters would have to “organize the intellectuals and use them to make Western civilization stink. Only then, after they have cor­rupted all its values and made life impossible, can we impose the dic­tatorship of the proletariat”. (My italics).
To summarize: Let’s create a culture of pessimism. Let’s make Western civilization stink. Let’s create a godless world and drive people to despair. Let’s corrupt society’s values and make life impossible. In short, let’s create hell on earth.
It will soon become clear to you, if you are a struggling artist, that the art world is dominated by Jews who are only too anxious to bring about this hell on earth. Their control over what now passes for art is as tentacular as it is terrifying. Art has morphed into Anti-Art.  “For Jews,” Israel Shamir points out, “their group interest lies in undermining visual art, for they can’t compete with it. Even deeper group interest is to undermine Christianity, their main enemy.”
To undermine. To corrupt. To create discord. To drive crazy. To destroy. Verbs to remember. Let’s begin our tour of  the art world, with Israel Shamir as our guide, and try to gain an insight into what is going on.
Gallery Hopping With Mr Shamir
One day, Shamir finds himself in the Basque capital of Bilbao in Spain. He has come to check out the museum of modern art built by the fabulously rich (Jewish) Guggenheim family. The biggest building in Spain, the Guggenheim Museum impresses Shamir profoundly — it’s like something out of a science-fiction movie — but once he steps inside the building he is acutely disappointed.
Hey, what on earth is all this junk? Pieces of corrugated iron lying around like in a scrap yard. Rusty iron plates in one corner. Video screens blinking away inanely. Bare geometric forms. And, believe it or not, an entire floor devoted to a collection of Armani suits. Boy, I’m outa here! Shamir mutters to himself, making a beeline for the Exit.
And what does he do next? He hops on a plane to Venice, and now we see him poking around the famous Biennale Museum, trying to make sense out of a collection of  trashed cars on display. Mopping his brow feverishly, he needs to sit down to collect his wits. No, don’t sit there, sir — those chairs are a precious work of art! You want to read a good book, Mr Shamir, to take your mind of all this junk? No problem. Here’s a bookcase full of books. Help yourself. Or rather, don’t help yourself! This bookcase, crammed with moldy old books, is also a sublime work of art! Yes, all the way from sublime, artistic Israel!
One might have thought that, after suffering all these disappointments, Mr Shamir would have packed it in and gone back to Jaffa, determined never to set foot in an art gallery again. But no, a glutton for punishment, our art guide now decides to visit a museum in Amsterdam where he is confronted by a collection of decomposed pig trunks. To his astonishment, he learns that a cadaver immersed in formaldehyde, on display in this same museum, has been purchased for $50,000 by a rich American. Wow, a corpse collector!
His disillusionment is total when, on visiting Copenhagen, he finds himself in the church of St Nicholas. Being a convert to Christianity, maybe he goes in there to pray. If so, he is saddened to have his mind polluted by the pictures he sees on the walls of that venerable old church. Here’s a color photograph of a naked old woman, withered and sick. And here, right next to it, is a huge blown-up picture of the female genitalia.  And what’s this? Oh, nothing to worry about! Just a photo of a couple of guys having oral sex.  Hey man, c’mon! This is a healthy and natural act! What better place for the celebration of joyous pagan sexuality than a Christian church?   
“Whatever they proclaimed as art, was art,” Shamir concludes ruefully. “In the beginning, these were works of some dubious value like the ‘abstract paintings’ of Jackson Pollock. Eventually we came to rotten swine, corrugated iron, and Armani suits.  Art was destroyed.” [My italics.]
The Jewish Connection
So what does all this have to do with the Jews? Plenty. If you want to play that fascinating game known as Cherchez le Juif, let’s continue our tour of the contemporary art world.
You will meet many artists, quite a few of them pliant and accommodating non-Jews, who are prepared to jump through the hoops set before them by their Masters: the ubiquitous Jews lurking in the shadows. The men who call the shots. The men with the money. The men whom the artist must learn to please and flatter if he hopes to get ahead and become rich and famous.
The ambitious artist will find himself drawn inevitably into a Jewish world. He will learn to pepper his conversation with Yiddish phrases. He will never breathe a word of criticism  against Israel, no matter what atrocities that country is in the process of committing. He will sneer at Muslims, the Qur’an and the Palestinians. He will find it pays dividends to insult Christianity, the religion of his forefathers. He will mention the Holocaust, whenever possible, with moist eyes; and he will paint as many pictures of Auschwitz as he can, preferably with chimneys belching black smoke.
