Please do your own research. The information I share is only a catalyst to expanding ones confined consciousness. I have NO desire for anyone to blindly believe or agree with what I share. Seek the truth for yourself and put your own puzzle together that has been presented to you. I'm not here to teach, preach or lead, but rather assist in awakening the consciousness of the collective from its temporary dormancy.
The Swiss painter Miriam Cahn caused outraged when she exposed paintings depicting graphic abuse in a Paris museum. While people were horrified by these “works of art”, Emmanuel Macron and the entire media establishment have been praising and defending her. Let’s look at the “art” elite stooges are so vehemently defending.
Warning: This article contains disturbing paintings.
I had to preface this article with a warning because it will contain horrific paintings depicting various forms of abuse. And many of these paintings clearly include children. These paintings are not on display in some obscure, underground location, they’re on display at the Palais de Tokyo, a “prestigious” contemporary art center in Paris.
One of these paintings (titled Fuck Abstraction!) is so vile that it caused outrage in France. Six major associations – led by the Association de Juristes Pour L’Enfance (Lawyers for Childhood) – sought the removal of this painting on the grounds that French law forbids the exhibition of pornographic representations of minors. The courts ruled against the associations.
Then, an elderly man threw some paint at this painting to protest against it. Following this event, Emmanuel Macron himself took to Twitter to defend this painting.
Macron’s tweet says “Attacking a work of art is attacking our values”.
Here’s the painting that Macron absolutely had to defend.
Fuck Abstraction! depicts a child with bound hands forced to give fellatio to an adult man.
As you can see, this sickening painting graphically depicts a child being raped. This is the painting that the President of France – and many other officials – vehemently defended.
It’s bizarre: The only time these people say “free speech” is to defend pedophilic movies such as Cuties, school library books containing pornographic material, or “art” that literally depicts a pedophile raping a child. In other words, while these people are for the censoring of anything that goes against their agendas, they turn into champions of free speech when people push back against their insane obsession with normalizing pedophilia.
Those who defend Fuck Abstraction! came up with an excuse to appear noble: The painting is said to depict war crimes committed by Russia in Ukraine.
This sounds like utter BS to me. There’s absolutely nothing about this painting that refers to Russia, Ukraine, war, or anything related. Paintings do not require a tweet to explain their meaning. The meaning is conveyed by what exists within the painting. And what millions of people are seeing is a sick and deeply disturbed “artist” who took the time to paint child rape in the most graphic way possible.
Furthermore, the “iT’s aBouT uKraIne” excuse doesn’t explain another important fact: Miriam Cahn painted hundreds of horrific paintings, way before the Ukraine war.
Here’s the dark truth about this situation: Paintings by Miriam Cahn depict the occult elite’s obsession with control, torture and the systematic abuse of children. Her style of painting is eerily similar to artists such as Kim Noble (a victim of Monarch mind control) which also depict horrific abuse in a distinctive style that’s childish yet deeply disturbing.
Here’s a look at Miriam Cahn’s body of work.
Miriam Cahn
This person has some sick, sick thoughts.
Miriam Cahn is a Swiss painter who is described as a “feminist who likes to fight.” Her paintings are said to incorporate “feminism, child-endangering themes, and female rituals featuring violent and shocking representations of sexual organs”. Yes, the official description of her work includes the word “child endangerment”. Despite this fact, Cahn’s paintings have been praised for decades and exposed all over the world.
Going through Cahn’s body of work is like entering the mind of a sick and sadistic person who takes pleasure in watching people suffer. It is difficult to pinpoint the exact message behind each of these paintings. However, there are some clear recurrent themes. And they’re horrific.
An adult holds what a baby that appears lifeless. There’s red (implying blood) around the hand and the waist of the figure. What the hell happened?
This painting depicts a person holding a (possibly dead) baby in the air. And, for some reason, the person’s thumb appears to be right on the baby’s genitals.
This disturbing painting depicts a person being violently raped. Macron thinks that this mess is “our values”.
A naked adult holds a child who appears afraid.
A man shoves his arm up inside a woman … up to his elbow. This is yet another painting depicting abuse/torture. The demonic faces on the characters imply that they’re out of it / possessed / dissociated.
This drawing appears to depict gang rape. If a regular person drew this, they’d immediately be ordered to see a psychiatrist.
Yet another “painting” depicting the sexual abuse of a much smaller person (possibly a minor).
Two adults have sex right next to a naked child who is holding his/her genitals. Are they pedos grooming a child?
A naked man drags by force a child holding a teddy bear-type thing. Cahn (and the elite in general) are obsessed with “loss of children’s innocence” theme.
Two naked adults force a child (who appears scared) to march with them. The adult on the left appears to be playing with his genitals. The figure on the right is holding a baby who appears lifeless.
Cahn made numerous paintings depicting people with their hands in the air – as if they were captive, restrained, and tortured.
Cahn paintings are reminiscent of those by Biljana Djurdjevic which often depict children that are bound as if they were about to be abused. As seen in my Pizzagate article, occult elite psychos (i.e. John Podesta) collect these paintings and hang them in their homes.
I could post many, many other disturbing Miriam Cahn paintings that depict abuse or dead bodies. A trip through her gallery is the stuff of nightmares.
In Conclusion
At this point, some of you might be thinking “What the hell is wrong with VC for making me look at these paintings?”. Well, I’m sorry about that and I sincerely hope that none of us will ever have to look at these things ever again. However, those are not obscure paintings made by a lonely deranged individual. They were made by Miriam Cahn, one of the most renowned painters in the world today. Her works were exposed in the Palais de Tokyo – one of Europe’s most important museums. Furthermore, when one of her paintings was vandalized, Emmanuel Macron himself flew to its rescue and defended it – even saying that it was “part of our culture”. As a reminder, the painting he defended depicted a small child being raped.
When Macron said that this painting was “part of our culture”, he did not mean OUR culture. He meant the occult elite’s sick, sadistic culture that celebrates the systematic abuse of children. It is the culture of those who take part in elite pedo rings and subject slaves to trauma-based mind control. Not only did the elite create an entire art “movement” focused on its insanities, but it is also attempting to normalize it to the masses by putting them on display in “reputable” places.
This painting by LenaTunström depicts people being violently dismembered. The male figure even has his penis cut off. This painting was on display inside the European Parliament.
Throughout history, works of art put on display in museums have reflected the values and the soul of the culture that generated them. What do the paintings seen above say about our culture?
But this is not OUR culture, it is THEIR culture. And, through the power of propaganda, they are attempting to make this OUR culture. To silence those who oppose them, the elite engages in its new favorite tactic: The “far-rightization” of those who question them. Indeed, in the past weeks, countless news articles from France and around the world associated those who opposed paintings depicting child rape with the “far right”.
However, when the powers that be silence the people, the people speak through other means.
“Fuck Abstraction!” spray painted by an elderly man in May 2023.
After turning the 2023 Grammy Awards into a blatant satanic ritual, Sam Smith embarked on his tour titled Gloria. Shocking news: It is also a satanic ritual.
During the show, Smith came out looking like this.
There’s a lot going on in this very unfortunate picture. First, Smith is complying with the gender-blurring agenda. As we’ll see, this crazy agenda is in complete overdrive this year. Second, Smith’s bloated figure is constantly being put on display. He’s a personification of gluttony which happens to be one of the seven deadly sins in Christianity. Finally, his costume is a clear mockery of the Virgin Mary.
A classic depiction of the Virgin Mary, complete with her crown and open hand gesture.
In short, Sam Smith appeared to his fans as a cross-dressing, highly sexualized version of the Virgin Mary. Satanic black masses are based on the mocking, sexualizing, and corruption of Christian symbols and that’s exactly what Sam Smith is doing in his show. If you think I’m exaggerating, check out what happens next in the show.
Smith is literally dressed as the devil, complete with a horned hat and a trident as hellish fire burns around him.
As he’s bowing down to his satanic masters, Smith is also made to humiliate himself by participating in bizarre photoshoots.
Today’s media embraces the ugly. It embraces gender confusion. It embraces the lack of dignity. Sam Smith transformed his entire act to fit this agenda.
Speaking of gender confusion, mass media has been on a complete rampage in the past weeks. The elite is using every single tool at its disposal to expose the world to the gender-blurring agenda. Here are some examples of what happened in the past weeks.
Hershey celebrated International Women’s Day with … a man … dressed as a woman. Our society is in an advanced state of delusion.
On the same International Women’s Day, Jill Biden gave a “Women of Courage” award to Alba Rueda – a transgender politician from Argentina. He’s Argentina’s Special Envoy for Sexual Orientation and Gender Identity, meaning he is responsible for medically transitioning children. Yup, our governments definitely have their priorities straight.
Bud Light recently used trans “influencer” Dylan Mulvaney in an ad campaign. To make things extra ridiculous, the can says “Cheers to 365 days of womanhood”. Here’s a fact: This dude lived exactly ZERO days of womanhood.
As you might know, this Bud Light ad campaign sparked a major boycott movement which caused a major drop in sales. While I fully support boycotting this garbage, I’m pretty sure those behind this ad campaign fully expected the backlash. This is not about sales, this is about bowing down to the elite’s doctrine. And, one after the other, major corporations bow down to the agenda in highly unpopular ad campaigns.
Days after the disastrous Bud Light campaign, Dylan Mulaney partnered with Nike to promote … WOMEN’S SPORTS BRAS. I cannot make this up. I’m pretty sure there are women athletes out there who could have modeled these bras.
