Illuminati Jewish Bankers and Freemasons have undermined Christian civilization and are replacing it with a world police state dedicated to Satan. Humanity is being inducted into their satanic cult under the guise of being "sexual liberated" and "progressive."
Jonas Alexis documents this process in his book, Christianity and Rabbinic Judaism: Surprising Differences, Conflicting Visions, and Worldview Implications--From the Early Church to our Modern Time. This is an excerpt from Chapter Two, "Prostitution, Sexual Liberation & Cultural Warfare."
The real cause of anti-Semitism is that Cabalist Jews are at the forefront of advancing the Luciferian principle - the denial of mankind's highest aspirations (the soul and spiritual ideals) and instead defining man as an animal. Culture now celebrates man's lowest instincts and satanic behavior. Culture used to uplift and inspire; now it degrades and destroys. Like their god Lucifer, the Illuminati are in rebellion against God, and are leading humanity to destruction.
Jonas Alexis documents this process in his book, Christianity and Rabbinic Judaism: Surprising Differences, Conflicting Visions, and Worldview Implications--From the Early Church to our Modern Time. This is an excerpt from Chapter Two, "Prostitution, Sexual Liberation & Cultural Warfare."
The real cause of anti-Semitism is that Cabalist Jews are at the forefront of advancing the Luciferian principle - the denial of mankind's highest aspirations (the soul and spiritual ideals) and instead defining man as an animal. Culture now celebrates man's lowest instincts and satanic behavior. Culture used to uplift and inspire; now it degrades and destroys. Like their god Lucifer, the Illuminati are in rebellion against God, and are leading humanity to destruction.
"The first prerequisite for healthier human and sexual relationships is the elimination of those moral concepts which base their demands on allegedly supernatural commands, on arbitrary human regulations, or simply on tradition...We do not want to see natural sexual attraction stamped as 'sin,' 'sensuality' fought as something low and beastly, and the 'conquering of the flesh' made the guiding principle of morality!" Wilhelm Reich (1897-1957, Austrian Jewish psychiatrist) 1.
By Jonas Alexis (jonasealexis7@yahoo.com)
(henrymakow.com)
The bottom line is that sexual liberation is viewed as one of the most effective ways to counteract the Christian principles that still remain at the heart of American culture.
Let's look at Wilhelm Reich ... When he set out to attack Christianity--and Jesus Christ in particular, as his blasphemous book The Murder of Christ demonstrates--he envisioned a complete sexual revolution. Reich not only placed his sexual energy (which he called "orgone") and Christianity on equal footing, but, based on what he called a "self-repressive side of Christianity" that was in total opposition to his sexual revolution, decided that Christianity had to go.
"For Reich," biographer Myron Sharaf said, "Saint Paul, the organizer, was to Christ what Stalin was to Marx--the distorter of the truth."
Reich's principles of sexual liberation have had a widespread impact on the Jewish community in Hollywood. Many of today's rising stars see no problem with promiscuity and homosexuality. Jake Gyllenhaal, after the re- lease of Brokeback Mountain, declared, "You know it's flattering when there's a rumor that says I'm bisexual. It means I can play more kinds of roles. I'm open to whatever people want to call me. I've never really been attracted to men sexually, but I don't think I would be afraid of it if it happened...As an actor, I think we need to embrace the times we feel most uncomfortable."
Scarlett Johansson, who has worked with Woody Allen on three films, appeared in Vicky Christina Barcelona (2008), which is another of Allen's psycho-analytic explorations of sexuality, marriage, infidelity, and existentialism. The core theme Allen presents here is that life has no meaning, so you should enjoy it while you can, particularly through sex.
When Johansson was asked to defend her real-life promiscuity, she responded, "I do think on some level we are all animals, and by instinct we kind of breed accordingly."
It seems that being Jewish, to many, is a form of liberation from moral and ethical restraint. So when we watch films like Dirty Dancing, the product of Jewish writer Eleanor Bergstein, or those produced by the Coen brothers, we are reaping a Jewish worldview that has more to do with anti-Christian ideology than art.
Although the Coen brothers say that they aren't pushing a moral (or amoral) worldview in their work, their movies tell a different story.