All this has been done by goy artists. The proof for these claims can be found here in this enormous archive of art information. I have drawn upon it heavily.
Even the great Picasso knew he was appeasing the Jews when he embraced his friend Pierre Daix and confided in a low voice, “To think that painters once thought they could paint The Massacre of the Innocents!” He was clearly echoing or anticipating Adorno’s “There can be no poetry after Auschwitz.” If there can be no poetry after Auschwitz, there can be no art either — certainly not Christian art. 
Andy Warhol knew better than most how to ingratiate himself with the Jews. His 1980 series, “Ten Portraits of Jews of the Twentieth Century," features ten portraits of what Warhol referred to as "Jewish geniuses," one of whom was Israeli Prime Minister Golda Meir — the “genius” who said there were no Palestinians, adding with her famous flair for the witty phrase: “How can we return the occupied territories? There is nobody to return them to.” Another "genius" was Sigmund Freud, whom Kevin MacDonald has described as having perpetrated the greatest scientific fraud of the 20th century — a fraud that was very useful in constructing the culture of Western suicide.
  
Warhol's portraits of Gold Meir and Sigmund Freud, from his Ten Portraits of Jews of the Twentieth Century  series
Warhol seems to have put his considerable charm to work with Henry Geldzahler, curator of the Metropolitan Museum of Art — an influential Jew who happened, like Warhol, to be homosexual. “Although they were never lovers, the relationship became intimate,” we are assured by one of Warhol’s biographers. “Andy spoke to Henry on the phone every night before he went to sleep and every morning as soon as he woke up.” I am not saying that Warhol and Geldzahler were lovers, though others have said so. That’s of no interest to me. All I’m suggesting is that Warhol, a notorious opportunist, found it helped his career to cultivate the Jews. His appeal, in the words of film critic Carrie Rickey, was to the “synagogue circuit.”
Transvestite potter Grayson Perry — here he is receiving the Turner Prize for his inspired pots — knew his success depended less on his talents than on the advertising genius of his plutocratic patron Charles Saatchi. He was well aware, moreover, that Islamophobia can always be relied on to win friends and influence people in the Judeocentric art world. “The reason I haven’t gone all out to attack Islamism in my art,” he confides fearlessly, “is because I feel real fear that someone will slit my throat.” Avoiding controversial political statements in the interests of discretion, Perry decided to devote his life to producing ceramic pots depicting “explicit scenes of sexual perversion.” It must have been a tough decision.
The potter wore bobbysox ... Grayson Perry poses with his wife Phillippa and daughter Flo after winning the Turner Prize.
Non-Jewish artists such as Anselm Kiefer, Christian Boltanski and Christopher Williams have been almost as prolific in their production of Holocaust paintings as Jewish painter RB Kitaj, a man whose obsession with Auschwitz has often been noted. “The chimney in a Kitaj painting,” art pundit Juliet Steyn informs us, “functions as an indictment on Christianity.” Translation: After Auschwitz, who needs Golgotha?
RB Kitaj's Passion (1940–45): Cross and Chimney
Entrance through the Gate Exit from the Chimney by Joseph Bau
As for Andres Serrano with his Piss Christ and Chris Ofili with his dung-bedecked Holy Virgin Mary — the Madonna surrounded by pictures of the female genitals cut from pornographic magazines — both these emotionally immature artists were clearly aware that contempt for Christ and his mother is often pleasing to the Jews.
Chris Ofili's Holy Virgin Mary and Andres Serrano's Piss Christ
Artists? These men are more like circus dogs, trained to jump through hoops and beg for bones from their masters. It’s the men with the money, the Saatchis and the Guggenheims,  who crack the whip.
The  Plot  Against  Art, Part 2

Dr Lasha Darkmoon
September 20, 2009
I hate to tell you this, but if you like modern art there has to be something radically wrong with you. To feel hostile towards it is as natural as being repelled by incest.
Modern art is out to corrupt you.
If it doesn’t do this, it will have failed to achieve the primary purpose of its elitist promoters. It will have failed to undermine traditional values. It will have failed to produce a “culture of pessimism.” It will have failed to destroy the sacral core of life. It will have failed to poison your mind and give you the sickness unto death.  It will have failed to make you what Big Brother finally managed to make Winston Smith in Orwell’s Nineteen Eighty-Four:  a mindless zombie.
The Wheelers and Dealers
That the Jews dominate the art world, as they dominate the mass media and every other area of influence, is the best-kept secret of the twenty-first century. One is not supposed to mention this. It is anti-Semitic to do so.