Build-A-Bear is now selling drag queen bears inspired by RuPaul. Why? Because it’s kind of an “initiation ritual” for corporations.
Jack Daniels recently launched an ad campaign about “Drag Queen Summer Glamp”. I don’t know what that is but at least they’re not involving children. The same cannot be said about this next thing.
In Canada, there’s an actual “Junior Drag Summer Camp” for children ages 7-11. And it is funded by several governmental entities. Who in their right mind would send their children to this thing? Also, who in their right mind would even want to organize such a thing? Pedos looking to groom children?
The CBC (funded by the Canadian government) recently dedicated an entire show to drag queens talking to children. I watched about 24 seconds of it and the extreme awkwardness of it all made me want to poke my eyes out.
I think we’ve seen more than enough pictures of men dressed as women. I could have posted many more because mass media is clearly engaged in an all-out propaganda campaign. While I identified the gender-blurring agenda years ago, I did not expect it to become so extreme in such a short amount of time. And here’s the result of this elite-run brainwashing campaign.
In schools around America, children are made to march around while holding the LGBTQ flag as the parents clapped. Stop clapping this BS. They do the exact same thing in dictatorships. Here’s a crazy, revolutionary idea: Leave the kids alone.
As usual, the One-Eye Sign was all over the place during the last month. Here’s a very small fraction of them.
The Netflix series Wednesday made Jenna Ortega quite popular with children and teenagers. Of course, she had to do a one-eye sign on SNL to show that she was owned by the elite.
Actress Minka Kelly released her memoirs. The cover of the book is basically a big, unmistakable one-eye sign.
Deva Cassell is Monica Bellucci’s daughter and she’s trying to make it in the industry. No matter who her mother is, she must first show submission. For this reason, she does a big, fat one-eye sign on the cover of Wonderland.
In the past couple of years, the Rio de Janeiro Carnival was criticized for its demonic imagery. This year was no exception.
One of the floats was titled “The Devil’s Castle”. It featured a giant devil moving around as people clapped. Stop clapping this BS.
The entire carnival had a bizarre, satanic narrative.
The girl on the right was on the Garden of Eden float. She played the role of the first woman on Earth “evil Eve” who is “free, hot, strong, gay and crazy”. The guy on the left played the role of a miserable Jesus who’s hanging in the air for some reason. Weird fact: This guy fell ill and was rushed to the hospital. Another weird fact: Immediately after the carnival, there were massive floods in Brazil and many Brazilians said that God was punishing the country for its blasphemous carnival.
An art exhibition in a Paris museum Palais de Tokyo recently featured paintings by Miriam Cahn. There’s something terribly wrong with this “artist”.
Nearly all of her paintings depict some sort of physical or sexual abuse – often involving children.
While I could post dozens of her deeply deranged paintings, I’ll only post one more.
This painting clearly depicts a child with bound hands forced to give fellatio to an adult.
The occult elite loves this specific type of “art”. It is highly reminiscent of paintings by Kim Noble (a survivor of Monarch programming) and the pedo art collection of the Podestas.
Shocked by the painting above, some people filed a petition to get it removed from the museum. Mass media framed it as “far-right extremists” pushing for censorship. In the end, a court ruled that the painting could stay. This is the world we live in: Truth is censored because it’s dangerous. Meanwhile, clear depictions of child rape are protected as “free speech”.
Guillermo del Toro is a movie director known for combining fairy tales with elements of horror, in a distinctive visual style that tends towards the grotesque. He is also known for crafting stories that take place in oppressive contexts where fascism, fatherhood, and Christianity are recurrent themes. His latest movie – Guillermo del Toro’s Pinocchio – perfectly encapsulates all of these characteristics. In fact, the movie is so quintessentially Guillermo del Toro that his name is embedded right in the movie’s title.
Guillermo del Toro’s version of Pinocchio is rather dark, creepy, and off-putting. While those who are familiar with the director’s style probably expected it, I’m convinced that quite a few parents thought that this would be a children’s movie. I mean, it can easily be found in the “kids” section of Netflix.
The movie’s thumbnail, as seen on Netflix. It definitely looks like a children’s movie … until one realizes that Pinocchio’s nose is rather … phallic.
While everything about this movie – from the source material to the stop motion visual style – screams out “children’s movie”, del Torro himself said that it was not made for children.
“It’s not necessarily made for children, but children can watch it.”
Sure, children can watch it, but don’t expect them to see the cute, rounded Pinocchio of the classic Disney movie. Nope, del Torro’s version of Pinocchio is an off-putting, jittery, and unstable pile of twigs whose limbs keep bending in all kinds of unnatural ways. Also, he dies several times during the movie. Furthermore, the story spends lots of time dwelling on dark concepts such as war and mortality while taking place in a universe that’s populated with lots of creepy creatures. In short, this movie can easily turn into nightmare fuel for children.
But beyond the overall creepiness of this movie, Guillermo del Toro’s Pinocchio communicates a profound occult message. And that was to be expected from del Toro.
In my 2010 article about del Toro’s Pan’s Labyrinth, I looked into the intense occult symbolism of the movie. I won’t explain the entire thing here however, in this case, a picture is worth a thousand words.
This screenshot sums up Pan’s Labyrinth: The horned god Pan “initiates” a young girl named Ophelia. And it’s all very creepy.
Pan’s Labyrinth shares several similarities with Guillermo del Toro’s Pinocchio: It takes place in a fascist regime (Franco’s Spain), the main character is a child and there’s a horned monster acting as a guide throughout. More importantly, the movies share a similar “moral of the story”.
A Very Different Pinocchio
Carlo Collodi’s Le Avventure di Pinocchio published in 1883.
In my article about Disney’s Pinocchio, I explained that the original story was written by an Italian Freemason named Carlo Collodi. In an essay called Pinocchio, mio Fratello (Pinocchio, my Brother) Italian Freemason Giovanni Malevolti writes:
“There are two ways to read “The Adventures of Pinocchio”. The first is what I would call “profane” where the reader, most probably a child, learns about the mishaps of the wooden puppet. The second is a reading from a Masonic point of view, where heavy symbolism will complete, without replacing, the simple and lineary narration of events”. – Giovanni Malevolti, Pinocchio, mio Fratello (free translation)
When one reads Collodi’s story from a Masonic point of view, the story of Pinocchio is about esoteric initiation. After rejecting the pitfalls and temptations of the material world, Pinocchio becomes a “real boy” – a spiritually illuminated being. Indeed, the protagonist ascends to a form of godhood through self-improvement in a narrative that’s in line with Freemasonry’s Gnostic philosophy. In fact, the name Pinocchio is believed to be constructed from the words pino (pine tree) and occhio (eye) – a reference to the pineal gland (which contains the word pine). In occult teachings, spiritual illumination is said to be achieved through the activation of the pineal gland.
Despite some differences, Disney’s 1940 movie adaptation of this story kept all of the esoteric elements intact. Considering the fact that Walt Disney was rumored to be a Freemason, some argue that he perfectly understood the story’s occult meaning and, for this reason, he purposely selected this tale for Disney’s second animated ever.
With all of that being said, Guillermo del Toro’s Pinocchio does not follow Collodi’s narrative at all. It is not about improving one’s flaws anymore, it is about the rest world accepting the. Thus, if Collodi’s Pinocchio can be described as “gnostic”, del Toro’s version can be described as “crypto-satanic”.
Here’s a look at the movie.
Tragedy-Stricken
Guillermo del Toro’s Pinocchio takes place in Mussolini’s Italy prior to World War II. Despite this ominous context, old man Geppetto is living his best life with his son Carlo.
Carlo and his father spend lots of time at their local church where Geppetto was commissioned to build a large crucifix. And, yup, that priest has creepy features – that’s part of del Toro’s narrative.
Then, tragedy strikes.
The village is bombed by planes from an unnamed country and the church burns down … with Carlo still in it.
The movie makes it clear that the last thing seen by Carlo was the crucifix. The message: Jesus did not save him.
There are joints on Jesus’ shoulders – not unlike a marionette. Pinocchio will be likened to Jesus on numerous occasions throughout the movie.
Carlo’s death leads Geppetto to spiral into complete despair. Until he creates a replacement. An unholy replacement.
Unholy Creation
Geppetto spends years crying and drinking next to his son’s tombstone. Clearly, his Christian faith did not help him go through this ordeal.
But one day, Geppetto gets angry and cuts down the pine tree that grew from a pinecone he planted when Carlo died.
Geppetto feverishly chops and bangs at pieces of wood in order to recreate Carlo … until he passes out drunk. Should children be watching this weirdness?
Then, supernatural beings get involved in the creation of Pinocchio. Sebastian J. Cricket (del Toro’s version of Jimeney Cricket) says:
“In my many wondering on this Earth, I’ve learned that there are old spirits living in the mountains, in the forests, who rarely involve themselves in the human world. But sometimes they do.”
The spirits are depicted as eyeballs flying around the Earth. This reference to the occult elite’s favorite symbol (the all-seeing eye) is a hint telling us that this story fits their current agenda.
Then, the Wood Sprite materializes to give life to Pinocchio.
This is not the Blue Fairy from Disney’s Pinocchio. First, she’s wearing a mask, leading us to ask: What is hidden behind it? Second, she doesn’t have eyes – just light emitting from the eye sockets. However, there are eyeballs all over the spirit’s wings.
