Belial/Moloch 2020

      The White House has been won by President Belial, God of Rape, and Vice-president Moloch,  Devourer of Children.   These pro-abortion Jacobins may talk about representing all Americans,  but will actually restart Barack Obama's reign of terror against pro-lifers. 

      They will be abetted by the dominant media,  hysterical about Vladimir Putin,  while oblivious to the fact that Alexandra Ocasio-Cortez has the same ideology.   Fully expect Jeffrey Toobin to rejoin CNN as their resident expert on onanism.

      Orange Blatherskite was a man of many faults,  and the myriad of whores in the "conservative "media who allowed him to win the 2016 primary should never be forgiven.   That doesn't mean that the leftist magazines weren't also responsible for Trump.   When the leftist media called conservatives white trash,  that empowered Trump.   When "The Atlantic " called pro-lifers racist,  that empowered Trump.   When a liberal journalist called John McCain voters "NASCAR retards," that paved the way for Trump.  The same liberal media that now invokes St. John McCain were happy to call his backers every name in the book in 2008.  Similarly,  they called Mitt Romney a racist before considering him the conscience of the Republican party .

Kamala Harris is in Love With Abortion

       There comes a point when a Never Trumper who is pro-life has to concede he has no option other than to support Orange Blatherskite in 2020.  Joe Biden has made the most extreme pro-abort in American politics his vice-presidential candidate,  a fact made even worse by his advanced age making it likely his VP will actually become President. 

       Kamala Harris tried to send David Deleiden to prison for making undercover videos of Planned Parenthood doctors talking about harvesting fetal organs.  If this had been done by "60 Minutes ",it would have been praised as hard-hitting journalism.  But when you do journalism for the benefit of the unborn,  Kamala Harris calls it a felony. 

       Harris also wants to treat states that have enacted pro-life laws as civil rights violators.  That is, she wants  the Department of Justice to force such states to (under Federal supervision) start promoting abortion, as though abortion was akin to voting rights or segregation. 

       Estase has never had much good to say about soft-on-Turkey Trump,  or his meretricious attempts to funnel government money into his pocket.  Donald Trump is a piece of shit,  but Kamala Harris is toxic sludge,  full of heavy metals.  So where you might eventually get a rose bush out of Trump,  Kamala Harris brings death wherever she goes. 

The New Frontiers of Choice

Bonfire of the Stereotypes

       The trinity of secondary liberal evils is racism, sexism and homophobia.  Anything perceived as violating this trinity is pure evil, and must be eradicated.
        The Simpsons is a left-leaning animated comedy that has been on TV since the late 1980s.  Based entirely on stereotypical characters, it is television's longest running series.  The main character is Homer Simpson, a stereotypical fat dullard.  His boss is Montgomery Burns, a stereotypical evil rich person modeled on John D. Rockefeller.  The family doctor is based on Cliff Huxtable, the main character from The Cosby Show.  Simpson's neighbors are the Flanders, a negative stereotype of Christians.  His bartender is Moe Syzlak, a stereotype lowlife.  Recurring in the show is a batch of illiterate hillbillies.  In short, The Simpsons is based on stereotypical characters.
        After years of lambasting rich people, nuclear power, children's TV, Christians, rural people, ad nauseum, suddenly the left hates the stereotypical Indian character Apu, who runs Springfield's convenience store.  Proving one thing:  stereotypical comedy is only funny when applied to groups the left is allowed to mock!  Comedy Central has created an entire industry ridiculing the right, with a gallery of faux Fox News hosts whose entire schtick is how stupid Republicans are.  Saturday Night Live stopped being funny when Tina Fey turned it into a broadcast-TV version of Jon Stewart's The Daily Show.  For the left (and this includes the people who make The Simpsons, which includes leftist commentator Harry Shearer), comedy is politics conducted through other means.  Depicting Republicans as meeting in a spooky castle from Frankenstein is funny;  thirty years in, they decide that an Indian running a convenience store is hopelessly racist.  One can only laugh at rich people, fat people, stupid people, etc.  This is part of the politicization of comedy.  
       While I'm on a tear, I'd like to point out another thing the show did that Estase was deeply offended by.  Ned Flanders in one episode shows his sons a cartoon about blowing up an abortion clinic.  Nobody complained to the network about stereotyping Christians and pro-lifers in this way.  Hank Azaria never beat his breast in contrition about that skit.  Because any offensive stereotype that is aimed at the right is acceptable and funny, and any stereotype that isn't aimed at the right is offensive and racist.  I shudder to think what these modern comedy mavens would make of the Marx Brothers, whose comedy included send-ups of Jewish opera stars, Jewish doctors, the medical profession, etc.  Mel Brooks would find it impossible to make most of his films given the repressive pseudomorality that prevails today.