William Rodney Allen writes in his book The Coen Brothers: Interviews, "The bedrock of the Coens' intellectual world is really good old-fashioned existentialism. Princeton philosophy major Ethan Coen, in addition to writing his senior paper on Wittgenstein, certainly seems to have absorbed his Sartre and Camus. Both of those philosophers argued that man finds himself in an absurd world, where he must act despite having incomplete knowledge, with no moral absolutes to guide him...This bleak metaphysic underlies the film noir of Blood Simple (1984), the gangster milieu of Miller's Crossing (1990), the theater-of-the-absurd cosmos of Barton Fink (1991), the mechanical though superficially comic landscape of The Hudsucker Proxy (1994), the morose, end- less midwestern snowscapes of Fargo (1996), and, most purely, in the black- and-white existential gloom of The Man Who Wasn't There (2001)."
If they truly don't intend to weave messages about morality into their movies, why then do the Coen brothers so frequently make derogatory references to Jesus Christ (The Big Lebowski) and even openly mock Christianity (O, Brother, Where are Thou?) in their movies? Why does the main character in The Big Lebowski keep referring to Nazi Germany as nihilist, but then commits nihilistic acts himself?
Logic dictates that this is an obvious contradiction that the Coen brothers must explain; Talmudic reasoning says they don't have to.
In general, art has become a weapon aimed at the heart of Western Civilization--its Christian principles. This generation's Cronenberg appears to be Eli Roth.
In reviewing Roth's film Hostel, Jewish writer David Edelstein of New York Magazine opines, "Certainly television has become a place for forensic fetishism...Some of these movies are so viciously nihilistic that the only point seems to be to force you to suspend moral judgment altogether."
Precisely--when moral judgment is deconstructed, everything is possible: rape, sadistic sex, pornography, and even sexual torture.
The age of Bar Kochba is over; the age of manipulation through the arts is here. The subtle difference is that Bar Kochba used weapons that could only destroy the body. Roth and others use weapons that can destroy the mind--a much more dangerous battlefield, since mind control is the highest form of manipulation. The battle has become spiritual and mental, rather than physical.
---
1. Wilhelm Reich, The Sexual Revolution: Toward a Self-Governing Character Structure. New York: Doubleday, 1971, page 53.
Jonas E. Alexis studied mathematics and philosophy as an undergraduate and has a Master's degree in education. His research interests at present include history, most particularly the history of Christianity, the history of science, and the conflict between Christianity and other religions (in particular Islam and Rabbinic Judaism).
Book available here:
http://www.amazon.com/Christianity-Rabbinic-Judaism-Volume-One/dp/1449734863/ref=sr_1_1?ie=UTF8&qid=1336535633&sr=8-1
http://www.amazon.com/Christianity-Rabbinic-Judaism-Implications--From-ebook/dp/B007Y15Z1C/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1336535713&sr=1-1
http://www.barnesandnoble.com/w/christianity-and-rabbinic-judaism-jonas-e-alexis/1108105212?ean=9781449734862
By Jonas Alexis (jonasealexis7@yahoo.com)
(henrymakow.com)
The bottom line is that sexual liberation is viewed as one of the most effective ways to counteract the Christian principles that still remain at the heart of American culture.
Let's look at Wilhelm Reich ... When he set out to attack Christianity--and Jesus Christ in particular, as his blasphemous book The Murder of Christ demonstrates--he envisioned a complete sexual revolution. Reich not only placed his sexual energy (which he called "orgone") and Christianity on equal footing, but, based on what he called a "self-repressive side of Christianity" that was in total opposition to his sexual revolution, decided that Christianity had to go.
"For Reich," biographer Myron Sharaf said, "Saint Paul, the organizer, was to Christ what Stalin was to Marx--the distorter of the truth."
Reich's principles of sexual liberation have had a widespread impact on the Jewish community in Hollywood. Many of today's rising stars see no problem with promiscuity and homosexuality. Jake Gyllenhaal, after the re- lease of Brokeback Mountain, declared, "You know it's flattering when there's a rumor that says I'm bisexual. It means I can play more kinds of roles. I'm open to whatever people want to call me. I've never really been attracted to men sexually, but I don't think I would be afraid of it if it happened...As an actor, I think we need to embrace the times we feel most uncomfortable."