In short, this thing is rather creepy. With that being said, the makers of the movie chose the perfect actress to voice the Wood Sprite. Can you guess who?
Tilda Swinson. She creeps me out.
When Geppetto wakes up, he makes first contact with Pinocchio. And it is not wholesome.
Pinocchio pops out of nowhere, all unstable, with his limbs bending in upsetting ways. Also, there’s a hole where the heart should be.
In short, one can characterize the creation process of Pinocchio as “unholy”. And the church-going people of the village immediately realized it.
When Geppetto brings Pinocchio to the church, people call the puppet the “work of the devil”.
The church people also call Pinocchio “demon”, “witchcraft” and “mallochio” (evil eye). Then, the priest berates Geppetto.
“This is a House of God! You drunken fool! You carving this thing while our blessed Christ hangs unfinished all these years? Take that unholy thing away. Take it away now!”
When one understands the occult subtext of the movie, those calling Pinocchio “the work of the devil” are literally correct. However, considering the fact that Pinocchio and Geppetto are the protagonists of the movie, the church people are portrayed as ignorant and close-minded rubes. To cement the fact that the church is bad, it is lumped together with Mussolini’s fascist regime.
The priest, Podesta (an officer of Mussolini’s regime), and his son all give the same salute. The message: They are part of the same system.
The fact that Pinocchio was rejected by the church causes him to wonder why Jesus Christ is so special in the eyes of the people.
In this scene, Pinocchio compares himself to Jesus by observing that “he’s made of wood too”. Furthermore, the scene purposely showcases the nails on Pinocchio’s back … not unlike the nails on Jesus.
As the movie progresses, we see more subtle yet obvious links between Pinocchio and Jesus.
At one point, Pinocchio is “crucified” by Count Volpe.
And, like Jesus, Pinocchio resurrects. Several times. And it’s definitely not God doing the resurrecting.
Resurrected
Throughout the movie, various forces attempt to exploit Pinocchio’s unique characteristics for their own benefit. Like in the original story, Count Volpe recruits Pinocchio to join the circus. While, at first, Volpe spoils Pinocchio, he quickly becomes abusive. Also, he uses him for pro-Mussolini propaganda. Then, Podesta, who realizes that Pinocchio cannot die, recruits him to become a soldier.
In both cases (and others), Pinocchio disobeys orders and ends up dead. Then, he goes through a strange process that brings him back to life.
Each time Pinocchio dies, he’s transported by creepy, half-skeleton rabbits who sing an ominous song about death.
Then, Pinocchio goes through a door that symbolically depicts the infinite cycle between life and death.
Inside, Pinocchio meets Death – the sister of the Wood Sprite.
Death wears a mask similar to the Wood Sprite’s (what hides behind it?). It also has gigantic horns inside which are numerous eyeballs. There’s definitely a Baphomet/Satan vibe happening here.
Guess who voices Death?
Tilda Swinton. She really creeps me out.
Death explains to Pinocchio that he was not supposed to be alive and, since he can never truly die, he’ll never be a “real boy”. However, in order to save his father, Pinocchio agrees to become a mortal. Then, he drowns.
While Pinocchio was supposed to be dead for good, the Wood Spirit resurrects him again. They really like that unholy creation.
The movie ends the same way it began: With a grim focus on death and tombstones.
Pinocchio outlives his father and the cricket.
Then, the children who watched that movie go to bed with these images in their minds.
The (Twisted) Moral of the Story
Unlike the original story (and the Disney movie), Pinocchio never becomes a “real boy”. He never learns from his mistakes and he never improves himself. In fact, he even embraces his flaws to get out of difficult situations.
In the original story, Pinocchio is trapped inside a whale to eventually emerge transformed. This bit refers to the biblical tale of Jonah and the Whale which symbolically represents spiritual rebirth.
Jonah emerges from the whale with the Word of God.
In del Toro’s version, Pinocchio escapes the whale by purposely lying, which causes his nose to grow to the point of becoming a giant pole. This difference from the original story is highly symbolic. Instead of emerging spiritually transformed, Pinocchio effectively sins to get out of the sea monster.
In the end, Pinocchio does not change, it is those around him who do. In a final epiphany, Geppetto says to Pinocchio:
“I was trying to make you someone you were not. So don’t be Carlo or anyone else. Be exactly who you are. I love you exactly as you are.”
This is a heartwarming moment … until we realize that Geppetto is actually talking to an unholy, artificial creation with a hole instead of a heart.
In Conclusion
In many ways, del Toro’s retelling of the classic tale of Pinocchio is in line with the current narrative in popular culture. Instead of valuing self-improvement (whether it be mental, physical, or spiritual), we are told to embrace flaws and deviance. Instead of pushing toward what is good and natural, we are told to accept the wrong and the unnatural. And, sometimes, the outright evil.
In del Toro’s movie, Pinocchio represents an artificial, unholy force that exists in society. And those who reject it are the evil ones – until they change. But Pinocchio doesn’t change. And, when he dies, a horned Baphomet creature brings him right back. Why strive for perfection through effort, discipline, and sacrifice when you can just wallow in your general foulness?
In short, while the original Pinocchio was about transcending the pitfalls of the material world, Guillermo del Toro’s version is all about embracing them … which happens to be the very basis of satanism.
Gorsad Kyiv is a collective of photographers that collaborates with the world’s largest brands. Apparently, everybody’s ignoring the fact that their work revolves around the graphic abuse and sexualization of children. Even worse, some of these “models” appear to be actual victims of child trafficking. Here’s a look at Gorsad Kyiv.
Warning: This article contains disturbing pictures.
Gorsad Kyiv is a photography collective consisting of three artists: Viktor Vasiliev, Maria Romaniuk, and Ulik Romaniuk. Based in Kyiv, Ukraine, the group has collaborated with many galleries, magazines, musicians, and brands such as I-D Vice, Dazed & Confused, Skim milk, Hood by Air, Ariel Pink, and others.
In 2022, Gorsad Kyiv was named in PhotoVogue’s list of “100 Next Great Fashion Image Makers”.
PhotoVogue Festival unites the biggest names in the fashion industry, along with numerous publishers from CondeNast – the megacorporation that owns hundreds of publications around the world. Here, PhotoVogue features a picture by Gorsad which features a sad and frightened girl.
One only needs to take a look at a few pics taken by Gorsad to realize one thing: There is something terribly wrong with them. Everything about their work refers directly to pedophilia, child abuse, and sex trafficking. Many children in these pictures appear deeply unwell as if they are actual victims of human trafficking that are constantly drugged and abused.
Instead of being alarmed by these pictures, “industry experts” actually celebrate Gorsad and reward them with lucrative contracts. And, since the Ukraine war, the collective is touted as “freedom fighters” by the media as it urges people to support them with donations. Are you crazy?
One of the ridiculous headlines praising Gorsad.
Why does the industry love Gorsad so much and why aren’t they being investigated by the police? Well, when one realizes that their works are also replete with the occult elite’s satanic symbolism, one realizes one important fact: They’re part of the same sick culture.
Here are the collective’s favorite themes.
Aggressively Sexualizing Children
This is one of these articles where I don’t feel comfortable posting pictures because they’re so vile. However, this insanity needs to be exposed for what it is or it will keep going due to general indifference. I did not dig these pictures from some obscure website – the following pictures are proudly exposed in trendy exhibitions, major fashion magazines, and all over social media accounts.
When fashion magazines describe Gorsad’s works, they like to use the words “youth, innocence, and sexuality”. That’s another way of saying “pedophilia”. Because that’s exactly what this is about.
A screenshot of an interview with Gorsad. They have to give vague answers because they cannot outright say that they’re catering to sick pedos.
A mere look at the following pictures is enough to realize that this is not about the natural “coming of age” of children, it is about their abuse, exploitation, and sexualization by sick adults.
Here are some pictures from Gorsad’s website and Instagram account.
In one of its exhibits, Gorsad proudly displays this picture of a young girl who looks deeply unwell while sitting in a suggestive position. This girl might be a victim of sex trafficking.
To promote an exhibition, Gorsad uses a highly symbolic picture: A balloon attached to a chain, representing the innocence of youth ruined by control and exploitation.
This picture could not be more obvious. This young girl is chained and bruised. This is all a reference to child sex trafficking.
Two young girls are chained next to something that looks like a cheese grater (which might refer to torture).
Inside the backpack is a dildo. Pedos love to mix kiddie stuff with adult things. They’re catering to this sick crowd.
This child is wearing a choker (used in BDSM) and the entire setup is deeply disturbing.
The innocence of youth mixed with adult things such as smoking.
How can this be considered “art” or “fashion”? It looks like a child trafficking catalog.
The same girl from above is bleeding from the nose. Are you Fucking kidding me?
This child is wearing a hat on which is written “BALLS” while suggestively poking a fruit. Next to the picture frame is an EROTICA book. I’m not kidding. They’re making it very clear that this is all pedophilia.
Beastiality.
In one of its many “stand with Ukraine” social media posts, Gorsad includes this pic of a girl who looks unwell with chains around her genitals. This is all about sex trafficking.
A girl bleeding from her genitals. A direct reference to rape?
Aggressively Abusing Children
Gorsad loves depicting the abuse, torment, humiliation, and torture of children. I’m honestly not sure how these pictures are allowed to exist without an in-depth police investigation.
A recurring theme in Gorsad’s works: Children choking in plastic bags. Gratuitous celebration of abuse.