In 1989, an erudite academic volume appeared called Sociology of the Arts. In it the authors discuss who is who in the art world. “Blacks, Orientals, and persons of Spanish origin constitute about 7 per cent of the art audience,” the book informs us helpfully. So what about the other 93 per cent?
What ethnic group owns most of the art galleries? Who are the museum curators? Who are the art historians? Who are the art critics? Who publish the magazines in which art is reviewed? Who determine what is good art and what is rubbish? Who are the dealers and big collectors? Who run the auction houses? Who set up the art competitions and raise the prize money? Who appoint the judges? Who are  the judges?
Not a word. Total silence. Scary, isn’t it?
As far back as 1930, it was noted by French author Pierre Assouline: “According to dealer Pierre Loeb, four art dealers out of five are Jewish, as are four out of five art collectors. Wilhelm Unde added art critics to this list.” In 1973, it was estimated that 80 per cent of the 2500 core “art market personnel” — dealers, curators, gallery owners, collectors, critics, consultants and patrons of the arts — were Jewish.  In 1982, Gerald Krefetz (Jewish) let the cat out of the bag even further.  “Today, Jews enjoy every phase of the art world,” he admitted. “In some circles, the wheelers and dealers are referred to as the Jewish mafia.” 
Writing of his experiences in New York City, Jewish author Howard Jacobson revealed that art critic Peter Schjedhal had told him, “Just about every gallery we go into is run by a Jew. Even the women gallery owners whose wine we absorb are Jewish.” 
Riki R. Nelson, Girl in a Box, Girl in Cherry Silk, from the Saatchi Gallery, London
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. 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?   
Nigerian-born Chris Ofili's Holy Virgin Mary, from the collection of Charles Saatchi, an influential Jewish art collector. The painting is described  as "a carefully rendered black Madonna decorated with a resin-covered lump of elephant dung. The figure is also surrounded by small collaged images of female genitalia from pornographic magazines." The painting caused a public uproar and media frenzy when exhibited at the Brooklyn Museum of Art as part of the Sensation exhibition of Saatchi's collection in 1999.
If you require confirmation for these citations, see here. This huge cache of outré information has been particularly useful to me in researching the Jewish influence on modern art.
The art world is so densely populated with Jews that one way to get away from the goyim, if you are Jewish, is to take up art. That way, with any luck, you won’t bump into a non-Jew for days! In 1996, Jewish art historian Eunice Lipton confided somewhat tactlessly that the only reason she became an art historian was that she wanted to hang out exclusively with Jews. “I wanted to be where Jews were — that is, I wanted a profession that would allow me to acknowledge my Jewishness through the company I kept.”
On the face of it, she noted, art history would seem to be a gentile profession, if only because the study of Christian art was its hub and center. And yet, she says, “the field was filled with Jews. One might even say it was shaped by them.” 
She was doubtless thinking of the great historian of Renaissance art, Bernard Berenson, whose influence has been seminal.  Berenson once described himself as “a typical Talmud Jew” who longed to drop “the mask of the goyim” — hardly, one is tempted to think, a fit interpreter of Christian art to the hated gentiles! Though he had converted to Christianity in 1885, here we see him, almost sixty years later in 1944,  writing an “Open Letter to the Jews” in which he warns them about “envious Christians” who would persecute them “even if you were innocent as the angels.” To my mind, this sounds more Talmudic than Christian. 
With the rise of German fascism, Jewish art historians began to flee Nazi Germany, along with those Marxist revolutionaries known as the Frankfurt School. Most of these Jews ended up in America. At New York University alone, the following Jewish art historians were to take up residence: Richard Ettinghaven, Walter Friedlander, Karl Lehman, Alfred Salmony, Guido Schoenberger, Martin Weinberger.
Art historian Lipton probably also has in mind — when she says she wanted to live in a predominantly Jewish atmosphere — the two most illustrious art critics of the twentieth century, Harold Rosenberg and Clement Greenberg. Like Berenson, Greenberg appears to have had a distinctly Talmudic cast of mind. Convinced of Jewish superiority, he once remarked, “The European Jew represents a higher type of human being than any other yet achieved.”
Both these influential critics, Rosenberg and Greenberg, were members of the Frankfurt School and helped to reshape the aesthetic perceptions of the gentile masses.