Scarlett Johansson, who has worked with Woody Allen on three films, appeared in Vicky Christina Barcelona (2008), which is another of Allen's psycho-analytic explorations of sexuality, marriage, infidelity, and existentialism. The core theme Allen presents here is that life has no meaning, so you should enjoy it while you can, particularly through sex.
When Johansson was asked to defend her real-life promiscuity, she responded, "I do think on some level we are all animals, and by instinct we kind of breed accordingly."
It seems that being Jewish, to many, is a form of liberation from moral and ethical restraint. So when we watch films like Dirty Dancing, the product of Jewish writer Eleanor Bergstein, or those produced by the Coen brothers, we are reaping a Jewish worldview that has more to do with anti-Christian ideology than art.
Although the Coen brothers say that they aren't pushing a moral (or amoral) worldview in their work, their movies tell a different story.
William Rodney Allen writes in his book The Coen Brothers: Interviews, "The bedrock of the Coens' intellectual world is really good old-fashioned existentialism. Princeton philosophy major Ethan Coen, in addition to writing his senior paper on Wittgenstein, certainly seems to have absorbed his Sartre and Camus. Both of those philosophers argued that man finds himself in an absurd world, where he must act despite having incomplete knowledge, with no moral absolutes to guide him...This bleak metaphysic underlies the film noir of Blood Simple (1984), the gangster milieu of Miller's Crossing (1990), the theater-of-the-absurd cosmos of Barton Fink (1991), the mechanical though superficially comic landscape of The Hudsucker Proxy (1994), the morose, end- less midwestern snowscapes of Fargo (1996), and, most purely, in the black- and-white existential gloom of The Man Who Wasn't There (2001)."
If they truly don't intend to weave messages about morality into their movies, why then do the Coen brothers so frequently make derogatory references to Jesus Christ (The Big Lebowski) and even openly mock Christianity (O, Brother, Where are Thou?) in their movies? Why does the main character in The Big Lebowski keep referring to Nazi Germany as nihilist, but then commits nihilistic acts himself?
Logic dictates that this is an obvious contradiction that the Coen brothers must explain; Talmudic reasoning says they don't have to.
In general, art has become a weapon aimed at the heart of Western Civilization--its Christian principles. This generation's Cronenberg appears to be Eli Roth.
In reviewing Roth's film Hostel, Jewish writer David Edelstein of New York Magazine opines, "Certainly television has become a place for forensic fetishism...Some of these movies are so viciously nihilistic that the only point seems to be to force you to suspend moral judgment altogether."
Precisely--when moral judgment is deconstructed, everything is possible: rape, sadistic sex, pornography, and even sexual torture.
The age of Bar Kochba is over; the age of manipulation through the arts is here. The subtle difference is that Bar Kochba used weapons that could only destroy the body. Roth and others use weapons that can destroy the mind--a much more dangerous battlefield, since mind control is the highest form of manipulation. The battle has become spiritual and mental, rather than physical.
---
1. Wilhelm Reich, The Sexual Revolution: Toward a Self-Governing Character Structure. New York: Doubleday, 1971, page 53.
Jonas E. Alexis studied mathematics and philosophy as an undergraduate and has a Master's degree in education. His research interests at present include history, most particularly the history of Christianity, the history of science, and the conflict between Christianity and other religions (in particular Islam and Rabbinic Judaism).
Book available here:
http://www.amazon.com/Christianity-Rabbinic-Judaism-Volume-One/dp/1449734863/ref=sr_1_1?ie=UTF8&qid=1336535633&sr=8-1
http://www.amazon.com/Christianity-Rabbinic-Judaism-Implications--From-ebook/dp/B007Y15Z1C/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1336535713&sr=1-1
http://www.barnesandnoble.com/w/christianity-and-rabbinic-judaism-jonas-e-alexis/1108105212?ean=9781449734862
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1 comment:
Very good analysis.
I wish I had read this much sooner.
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