Shirtless children choke on plastic bags. They really should not be taking part in any of this but I’m not even sure their parents are anywhere around them.
A child wrapped in plastic. This looks like a victim of human trafficking being “disposed of”.
This picture is not only disgusting but it also conveys the deeply sadistic nature of those behind it. Forcing people to stand in their own filth causes intense trauma (it is a major torture technique) and this guy has to go through the humiliation of posing for a picture. I’m inclined that no “special effects” were involved in this picture.
They took this girl to a cemetery and forced her to deal with death. They’re into killing the innocence of children and exposing them to trauma.
This child is “silenced” by an unseen adult. The arm is covered in latex, which is usually used in BDSM outfits. This is 100% about child abuse.
There are numerous Gorsad pictures of young boys in mussels. Once again this is about humiliation, control, and reducing them to animals.
Occult Elite Symbolism
Compared to those above, the following pictures are relatively tame. However, they contain the exact symbolism that has been described on this site for years. Through these symbols, the photographers are telling you that they are part of the elite’s sick, satanic culture that revels in abuse and desecration of youth and innocence. This is why they are being celebrated by mass media instead of being condemned.
As stated in numerous articles, the one-eye sign represents occult elite control. That sign is all over Gorsad pictures.
More one-eye sign.
A young girl has a butterfly hiding one eye. As seen in previous articles, this is 100% Monarch Programming symbolism.
Another recurring Gorsad theme is outright satanism, combined with the ridiculing of Christianity. One truly needs to worship outright evil to focus one’s “art” around the suffering of children. Appropriately enough, the entire entertainment industry is drenched in satanic symbolism.
They scribbled 666 on the forehead of this sad boy and took a picture of him. How is this “art” or “fashion”?
In occultism, holding the horns of a goat is highly symbolic. This is all about forcing children to embrace Satanism.
A staple of Satanism is ridiculing Christianity. Here, they are ridiculing Jesus and his crown of thorns.
The models bite the apple from the Garden of Eden while the proverbial serpent (which represents Lucifer) is wrapped around them. The message: They fully embrace evil.
This picture features an inverted pentagram which is used in satanism and black magic. This is what they’re about. Also, this is what the occult elite is about. And this is why they’re getting money, contracts, accolades and exposure.
In Conclusion
I easily could have posted three times more pictures in this article and I could have included some of Gorsad’s disturbing videos featuring children. But this is more than enough. While I’m sorry about exposing readers to these distressing pictures (they certainly distressed me), this imagery needs to be exposed and properly analyzed so we all clearly witness the sick and sadistic culture that prevails in the entertainment world.
Gorsad is not an exception, it is not “underground” and it is not even “counter-culture”. It is mainstream. They were praised by CondeNast, the mega-conglomerate that controls an astounding number of magazines around the world. In fact, those who are NOT part of this sick culture are the ones who are shunned by the industry.
As seen above, numerous pictures Gorsad pictures involve children who appear unwell, as if they recently underwent abuse or trauma. Several pictures directly refer to pedophilia, child abuse, and sex trafficking. There are clear references to trauma, torture, violence, and death combined with celebrations of satanism and black magic.
In short, Gorsad graphically puts on display all of the obsessions of the occult elite, in the sickest way possible. If you think any of this is still a “conspiracy theory”, you might as well be blind because these pictures could not be clearer.
Please report these fuckers (Instagram) and expose these motherfuckers wherever you see them online.
Left: Elon Musk // Right: Brooke Stephens, of Utah Parents United.
DECEMBER 14, 2022
NY Times Headlines:
Fast-Growing Network of Conservative Groups Is Fueling a Surge in Book Bans
Hate Speech’s Rise on Twitter Is Unprecedented, Researchers Find
The two items featured for discussion today by “The Editorial Board” of The Anti-New York Times appeared in “the paper of record” just 10 days apart. The essentially simultaneous publishing serves to really highlight the hypocrisy and Orwellian “double-think” of the Marxist Mendacity Manufacturer of Manhattan. In one breath, “they” portray bans of certain types of speech as bad — then, in the very next, describe the repealing of bans on other types of speech as also being bad.
Some excerpts from Sulzberger’s Times on efforts by Utah Parents United and other mostly-mom groups to have books with pedo-rape groomer overtones and “gender fluidity” insanity removed from school libraries:
The Keller Independent School District, just outside of Dallas, passed a new rule in November: It banned books from its libraries that include the concept of gender fluidity.””Some of the (conservative) groups are new, some are longstanding. Some are local, others national. Over the past two years, such groups have become vastly more organized, well funded, effective — and criticized.“
Ooooh. So scaaaary! We must protect “free speech” from these “Nazis!” — But when it comes to “Elon Musk’s” opening up of Twitter, it’s an entirely different — neck-snapping even — spin:
“These changes are alarming, researchers said, adding that they had never seen such a sharp increase in hate speech, problematic content and formerly banned accounts in such a short period on a mainstream social media platform.
Accounts associated with Q-Anon, a vast far-right conspiracy theory, have paid for and received verified status on Twitter, “Elon Musk sent up the Bat Signal to every kind of racist, misogynist and homophobe that Twitter was open for business.” (said a spokesman from the Center for Countering Digital Hate).
***Library book bans = bad Twitter account bans = good
Why the double standard here?
Allowing the degenerate freaks pictured above to read to your innocent children = “academic freedom.” — Allowing those seeking to expose elite child rape / torture / murder rings to get back on Twitter = “dangerous hate speech.”
*Note: That thing surrounded by children is Drag Queen Marti Cummings — who once tweeted: “Kids are out to sing and suck d.”
As is usually the case with such double standards, the flip-flopping on principles is actually not at all irrational. There is a perfectly logical consistency to the inconsistency. You see, if “free speech” promoting the perversion and corruption of children (queer library books) is to be “protected,” it therefore naturally follows that the “free speech” of those attempting to expose this diabolical agenda (Q Anon Twitter activists) must be cancelled. The New York Times is pro-child trafficking and pro-child rape — plain and simple!
Primarily in the South and across the American heartland, there is a rapidly growing and well-funded movement of conservative groups working to take over local school boards and promote candidates with normal views on “gender” and sexuality. Patriot Mobile — a Christian cellphone carrier — has been pouring big bucks into supporting such initiatives. It’s a daunting task, considering the size of the queer tsunami bearing down upon our children — and one which will ultimately require the bold action of bigger powers if we are to ever restore the nation to some form of decency and Godliness. Yet, there have been some successes in taking over school boards.
School Board races have historically been ceded to local libtards, communists and homosexuals by the inaction of the good people. That’s finally changing. But if the Marxists are to be defeated nationwide, the movement will eventually require “air cover” from much higher political powers.
The most fitting way to end today’s rebuttal to the perverted Marxist appeal of “academic freedom” is to quote from the last pages of McCarthy’s 1952 pamphlet, “McCarthyism: The Fight for America” — in which the patriotic prophet — writing at a time when the Marxist takeover of education was not all that noticeable and homosexuality was hardly even mentioned at all — rebutted their phony argument.
McCarthy on education:
“Every man and woman in America can appoint himself or herself to undo the damage which is being done by Communist-minded teachers and Communist-line textbooks. Countless times I have heard parents throughout the country complain that their sons and daughters were sent to college as good Americans and returned four years later as wild-eyed radicals. The education system of this country cannot be cleansed of Communist influence by legislation. It can only be scrubbed and flushed and swept clean if the mothers and fathers, and the sons and daughters of this nation individually decide to do this job.
This can be your greatest contribution to America. This is a job which you must do if America and Western Civilization are to live. I warn you, however, that the task will not be a pleasant one. When you detect and start to expose a teacher with a Communist mind, you will be damned and smeared. You will be accused of endangering academic freedom. Remember, to those Communist-minded teachers, academic freedom means their right to force you to hire them to teach your children a philosophy in which you do not believe.
To Communist-minded teachers, academic freedom means their right to deny you the freedom to hire loyal Americans to teach your children. We cannot win the fight against Communism if Communist-minded professors are teaching your children. We cannot lose the fight against Communism if loyal Americans are teaching your children.”
Tell it, Senator. Tell it!
1. In Joe McCarthy’s day, the problem was still mainly confined to the universities, and not yet overtly sexual. Today, the pinko poison includes LGBT / pedo “sex education” which has trickled down to even the lowest grade levels. // 2. St. Joseph of Wisconsin, by M.S King — a MUST READ! // 3. The lovely Marxist lesbian Randi Weingarten heads the United Federation of Teachers. Enough said.
NY Times:Kirstie Alley, Emmy-Winning ‘Cheers’ Actress, Dies at 71
When one has been “gas-lighted” — so many times and for so long – it’s only natural to start theorizing that every seemingly ordinary event may not actually be what it appears. This not only gives the abusing gas-lighter further ammunition with which to label his victim as “crazy” or “paranoid,” but it can literally lead to an altered state of mind as the victim really does start to question if his or her imagination is going too far.
* Note: Ga-slighting is a contemporary term which takes its name from a 1944 psychological thriller film, “Gaslight.” It is the manipulation of someone by psychological means which causes the target to question his own sanity, or to even go insane.
In ordinary times, the unfortunate news of the unexpected death of 71-year-old actress / Jenny Craig weight-loss spokeswoman, Kirstie Alley — “following a sudden and brief illness” (colon cancer) — would have come and gone like any other bit of celebrity news. But these are not ordinary times. In this day and age of 24/7 Fake News “gas-lighting,” the question must be asked: “Was this outspoken pro-Trump Hollywood star and crusader against child / baby traffic “Hugo Chavezed” — meaning, silenced by the Deep State via a surreptitiously administered rapid cancer-inducing agent?