Bending Art to Jewish Abilities
All art henceforth was to be “Jewish”. It would break free from its Christian roots. Whatever Jewish artists were good at, that would be the art of the future. If Jews were no good at drawing, good drawing would no longer be necessary. Representational art was out, abstract and conceptual art was in. Actual unmade beds, not pictures of them, now became works of art. Marcel Duchamp's famous urinals — bought in a store and transported to an art gallery where they were magically transformed into works of art. Cans stuffed with the artist’s own excrement. Photos of crucifixes stuck in glasses of the artist’s own urine.
Marcel Duchamp's Fountain, photographed in 1917 by Alfred Steiglitz, an early 20th-century Jewish photographer and promoter of modern art. “It does not take much stretching of the imagination,” gushes Calvin Tomkins, art critic of the New Yorker, “to see in the urinal’s gently flowing curves the veiled head of a classic Renaissance Madonna or a seated Buddha.” In 2004, this inspired pissoire was voted Most Influential Work of the 20th century by 500 “art experts” — sorry, “piss-artists.”
“Preparation of these items places no demand on artistic abilities. They can be done by anybody,” Israel Shamir points out, adding somewhat cuttingly, “Such art is perfectly within Jewish capabilities.”
In order to succeed in this difficult profession, the visually challenged Jews had to “bend art to fit their abilities.” It is as if, unable to excel at athletic prowess, the Jews had somehow managed to gain control over the Olympic Games and decreed that, from now on, sprinting and marathon running were no longer important. What really mattered was winning the sack race or the Spitting Competition — accomplishments, possibly, which Jews were particularly good at!  
“The Jews were extremely ill equipped for their conquest of Olympus,” Shamir instructs us. “For many generations, Jews never entered churches and hardly ever saw paintings. They were conditioned to reject image as part of their rejection of idols.” In short, the Jews were visually handicapped. Trained in Talmudic dialectics, they were marvelous with words. They had a verbal IQ of 130. Their IQ for patterns and pictures, however, was dismally low: only 75.
The Jews of course don’t wish to acknowledge this. To suggest that they tend to make lousy artists is anti-Semitic. If Jews didn’t make more of a splash as artists in past ages, it is argued, it was because they were “held back” by their Christian oppressors. Unfortunately for the Jews, the great Berenson will have none of this argument.  “The Jews have displayed little talent for the visual,” he states tersely, “and almost none for the figure arts.”
How, then, you might wish to know, are there so many Jewish artists around nowadays? To what can we attribute this fantastic efflorescence of sudden Jewish pictorial genius? The answer, we are told, lies in Jewish networking and hustling: Jewish predominance in the mass media, Jewish economic dominance of the art world, Jewish power, Jewish money.”
How Anyone Can Be Famous
Andy Warhol once said that everyone in the future will be “world-famous for fifteen minutes.” What he failed to point out was that almost anyone, including the village idiot, can be made into a celebrity with the help of public relations. All it takes is constant attention in the mass media.  Charles Saatchi, advertising mogul and art collector extraordinaire, spells it out: “An unknown artist’s big glass vitrine holding a rotten cow’s head covered by maggots and swarms of buzzing flies may be pretty unsalable. Until the artist becomes a star. Then he can sell anything he touches” (my emphasis).
Interior of Everyone I have ever Slept With, 1963–1995, an iconic work by Tracey Emin, owned by Charles Saatchi until being destroyed in a fire.
 Damien Hirst, A Thousand Years (1990). Richard Lacayo of Time Magazine: “A Thousand Years is a large glass box in which real maggots hatch into flies that appear to feed on blood from a severed cow’s head.” Charles Saatchi and Hirst had a "symbiotic relationship" as collector and artist from about 1992–2003.
How does one become a star? Who gives the Emperor his new clothes and helps to suggest he is remarkably well dressed?
An unmade bed is transformed into a consummate work of art once it is bought by Charles Saatchi and placed in a prestigious art gallery. The artist acquires a mystique created out of the power of suggestion. You must be a genius if everyone is raving about you and your unmade bed. Mass hypnosis does the trick. Advertising and persistent persuasion work wonders. See here and here and here. 
Let me ask you a question. If someone tried to sell you his excrement for $10, would you buy it? Probably not. Well, consider this: on May 23, 2007, a can labeled Artist’s Shit, purportedly containing the excrement of artist Piero Manzoni, was sold at Sotheby’s for €124,000 (US$ 180,000).
How is it done? Is a can of shit worth its weight in gold? It obviously is — if people are fighting to buy it.
A larger question: If you can con people into buying shit, can you also con them into evil wars in the Middle East and mass cultural suicide in their own homelands? Nothing easier. It’s being done right now.
Talent helps, but is it essential?