Or maybe, your favorite reporter / author / historian / philosopher here really needs to take a break and escape to the mountains for a few days? That’s what sustained “gas-lighting” can do to even the clearest-thinking individual.
In the film “Gaslight,” the gas lights dimmed because the husband was upstairs in the attic, looking for the jewels from the woman he had murdered. After the wife noticed the dimming and asked questions, he suggested to her that she is unable to remember that she herself dimmed the lights.
Kirstie Alley starred in the 2013 Lifetime Channel movie, “Baby Sellers” — which exposed the dark world of infant trafficking we later saw depicted in the Pizzagate social media posts.
“Baby Sellers” came out four years before the shocking “Pizzagate” images (2 & 3) were discovered.
By the time she had become politically outspoken, Alley’s already-established star status afforded her a degree of both financial and life protection.In 2015, she tweeted that she would not be supporting Killary Clinton, and then endorsed Donald Trump. In 2020, she stated she intended to vote for him again because “he’s NOT a politician.” That alone would suffice to land her on Hollywood’s hate list — but it wouldn’t get one killed — if that’s what really happened (gaslight alert! gaslight alert!).
No, the truly unforgivable infraction for someone in Hollyweird to commit is to expose child rape and murder. Ask poor Isaac Kappy what happened to him after he outed Tom Hanks and Steven Spielberg as pedo perverts. Oh, that’s right — you can’t ask Kappy. The lower-level Hollywood actor “jumped off of a bridge” and died in 2018 — just one month after Hanks had posted an image of an abandoned glove on the same highway (Route 66 (Satan)) with the text, “Historic Route 66. Roadkill? I hope not.”
A third possibility — the first two being natural causes or foul play — is that Kirstie Alley was placed under the protective custody of the Witness Security Program (White Hats). Frankly, I think the whole Trump family is in a safe unknown location. The very strange death-by-falling of Trump’s first wife, Ivana, and her subsequent low budget burial at a golf coursenever made any sense. (gaslight alert! gaslight alert!).These Satanic child-torturing motherfuckers, don’t play around. So don’t blame ME if we seem to get a bit too imaginative with certain death theories. Blame the gas-lighters.
Hanks’s April post about roadkill on Route 66 mocked the murder of his accuser, Isaac Kappy, one month in advance.
Rest in Peace, lovely lady (you are dead, right?) — Either way, we’ll continue the war against Satan’s legions.
Drag Queen Story Hour—in which performers in drag read books to kids in libraries, schools, and bookstores—has become a cultural flashpoint. The political Right has denounced these performances as sexual transgressions against children, while the political Left has defended them as an expression of LGBTQ pride. The intellectual debate has even spilled into real-world conflict: right-wing militants affiliated with the Proud Boys and the Three Percenters have staged protests against drag events for children, while their counterparts in the left-wing Antifa movement have responded with offers to serve as a protection force for the drag queens.
Families with children find themselves caught in the middle. Drag Queen Story Hour pitches itself as a family-friendly event to promote reading, tolerance, and inclusion. “In spaces like this,” the organization’s website reads, “kids are able to see people who defy rigid gender restrictions and imagine a world where everyone can be their authentic selves.” But many parents, even if reluctant to say it publicly, have an instinctual distrust of adult men in women’s clothing dancing and exploring sexual themes with their children.
These concerns are justified. But to mount an effective opposition, one must first understand the sexual politics behind the glitter, sequins, and heels. This requires a working knowledge of an extensive history, from the origin of the first “queen of drag” in the late nineteenth century to the development of academic queer theory, which provides the intellectual foundation for the modern drag-for-kids movement.
The drag queen might appear as a comic figure, but he carries an utterly serious message: the deconstruction of sex, the reconstruction of child sexuality, and the subversion of middle-class family life. The ideology that drives this movement was born in the sex dungeons of San Francisco and incubated in the academy. It is now being transmitted, with official state support, in a number of public libraries and schools across the United States. By excavating the foundations of this ideology and sifting through the literature of its activists, parents and citizens can finally understand the new sexual politics and formulate a strategy for resisting it.
Start with queer theory, the academic discipline born in 1984 with the publication of Gayle S. Rubin’s essay “Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality.” Beginning in the late 1970’s, Rubin, a lesbian writer and activist, had immersed herself in the subcultures of leather, bondage, orgies, fisting, and sado-masochism in San Francisco, migrating through an ephemeral network of BDSM (bondage, domination, sadomasochism) clubs, literary societies, and New Age spiritualist gatherings. In “Thinking Sex,” Rubin sought to reconcile her experiences in the sexual underworld with the broader forces of American society. Following the work of the French theorist Michel Foucault, Rubin sought to expose the power dynamics that shaped and repressed human sexual experience.
“Modern Western societies appraise sex acts according to a hierarchical system of sexual value,” Rubin wrote. “Marital, reproductive heterosexuals are alone at the top erotic pyramid. Clamouring below are unmarried monogamous heterosexuals in couples, followed by most other heterosexuals. . . . Stable, long-term lesbian and gay male couples are verging on respectability, but bar dykes and promiscuous gay men are hovering just above the groups at the very bottom of the pyramid. The most despised sexual castes currently include transsexuals, transvestites, fetishists, sadomasochists, sex workers such as prostitutes and porn models, and the lowliest of all, those whose eroticism transgresses generational boundaries.”
Rubin’s project—and, by extension, that of queer theory—was to interrogate, deconstruct, and subvert this sexual hierarchy and usher in a world beyond limits, much like the one she had experienced in San Francisco. The key mechanism for achieving this turn was the thesis of social construction. “The new scholarship on sexual behaviour has given sex a history and created a constructivist alternative to” the view that sex is a natural and pre-political phenomenon, Rubin wrote. “Underlying this body of work is an assumption that sexuality is constituted in society and history, not biologically ordained. This does not mean the biological capacities are not prerequisites for human sexuality. It does mean that human sexuality is not comprehensible in purely biological terms.” In other words, traditional conceptions of sex, regarding it as a natural behavior that reflects an unchanging order, are pure mythology, designed to rationalize and justify systems of oppression. For Rubin and later queer theorists, sex and gender were infinitely malleable. There was nothing permanent about human sexuality, which was, after all, “political.” Through a revolution of values, they believed, the sexual hierarchy could be torn down and rebuilt in their image.
There was some reason to believe that Rubin might be right. The sexual revolution had been conquering territory for two decades: the birth-control pill, the liberalization of laws surrounding marriage and abortion, the intellectual movements of feminism and sex liberation, the culture that had emerged around Playboy magazine. By 1984, as Rubin acknowledged, stable homosexual couples had achieved a certain amount of respectability in society. But Rubin, the queer theorists, and the fetishists of the BDSM subculture wanted more. They believed that they were on the cusp of fundamentally transforming sexual norms. “There [are] historical periods in which sexuality is more sharply contested and more overtly politicized,” Rubin wrote. “In such periods, the domain of erotic life is, in effect, renegotiated.” And, following the practice of any good negotiator, they laid out their theory of the case and their maximum demands. As Rubin explained: “A radical theory of sex must identify, describe, explain, and denounce erotic injustice and sexual oppression. Such a theory needs refined conceptual tools which can grasp the subject and hold it in view. It must build rich descriptions of sexuality as it exists in society and history. It requires a convincing critical language that can convey the barbarity of sexual persecution.” Once the ground is softened and the conventions are demystified, the sexual revolutionaries could do the work of rehabilitating the figures at the bottom of the hierarchy—“transsexuals, transvestites, fetishists, sadomasochists, sex workers.”
Where does this process end? At its logical conclusion: the abolition of restrictions on the behavior at the bottom end of the moral spectrum—pedophilia. Though she uses euphemisms such as “boy-lovers” and “men who love underaged youth,” Rubin makes her case clearly and emphatically. In long passages throughout “Thinking Sex,” Rubin denounces fears of child sex abuse as “erotic hysteria,” rails against anti–child pornography laws, and argues for legalizing and normalizing the behavior of “those whose eroticism transgresses generational boundaries.” These men are not deviants, but victims, in Rubin’s telling. “Like communists and homosexuals in the 1950’s, boy-lovers are so stigmatized that it is difficult to find defenders for their civil liberties, let alone for their erotic orientation,” she explains. “Consequently, the police have feasted on them. Local police, the FBI, and watchdog postal inspectors have joined to build a huge apparatus whose sole aim is to wipe out the community of men who love underaged youth. In twenty years or so, when some of the smoke has cleared, it will be much easier to show that these men have been the victims of a savage and undeserved witch hunt.” Rubin wrote fondly of those primitive hunter-gatherer tribes in New Guinea in which “boy-love” was practiced freely.
Such positions are hardly idiosyncratic within the discipline of queer theory. The father figure of the ideology, Foucault, whom Rubin relies upon for her philosophical grounding, was a notorious sadomasochist who once joined scores of other prominent intellectuals to sign a petition to legalize adult–child sexual relationships in France. Like Rubin, Foucault haunted the underground sex scene in the Western capitals and reveled in transgressive sexuality. “It could be that the child, with his own sexuality, may have desired that adult, he may even have consented, he may even have made the first moves,” Foucault once told an interviewer on the question of sex between adults and minors. “And to assume that a child is incapable of explaining what happened and was incapable of giving his consent are two abuses that are intolerable, quite unacceptable.”
French philosopher Michel Foucault, the father figure of queer theory, an academic discipline that seeks to subvert sexual hierarchies
Rubin’s American compatriots made the same argument even more explicitly. Longtime Rubin collaborator Pat Califia, who would later become a transgender man, claimed that American society had turned pedophiles into “the new communists, the new niggers, the new witches.” For Califia, age-of-consent laws, religious sexual mores, and families who police the sexuality of their children represented a thousand-pound bulwark against sexual freedom. “You can’t liberate children and adolescents without disrupting the entire hierarchy of adult power and coercion and challenging the hegemony of antisex fundamentalist religious values,” she lamented. All of it—the family, the law, the religion, the culture—was a vector of oppression, and all of it had to go.
The second prerequisite for understanding Drag Queen Story Hour is to understand the historical development of the art of drag. It begins with a freed slave named William Dorsey Swann, who dressed in elaborate silk and satin women’s costumes, called himself the “queen of drag,” and organized sexually charged soirées in his home in Washington, D.C. Over the course of his life, Swann was convicted of petty larceny—he had stolen books from a library and dinnerware from a private residence—and then, in 1896, was charged with “keeping a disorderly house,” a euphemism for running a brothel, and sentenced to 300 days in jail. From the viewpoint of modern sexual politics, the story has all the elements of the perfect left-wing archetype: Swann was a man who liberated himself from chattel slavery and then from a repressive sexual culture, despite the best efforts of the oppressors, the puritans, and the police.
Drag became explicitly political seven decades later, during the Stonewall riots of 1969, in which patrons of a gay bar in New York City rioted against police and began a wave of gay and lesbian political activism. As writer Daniel Harris explained in the counterculture journal Salmagundi, traditional drag performances from William Dorsey Swann until the mid-1960’s were sensual experiences, “an innocuous camp pastime,” but with the onset of the sexual revolution, they became forms of resistance and revolution. “After the 1960’s,” Harris wrote, “ideology [tightened] its grip on the aesthetic of drag when gay men began to use their costumes to reevaluate the whole concept of normality and thus carry out a crucial part of the cross-dresser’s agenda: revenge.” Drag performers increasingly saw their vocation as political and started street organizations such as Street Transvestite Action Revolutionaries in order to join the wave of activism rising through their communities in New York, San Francisco, and other hubs.
Suddenly, drag was not a private performance but a statement of public rebellion. The queens began using costume and performance to mock the fashion, manners, and mores of Middle America. In time, the need to shock required the performers to push the limits. “Men now wear such sexually explicit outfits as ball gowns with prosthetic breasts sewn on to the outside of the dresses, black nighties with gigantic strap-on dildos, and transparent vinyl mini-skirts that reveal lacy panties with strategic rips and telltale stains suggestive of deflowerment,” Harris noted. “The less drag is meant to allure, the bawdier it becomes, with men openly massaging their breasts, squeezing the bulges of their g-strings, sticking out their asses and tongues like porn stars in heat, and lying spread-eagle on their backs on parade routes with their helium heels flung into the air and their virginal prom dresses thrown over their heads.”
“The goal of drag, following Butler and Rubin, is to obliterate conceptions of gender through performativity.”
The next critical turn occurred in 1990, with the publication of Gender Trouble, by the queer theorist Judith Butler. Gender Trouble was a bombshell: it elevated the discourse around queer sexuality from the blunt rhetoric of Gayle Rubin to a realm of highly abstract, and sometimes impenetrable, intellectualism. Butler’s essential contribution was twofold: first, she saturated queer theory with postmodernism; second, she provided a theory of social change, based on the concept of “performativity,” which offered a more sophisticated conceptual ground than simple carnal transgression. Gender Trouble’s basic argument is that Western society has created a regime of “compulsory heterosexuality and phallogocentrism,” which has sought to enforce a singular, unitary notion of “sex” that crushes and obscures the true complexity and variation of biological sex, gender identity, sexual orientation, and human desire. Butler argues that even the word “woman,” though it relates to a biological reality, is a social construction and cannot be defined with any stable meaning or categorization. There is nothing essential about “man,” “woman,” or “sex”: they are all created and re-created through historically contingent human culture; or, as Butler puts it, they are all defined through their performance, which can change, shift, and adapt across time and space.
Butler’s theory of social change is that once the premise is established that gender is malleable and used as an instrument of power, currently in favor of “heterosexual normativity,” then the work of social reconstruction can begin. And the drag queen embodies Butler’s theory of gender deconstruction. “The performance of drag plays upon the distinction between the anatomy of the performer and the gender that is being performed. But we are actually in the presence of three contingent dimensions of significant corporeality: anatomical sex, gender identity, and gender performance,” Butler writes. “When such categories come into question, the reality of gender is also put into crisis: it becomes unclear how to distinguish the real from the unreal. And this is the occasion in which we come to understand that what we take to be ‘real,’ what we invoke as the naturalized knowledge of gender is, in fact, a changeable and revisable reality. Call it subversive or call it something else. Although this insight does not in itself constitute a political revolution, no political revolution is possible without a radical shift in one’s notion of the possible and the real.”
By the 2000’s, the performance of drag had absorbed all these elements—the social-justice origin story of William Dorsey Swann, the carnal shock-and-awe of Gayle Rubin, the ethereal postmodernism of Judith Butler—and brought them together onto the stage. The queer theorist Sarah Hankins, who performed extensive field research in drag bars in the Northeast, captured the spirit of this subculture and its ideology in a study for the academic journal Signs. Drawing on the work of Rubin and Butler, Hankins describes three genres of drag—straight-ahead, burlesque, and genderfuck—that range from stripteases and lap dances to simulations of necrophilia, bestiality, and race fetishism. Hankins describes the world of drag as a “sociosexual economy,” in which the members of “queerdom” can titillate, gratify, and reward one another with cash tips and money exchanges. “As an audience member, I have always experienced the tip exchange as payment for sexual gratification,” Hankins writes. “And I am aware that by holding up dollar bills, I can satisfy my arousal, at least partially: I can bring performers’ bodies close to mine and induce them to touch me or to let me touch them.” Or, as one of her research subjects, the drag queen Katya Zamolodchikova, puts it: “I’m literally out there peddling my pussy for dollar bills.”
The goal of drag, following the themes of Butler and Rubin, is to obliterate stable conceptions of gender through performativity and to rehabilitate the bottom of the sexual hierarchy through the elevation of the marginal. “The act of paying a dominant/domineering woman, a male supplicant, a hapless wage slave, or a boy allows the audience member to temporarily embody one or more of a number of ‘bad/unnatural’ social positions, for instance the pedophile, the closeted gay chickenhawk, the predatory female cougar, the sugar daddy or momma, even the sexualized youth/child themselves,” Hankins writes. And the discipline of “genderfuck” takes it a step even beyond adult–child sex. As Hankins describes, this style of performance “foregrounds tropes of primitivism and degeneracy as tools of protest and liberation” and seeks to subvert taboos against “pedophilia, necrophilia, erotic object fetishism, and human–animal sex.” These performances constitute the end of the line: the culmination of more than a century’s work, from the silk-and-satin drag balls to the hyper-cerebral politics of deconstruction to the annihilation of traditional notions of sex.
The final turn in the story of drag is, in some ways, the most surprising. As the dark side of drag pushed transgression to the limits, another faction began moving from the margins to the mainstream. Some drag queens—most notably, the drag performer RuPaul—toned down the routines, pushed the ideology deep into the background, and presented drag as good old-fashioned, glamorous American fun. Television producers packaged this new form of drag as reality programming, softening the image of the drag queen and assimilating the genre into mass media and consumer culture.
This provided an opportunity. As the queer theorists’ vanguard intellectual project was running aground on incest and bestiality fantasies, the most enterprising among them took a different tack: using the commercialization of drag and the goodwill associated with the gay and lesbian rights movement as a means of transforming drag performances into “family-friendly” events that could transmit a simplified version of queer theory to children. The key figure in this transition was a “genderqueer” college professor and drag queen named Harris Kornstein—stage name Lil Miss Hot Mess—who hosted some of the original readings in public libraries and wrote the children’s book The Hips on the Drag Queen Go Swish, Swish, Swish. Kornstein sits on the board of Drag Queen Story Hour, the nonprofit organization that was founded by Michelle Tea in 2015 to promote “family-friendly” drag performances and has since expanded to 40 local chapters that have organized hundreds of performances across the United States.
College professor Harris Kornstein, aka Lil Miss Hot Mess, a key figure in transforming drag performances into “family-friendly” events
Kornstein also published the manifesto for the movement, “Drag Pedagogy: The Playful Practice of Queer Imagination in Early Childhood,” with coauthor Harper Keenan, a female-to-male transgender queer theorist at the University of British Columbia. With citations to Foucault and Butler, the essay begins by applying queer theory’s basic premise of social constructivism and heteronormativity to the education system. “The professional vision of educators is often shaped to reproduce the state’s normative vision of its ideal citizenry. In effect, schooling functions as a way to straighten the child into a kind of captive alignment with the current parameters of that vision,” Kornstein and Keenan write. “To state it plainly, within the historical context of the USA and Western Europe, the institutional management of gender has been used as a way of maintaining racist and capitalist modes of (re)production.”