You will be surprised to learn that some Jewish artists, despite Berenson’s sweeping dismissal of their visual abilities, are actually quite good at painting. For example, Modigliani and Chagall. Shamir attributes some of their excellence, however, to the influence of Christianity. These two Jewish artists became Christians. This helped, Shamir thinks, to make them good painters. At least they had something to say now. Life had taken on a new meaning. They weren’t just scratching their existential sores and whining “God is dead!”
On the other hand, there were other artists who remained firmly within the Jewish camp and managed to distinguish themselves: notably, Pissarro (impressionist), Soutine (expressionist), Max Ernst (surrealist), and Tamara de Lempicka (art deco). To succeed as an artist in the new milieu, it helped if you were Jewish. Thus both Frida Kahlo and Gustav Klimt arguably owed their initial success to the fact that everyone thought they were Jewish. They were not, but somehow managed to give that impression.
The important thing to remember in all this is that artistic talent had become, strictly speaking, non-essential. It helped, but promotion by a good publicist helped more. The artist had to be a showman rather than a skilled craftsman. Neither Tracey Emin (patchwork quilt) nor Damien Hirst (shark preserved in formaldehyde) found it necessary to create their own works of art. Cheap manual assistants were often hired to do this for them. The vital thing in their art was the original concept. The end product was of secondary importance.
Tell Me Something Beautiful  is a patchwork quilt stitched up entirely by eight-year-olds from Ecclesbourne primary school, London, with Emin in the classroom offering advice. When the school wanted to sell the quilt for £35.000 ($60,000) to an art dealer, Emin threw a fit and threatened legal action, demanding the quilt be “returned” to her at once.
The Physical Impossibility of Death in the Mind of Someone Living by Damien Hirst (1991). Saatchi sold this work to collector Steven Cohen for $12 million, who in in turn donated it to the Museum of Modern Art.
The successful contemporary artist needs to be a person devoid of moral scruples. Confidence trickster, hustler, prostitute, pimp, he needs to mix with the right crowd and know whom to cultivate. “The artist who would be known,” wrote the great folklorist Joseph Campbell, “has to go to cocktail parties to win commissions, and those who win them are not in their studios but at parties, meeting the right people and appearing in the right places.” Campbell was later accused of anti-Semitism, but Jewish artist Julian Schnabel backs up Campbell’s claim. “Much time is spent nurturing liaisons with creatures of the art world,” he notes gloomily. “There is no time for friendship. Later, there is no capacity for it.”
How does a really talented artist succeed in such a rat race?
Painter Helen Frankenthaler had to sleep with art critic Clement Greenberg, but it was worth it: Greenberg gave her good reviews. Willem de Kooning let his wife Elaine bed down with art critic Harold Rosenberg, but it was worth it: Rosenberg gave de Kooning good reviews. Jackson Pollock had to pleasure nymphomaniac Peggy Guggenheim, but it was worth it: her patronage helped to get Pollock good reviews. After all, her daddy owned the Guggenheim Museum. 
None of these artists slept around for love. They did it for money. Jackson Pollock famously said of Peggy Guggenheim, his plutocratic patroness: “To fuck her, you’d have to put a towel over her head. And she did want fucking.”
“Incestuous collusion, mutual back-scratching, under the table wheeling and dealing, nepotism and clique allegiance are intrinsic principles of the modern art world,” art expert Sophy Burnham concludes ruefully.
That’s how it is. C’est la vie! It’s so heartbreaking you have to laugh.
If you wish to succeed as a modern artist, be prepared to lie and cheat, to be a confidence trickster and sexual exhibitionist, to flatter your Jewish patrons and churn out Holocaust paintings to please them, to sing the praises of Israel and vilify the Palestinians, to knock Islam and the Qur’an and show contempt for Christianity. Unless you are Jewish, you must lose all allegiance to your people, your religion, or your traditional culture.
Be prepared to prostitute yourself if you’re a woman or pimp your wife if you’re a man. Be prepared to do a Piss Christ like Andres Serrano or a pornographic Holy Virgin Mary like Chris Ofili. Be prepared, like Grayson Perry, to dress up as a woman and produce sexually perverted pots. Be prepared to pull a paper scroll out of your vagina like Carolee Schneemann. Be prepared, like Vito Acconci, to titillate a jaded public by masturbating for them in a prestigious art gallery — and calling it ‘art’. 
Leonardo must be turning in his grave.
Let art critic Clement Greenberg have the last word: “I’ve decided the kind of people attracted to art are often psychopaths. You can quote me on that.” 
He should know.