To disrupt this dynamic, the authors propose a new teaching method, “drag pedagogy,” as a way of stimulating the “queer imagination,” teaching kids “how to live queerly,” and “bringing queer ways of knowing and being into the education of young children.” As Kornstein and Keenan explain, this is an intellectual and political project that requires drag queens and activists to work toward undermining traditional notions of sexuality, replacing the biological family with the ideological family, and arousing transgressive sexual desires in young children. “Building in part from queer theory and trans studies, queer and trans pedagogies seek to actively destabilize the normative function of schooling through transformative education,” they write. “This is a fundamentally different orientation than movements towards the inclusion or assimilation of LGBT people into the existing structures of school and society.”
For the drag pedagogists, the traditional life path—growing up, getting married, working 40 hours a week, and raising a family—is an oppressive bourgeois norm that must be deconstructed and subverted. As the drag queens take the stage in their sexually suggestive costumes, Kornstein and Keenan argue, their task is to disrupt the “binary between womanhood and manhood,” seed the room with “gender-transgressive themes,” and break the “reproductive futurity” of the “nuclear family” and the “sexually monogamous marriage”—all of which are considered mechanisms of heterosexual, capitalist oppression. The books selected in many Drag Queen Story Hour performances—Cinderelliot, If You’re a Drag Queen and You Know It, The Gender Wheel, Bye Bye, Binary, and They, She, He, Easy as ABC—promote this basic narrative. Though Drag Queen Story Hour events are often billed as “family-friendly,” Kornstein and Keenan explain that this is a form of code: “It may be that DQSH is ‘family friendly,’ in the sense that it is accessible and inviting to families with children, but it is less a sanitizing force than it is a preparatory introduction to alternate modes of kinship. Here, DQSH is ‘family friendly’ in the sense of ‘family’ as an old-school queer code to identify and connect with other queers on the street.” That is, the goal is not to reinforce the biological family but to facilitate the child’s transition into the ideological family.
After the norms of gender, sexuality, marriage, and family are called into question, the drag queen can begin replacing this system of values with “queer ways of knowing and being.” Kornstein and Keenan make no bones about it: the purpose of what they call drag pedagogy, or the “pedagogy of desire,” is about reformulating children’s relationship with sex, sexuality, and eroticism. They describe drag as a “site of queer pleasure” that promises to “turn rejection into desire” and “[transform] the labour of performance into the pleasure of participation,” and DQSH as offering a “queer relationality” between adult and child. They litter their paper with sexualized language and double entendres, blurring the lines between adult sexuality and childhood innocence. In fact, as the queer pedagogist Hannah Dyer has written, queer pedagogy and, by extension, drag pedagogy seek to expose the very concept of “childhood innocence” as an oppressive heteropatriarchal illusion. “Applying queer methods of analysis to studies of childhood can help to queer the rhetoric of innocence that constrains all children and help to refuse attempts to calculate the child’s future before it has the opportunity to explore desire,” Dyer writes.
The purpose, then, is to subvert the system of heteronormativity, which includes childhood innocence, and re-engineer childhood sexuality from the ground up. And drag performances provide a visual, symbolic, and erotic method for achieving this. Kornstein and Keenan’s language of the discipline—“pleasure,” “desire,” “bodies,” “girls,” “boys,” “glitter,” “sequins,” “wigs,” and “heels”—gives it away.
Of course, the organizers of Drag Queen Story Hour understand that they must manage their public image to continue enjoying access to public libraries and public schools. They have learned how to speak in code to NGO’s and to appease the anxieties of parents, while subtly promoting the ideology of queer theory to children. While many of Drag Queen Story Hour’s defenders claim that these programs are designed to foster LGBTQ “acceptance” and “inclusion,” Kornstein and Keenan explicitly dismiss those objectives as mere “marketing language” that provides cover for their real agenda. “Though DQSH publicly positions its impact in ‘help[ing] children develop empathy, learn about gender diversity and difference, and tap into their own creativity,’ we argue that its contributions can run deeper than morals and role models,” they write. “As an organization, DQSH may be incentivized to recite lines about alignment with curricular standards and social-emotional learning in order to be legible within public education and philanthropic institutions. Drag itself ultimately does not take these utilitarian aims too seriously (but it is quite good at looking the part when necessary).” In other words, as a movement, Drag Queen Story Hour has learned the dance of operating a cash-flow-positive activist organization, winning government contracts, and securing access to audiences, while providing a plausible rhetorical defense against parents who might question the wisdom of adult men creating “site[s] of queer pleasure” with their children.
This gambit has been remarkably successful. Drag Queen Story Hour began with voluntary programs at public libraries, which are required by law to provide equal access to organizations regardless of political affiliation or ideology. But within a few years, those state-neutral events have turned into state-subsidized drag performances for children. The New York City Council and New York Public Library have provided taxpayer funding directly to the Drag Queen Story Hour nonprofit, sparking a trend of state-subsidized drag readings, dances, and performances across the country. Next, the New York City Public Schools, with more than $200,000 in funding from the municipal government, began hosting dozens of drag performances in elementary, middle, and high schools in all five boroughs. Other political figures seem to want to go even further. The attorney general of Michigan has called for a “drag queen for every school.” California state senator Scott Wiener has suggested in a tweet that he might propose legislation to offer “Drag Queen 101 as part of the K–12 curriculum” and mandate that students attend Drag Queen Story Time as a way to “satisfy the requirement.” Both might have said this tongue in cheek—but in any case, these things have a way of going from joke to reality at the speed of light.
“New York City began hosting dozens of drag performances in public schools in all five boroughs.”
Though the spread of sexually charged drag performances has an aura of inevitability, one should keep in mind that transgressive ideologies always contain the seeds of their own destruction.
As the movement behind drag shows for children has gained notoriety and expanded its reach, some drag performers have let the mask slip: in Minneapolis, a drag queen in heels and a pink miniskirt spread his legs open in front of children; in Portland, a large male transvestite allowed toddlers to climb on top of him, grab at his fake breasts, and press themselves against his body; and in England, a drag queen taught a group of preschoolers how to perform a sexually suggestive dance.
Advocates of Drag Queen Story Hour might reply that these are outlier cases and that many of the child-oriented events feature drag queens reading books and talking about gender, not engaging in sexualized performances. But the spirit of drag is predicated on the transgressive sexual element and the ideology of queer theory, which cannot be erased by switching the context and softening the language. The philosophical and political project of queer theory has always been to dethrone traditional heterosexual culture and elevate what Rubin called the “sexual caste” at the bottom of the hierarchy: the transsexual, the transvestite, the fetishist, the sadomasochist, the prostitute, the porn star, and the pedophile. Drag Queen Story Hour can attempt to sanitize the routines and run criminal background checks on its performers, but the subculture of queer theory will always attract men who want to follow the ideology to its conclusions.
When parents, voters, and political leaders understand the true nature of Drag Queen Story Hour and the ideology that drives it, they will work quickly to restore the limits that have been temporarily—and recklessly—abandoned. They will draw a bright line between adult sexuality and childhood innocence, and send the perversions of “genderfuck,” “primitivism,” and “degeneracy” back to the margins, where they belong.
The late S.I. Newhouse and his phallic symbols (ears & carrot) pedo rabbit
SEPTEMBER 8, 2022
NY Times:
S.I. Newhouse Jr.’s Collection of Modern Masters Comes to Christie’s
Mr. Newhouse, the Condé Nast owner who died in 2017 at 89, used his billions to amass a large collection of blue-chip modern and contemporary art.
We learn in this article that the late media mogul S.I. Newhouse Jr. — like so many of his “elite” tribal ilk — bought and sold high-price garbage that (((they))) have exalted as “art.” No big surprise there. But what caught my attention was the featured “marquee” item in particular.
From the article:
“The marquee Newhouse lot is Jeff Koons’s sculpture “Rabbit” (1986), estimated to fetch between $50 million and $70 million when it is offered May 15 at the Post-War and Contemporary auction. The shiny metallic bunny is one of only four in existence, and the last in private hands.”
Q-ish students of the child-rape cult already know that the rabbit is often used as code by these Satanic monsters. Further exploration of the other works of “artist” Jeff Koons uncovers a pattern of sex-obsession that includes suggestion of child-rape and bestiality. The revelation that one of America’s mightiest media moguls and culture shapers was a purchaser of Mr. Koons suggestive filth is very disturbing — and should tell you a lot about the “who” and “how” of our cultural and moral decay.
Every. Single. Time. — Under. Every. Rock.
Jeff Coons — degenerate “artist” whose million dollar sex & child abuse trash was purchased by the late media mogul S. I. Newhouse — as well as Newhouse’s good friend, queer Hollywood mogul David Geffen
Now, about the Newhouse family. The Journo Mafia owned by that wretched clan — established in 1922 by an ex-Rabbinical student birth-named Solomon “Sam” Isadore Neuhaus (1895-1979) — and later joined by his brothers Norman & TheodoreNewhouse — ranks only a notch below that of the Jewish Sulzbergers in terms of media power. And the fact that their name — much like that of the Sulzbergers — probably does not “ring a bell” with at least 95% of the public is further evidence of the awesome scope of this devious dynasty’s hidden power.
Papa Sam’s Advance Publications was eventually passed down to his sons — Sam Newhouse Jr. and Donald Newhouse — who later took the newspaper and magazine operation to a bigger level before adding on cable TV branches to the empire. Newhouse magazine holdings include Vogue, Teen Vogue, Vanity Fair, The New Yorker, Architectural Digest, Self, Wired, GQ, Glamour, W, Conde Nast Traveler, Parade and many others. The newspaper element includes dozens of pinko papers across the United States — the largest being the Star Ledger of North New Jersey. Cable holdings include Bright House Networks, Random House Publishing (later sold), and a controlling stake in Discovery Communications.
Whereas the New York-based Sulzberger lie machine spread its Marxist poison across America by way of its newswire service to other newspapers, the Newhouse Mafia, also originally from New York, spread its propaganda directly through the establishment or purchase of newspapers right in the heart of “fly over country.” David Duke once recalled how he, as a teenager, was confused over the gradual leftward turn and subtle anti-White race-baiting of the formerly conservative New Orleans Picayune newspaper. After what he calls his “awakening,” Duke figured out the mystery. The New York Newhouses had purchased Louisiana’s largest newspaper in 1962, along with another New Orleans paper, the States-Item, which was merged into the Picayune in 1982.
1. S.I. Newhouse Jr. was a relatively anonymous GIANT. // 2. Patriarch Solomon (Sam Sr.) was the son of a “Russian” immigrant (Bolshevik) // 3. Grand Patriarch Sam and sons Sam Jr. (left) and Donald (right).
Through its Advance Publications and Booth Newspapers arms, the Newhouse crime family — every bit as Globalist / Zionist and libtarded as the Sulzberger Clan, owns newspapers (and affiliated websites) all across America. To name a few …
Prior to his death in 2017, Sam Jr. had amassed an estimated net worth of $9.5 Billion. Brother Donald, still living, is now said to be worth $19 Billion — ranking him high up on the Forbes Magazine list. Like so many other elitist “philanthropists,” these money-grubbing Marxists bought up universities under the guise of “charitable endowment” — including Sam’s $15 Million to Syracuse University. The Newhouses are also avid “art” collectors and promoters of the rotten degenerate art that has so poisoned western culture. Sam once owned one of the most valuable paintings in the world, a Jackson Pollock drip painting, titled No. 5, 1948. Have a look at what this insane freak paid many millions of dollars for:
Sam Newhouse Jr. (who looks like a Neanderthal) was a collector of degenerate art. He bought and later sold Pollock’s “drip paint” garbage to fellow degenerate art collector and Hollywood sodomite / rumored pedophile David Geffen (Image 3) — who later sold it to some Gentile chump for $140 Million.
In addition to the Fake News end of Advance Publications, the Newhouses, through magazines, book publishing and cable TV networks, also wield vast influence over American culture, fashion and social taste — none of it good. Disguised as “advice on sex,” Newhouse magazines Vogue and Teen Vogue target impressionable women and teen girls with pornographic articles so explicit they would make a Baltimore crack-house whore blush. In fact, “youse guys” may recall that a few years ago, Teen Vogue caused quite a stir by publishing a tutorial on anal sex — for teenage girls! (here)
Promoting Fake News and moral depravity — that’s what this Satanic scum is all about.
″We never went in for titles. We are, basically, anonymous people . If I were to walk into a room in New Orleans with the 100 most prominent people in town, there may be two who would know me personally. Most would probably know the name and the connection, but they wouldn’t know me personally or recognize me by my face because my public position is non-existent.″
Schools in California are teaching children that there are not just two genders, but that there are eight or nine, according to a report highlighting the claims made in a textbook.
Fox News Digital Screenshot
Fox News reports that the textbook titled “Comprehensive Health Skills for High School,” which also makes reference to ten sexual preferences, was ordered by the Newport-Mesa Unified School District.
The different ‘genders’ that the book lists include agender, androgynous, bigender, cisgender, gender fluid, gender non-conforming and gender questioning.
The book also lists sexual preferences as hetero, homo, and bisexual as well as androsexual, polysexual, skoliosexual, demisexual, pansexual, gynesexual, and asexual.
Fox News Digital Screenshot
Responding to the findings, one mother of a child in the district, who is also a credentialed school psychologist, charged that the education system with sexualizing children.
“We are placing them in a situation where they think that this is safe, that this is healthy, this is how we show love,” Alicia Beget said, adding “And so they are being exploited by very evil people.”
“This is part of a larger agenda that those at the very top are well aware of what they’re doing,” she further asserted.
The same school district also made headlines last year when a teacher posted a TikTok video admitting that she encouraged children to pledge allegiance to a gay pride flag after she removed the American flag from her classroom.
Newport-Mesa Unified School District responded to the report, stating “We follow the state-adopted standards for health education, which includes sexual health. We use a state-approved health curriculum with select modules, taught by credentialed teachers.”
The statement continued, “Parents can opt out their child from participating in comprehensive sex education. Parents also have the ability to review all curriculum taught in our schools so that they can be well-informed and make the best decisions for their child. We understand that there are varying viewpoints and beliefs and we follow California State Standards for curriculum, while also supporting parent choice.”
An older photo of Biden (the real one) with his troubled sex-obsessed daughter.
AUGUST 25, 2022
NY Times: Florida Pair Pleads Guilty in Theft of Biden’s Daughter’s Diary
Aimee Harris and Robert Kurlander admitted to participating in a conspiracy in which Ashley Biden’s diary ended up in the hands of the conservative group Project Veritas near the end of the 2020 campaign.
The “theft” and emerging introduction of Ashley Biden‘s salacious diary — which includes allegations of incest — into the public and legal spheres smells like yet another one of those White Hat “washing of the fruit from the poison tree” operations. And oh what a pleasant aroma it is!
From the article:
“Two Florida residents pleaded guilty in federal court in Manhattan on Thursday to stealing a diary and other belongings of President Biden’s daughter, Ashley Biden, and selling them to the conservative group Project Veritas in the final weeks of the 2020 campaign.”
The “inadvertently” misplaced diary — like Hunter Biden’s child pornish laptop (“inadvertently” left at a repair shop) — and Alex Jones‘ cell phone contents (“inadvertently” sent to opposing counsel) — and the “raided” documents from Mar-a-Lago etc. etc. etc. is now fair game in a legal, evidentiary sense — which was the plan all along. Well played, White Hats, well played. By the way, Project Veritas has a defamation lawsuit going against the New York Times and O’Keefe is demanding a TON of money and a jury trial.
*Note: * Project Veritas never actually published the diaries after having come into possession of them. It was a much lesser known blogger which later published parts of them.
Ashley is the daughter of Pedo Monster Joe and his 2nd wife, Jill. 2 & 3. A dirty, depraved and demented predator who cannot control himself around women (including other men’s wives), little girls and little boys. .
The Times article represents a classic example of the practice known as “lying by omission.” What makes the diaries so potentially explosive is Ashley’s private speculation that she had been molested, and took showers with her father. But nowhere in this lengthy article are Ashley’s claims even mentioned. There is no longer any excuse for concealing this because, first of all, the diaries are now accepted as authentic, even by the Times —- and secondly, many millions of people are already aware of the claims because they have been circulating on the Internet for more than one year now. The following excerpt is the closest that the article comes to revealing that the diaries contain very bad information:
“The U.S. attorney’s office in Manhattan began the investigation in late October 2020, after it was alerted by Ms. Biden’s lawyers that Project Veritas had demanded an interview with her father about the contents of the diary, which included embarrassing disclosures about them.”
Spin it all you want, Sulzberger. But sooner or later, America will know that Joe Biden / “Joe Biden” is / was a child rapist. That’s what this whole operation is about, I believe.
Actual quote: “You know how horny I am standing next to a 13 year old girl.”
Another side-effect of this story is that it leads to more suspicion about the tragic crash in which Neila Biden(Biden’s first wife) and daughter Naomi (age 1) were killed. On the afternoon of December 18, 1972 — one month after he had been first elected to the U.S. Senate — Neilia was driving with her three toddlers along a rural road in Delaware. At an intersection, she inexplicably pulled out in front of an oncoming tractor-trailer truck. Police speculated that Neilia drove into the path of the truck because her head was turned and she did not see it. All four occupants were taken to Wilmington General Hospital, where Neilia and Naomi were pronounced dead on arrival. Her two sons, Beau (3) and Hunter (2), were critically injured but survived the wreck with multiple serious injuries. Two weeks later, Papa Joe, just recently turned 30 years old, was sworn into the US Senate at the hospital where Beau and Hunter were still being treated.
Nearly 40 years later, Biden made the false claim that the truck driver (since deceased) had “drank his lunch” just before the fatal collision. The driver’s family vehemently denied that claim and the police did not substantiate it either. Lyin’ Biden soon apologized to the deceased trucker’s family. In a 2015 commencement speech at Yale University, the then-Vice President made a rather odd comment. He spoke of his first wife and then said:
“The incredible bond I have with my children is the gift I’m not sure I would have had, had I not been through what I went through [after the fatal accident]. But by focusing on my sons, I found my redemption.”
“Redemption?” Hmmmm. What did you have to “redeem” yourself of after the tragedy, Joe? Did you do something that drove your wife to madness?
The phenomenon of “Suicide by Truck” is well known within the trucking community, and something that truckers dread. Could Neila Biden have been driven to killing herself and her three children as the only means of escaping a powerful & protected sex-mad pedo monster who was impregnating her at the rate of once-a-year and who may already have been diddling the genitals of all three of the toddlers? Is anything outside of the realm of possibility when dealing with these demons in human form?
The World We Live In 