Prelude to Carnage

       "A drama as lush and gruesome as {Oscar} Wilde trying hard could make it, Salome was a pursuit of sensation for its own sake, an effort to produce what Baudelaire called 'the phosphorescence of putrescence.'  The original play, written in French in 1891, went into rehearsal in London a year later with Sarah Bernhardt in the title role, but performance was banned by the Lord Chamberlain on the ground that its presentation of St. John the Baptist was sacrilege.  Upon publication (with copies for the author's friends bound in 'Tyrian purple and tired silver'), the play was denounced by The Times as 'an arrangement in blood and ferocity, morbid, bizarre, repulsive and very offensive.'  In 1894 an English translation by Lord Alfred Douglas appeared, illustrated with luscious evil by the truest decadent of them all, Aubrey Beardsley.  Three of his drawings, considered indecent by the publishers, had to be withdrawn.  In 1896, when Wilde was in Reading Gaol, Salome was produced in Paris by the actor-manager Lugne-Poe at his Theatre de l'Oeuvre, with himself as Herod but without Bernhardt.  The quintessence of decadence was overripe and it was not a success.  In Germany, however, Salome matched a craving for the horrendous and found its place.  First produced in Breslau in 1901, its real success came in 1902 with a production by Max Reinhardt at his Kleines Theatre in Berlin, where {Richard} Strauss saw it.
       More a poem than a play, Wilde's Salome was an exercise in purple, an orgy in words, which succeeded on paper but embarrassed on the stage.  It offered the spectacle of Salome pouring out her hot erotic pleas to the eyes, the hair, the limbs, the body and the love of Iokanaan, of King Herod avid for his stepdaughter, of her voluptuous dance to excite his lust and win her ghastly desire, of the black Executioner's huge arm rising from the pit holding the bearded bloody head of the Prophet who had scorned her, of her necrophilic raptures addressed to the head on the platter and her final conquest of its dead lips, of Herod's climactic order of horror and remorse, 'Kill that woman!' and of her death crushed beneath the shields of his soldiers.  Performed in flesh and blood it delighted the Berlin audience.  Wilde's moonlit fantasia, in Germany, came into its own and enjoyed a phenomenal run of two hundred performances.
       The undercurrent of morbidity in Germany, which Rolland had already noticed, grew more apparent in the first decade of the new century.  It increased in proportion as Germany's wealth and strength and arrogance increased, as if the pressure of so much industrial success and military power were creating an inner reaction in the form of a need to negate, to expose the worms and passions writhing within that masterful, prosperous, well-behaved, orderly people.  It was as if Bismarck had perforce produced Krafft-Ebing.  Indeed, Krafft-Ebing's Psychopathia Sexualis which appeared in 1886 provided a well of lurid resource on which the German drama, then the most vigorous form of natural literature, could draw.
       Tragedy was the staple of the German theatre.  Social comedies with happy endings were not a German genre.  German fun was confined to buffoonery, either painful or coarse.  Their tragedies were not so much curative, like Ibsen's, nor compassionate, like Chekov's, but obsessively focused on mankind's cruelty to man, on his bent toward self-destruction and on death.  Death by murder, suicide or some more esoteric form resolved nearly all German drama of the nineties and early 1900s.  In {Gerhart} Hauptmann's Hannele the child heroine dies of neglect and abuse in an almshouse, in his Sunken Bell Heinrich's wife drowns herself in a lake and he drinks a poisoned goblet, in Rose Bernd the title character, seduced and deserted, strangles her newborn child, in Henschel the title character hangs himself after betraying his dead wife by marrying a tart who lets his child die of neglect, in Michael Kramer a sensitive son is driven to suicide by an overbearing father, a popular theme in Germany rich in such fathers.  In {Herrmann} Sudermann's Magda only the father's fatal stroke prevents his shooting himself and his daughter, who needless to say is illegitimately pregnant, the invariable fate of the German heroine.  An endless succession of them were driven in the grip of the circumstance to hysteria, insanity, crime, prison, infanticide and suicide.  In Sudermann's Sodoms Ende, which varies the pattern if not the end, a dissolute young artist, corrupted by the wife of a banker, drives his foster sister to suicide and dies himself of a hemorrhage.  In {Frank} Wedekind's Frühlings Erwachen (Spring's Awakening), first effort of a playwright who was to exceed all the rest, the discovery of sex by adolescents conflicting with the prurience of adults produces total catastrophe:  the fourteen-year-old heroine, being with child, dies, apparently of a mismanaged abortion;  the boy is expelled from school and sent to a reformatory by his parents;  his friend, unable to bear life, commits suicide and reappears in a graveyard with his head under his arm in a closing scene of opaque symbolism.  In the course of the action a third boy, in a scene of explcit auto-eroticism, addresses a passionate love declaration to the picture of a naked Venus which he then drops down the toilet.  First produced in 1891, the play was a sensational success and in book form went into twenty-six editions.
       Born in the same year as Strauss, Wedekind was a writer of satanic talent who had been an actor, journalist, circus publicity agent, singer of grisly ballads for Überbrettl and while on the staff of Simplicissimus served a term in prison for lese majeste.  'I have the imagination of disaster--and see life as ferocious and sinister' exactly described him, though it was Henry James who said it of himself.  Frühlings Erwachen, if taken as a plea for sex education, at least had a social message and a quality of pity, but thereafter Wedekind saw nothing but the ferocious and the sinister.  In the same years in which Freud was carefully arriving at his discovery of the subconscious, Wedekind saw an awful vision of it and stripped off every covering to show it as purely malignant.  From 1895 on, his plays plunged into a debauch of the vicious and perverse which seemed to have no argument but that humanity was vile.  Erdgeist (Earth Spirit) and its sequel, Die Büchse der Pandora (Pandora's Box), take place in a world of pimps, crooks, harlots, blackmailers, murderers and hangmen surrounding the heroine Lulu, who represents sensuality incarnate both heterosexual and lesbian.  Her adventures proceed through brothels and dives, seduction, abortion, sadism, necrophilia and nymphomania in what a contemporary critic called 'a torrent of sex foaming over jagged rocks of insanity and crime.'  It was sex, not creative in its primal function, but destructive, producing not life but death.  Lulu's first husband dies of a stroke, her second, bedeviled by her perfidy, cuts his own throat, her third on discovering her infidelity committed with his son is killed by her.  After prison, degradation and prostitution, she ends, logically, slashed to death by a Jack the Ripper in a final lethal explosion of that erotic power which {George Bernard} Shaw, a very different playwright, was celebrating at the same time as the Life Force.
       Strauss's antennae picked up whatever was in the air and he fixed unerringly on Salome--as the subject of an opera, not a tone poem.  Using more instruments than ever, he composed a score of tremendous difficulty and exaggerated dissonance with the orchestra at times divided against itself, playing in two violently antagonistic keys as if to express the horror of the subject by horrifying the ear.  Instruments were twisted to new demands, cellos made to reach the realm of violins, trombones to cavort like flutes, kettledrums given figures of unprecedented complexity.  The musical fabric was dazzling.  Strauss could write for the voice with no less virtuosity than for orchestra and the singers' parts seemed to grow more eloquent as the drama deepened in depravity.  Salome's final song to the severed head thrilled listeners with a sinister beauty that did justice to Wilde's words:

Ah! wherefore didst thou not look at me, Iokanaan!  If thou hadst seen me thou hadst loved me.  I am athrist for thy beauty;  I am hungry for thy body and neither the floods not the great waters can quench my passion. . . .Ah! I have kissed thy mouth, Iokanaan, I have kissed thy mouth.

       When Berlin and Vienna refused performance, like London, on the ground of sacrilege, Strauss's great admirer, Ernst von Schuch, conductor of the Dresden Royal Opera, presented it there on December 9, 1905.  The production, in a single act lasting an hour and forty minutes without interruption, spared the audience's sensibilities nothing.  Iokanaan's head, made up in realistic pallor of death with appropriate gore, was held in full view;  Salome's seven veils were ritually discarded one by one while Herod leered.  Death under the soldiers' shields supplied a punishing catharsis.  The audience responded with unbounded enthusiasm extending to thirty-eight curtain calls for cast and composer.  In subsequent performances in other German cities Salome went on to huge success and, for Strauss, large financial reward not adversely affected by bans and censorship troubles.  In Vienna owing to the objections of the Archbishop the ban held, but in Berlin over the strenuous objections of the Kaiserin a compromise was reached of the kind applied by the Church to the Song of Solomon.  Performance was allowed on condition that the star of Bethlehem should appear in the sky as Salome died, presumably indicating the posthumous triumph of the Baptist over unnatural passion.
       Outside Germany where taste was more prudish, Salome became 'the storm center of the musical world.'  In New York a tense audience at the Metropolitan Opera on January 22, 1907, awaited the rise of the curtain with 'foreboding,' soon amply fulfilled.  The music, when critics could tear their attention from portrayal of 'a psychopathic condition literally unspeakable in its horror and abnormality.' was acknowledged marvelous but perverted to means that 'sicken the mind and wreck the nerves.'  The opera's theme, not humanly representative as the material of music should be, was considered variously 'monstrous,' 'pestilential,' 'intolerable and abhorrent,' 'mpehetic, poisonous, sinister and obsessing in the extreme.'  Its 'erotic pathology' was unfit for 'conversation between self-respecting men,' and the Dance alone 'ought to make it impossible for an Occidental woman to look at it.'  Rising in 'righteous fury' the press agreed that popularity in Germany settled nothing for America and the Metropolitan bowing to the storm withdrew the production.
       The Eulenburg affair concerned homosexuals in the immediate circle of the Kaiser, but it was less their habits than the layers disclosed of malice, intrigue and private vendetta which shed a lurid glow on Germany.  Three years earlier Fritz Krupp, head of the firm, on being accused by the Socialist paper Vorwärts of homosexual acts with waiters and valets, committed suicide.  This time the central figure was Prince Philipp Eulenburg, former Ambassabor to Vienna from 1894 to 1902, a suave and cultivated aristocrat who was the Kaiser's oldest and closest friend, sang songs to him beautifully at the piano, and gave him intelligent advice.  As the only courtier to exercise of the whole a beneficent influence on the sovereign, he was naturally the object of the jealousy of Bülow and Holstein, who suspected the Kaiser of intention to make him Chancellor.  Initiator of the scandal was Maximilian Harden, the feared and fearless editor of the weekly Die Zukunft, of which it was said that everything rotten and everything good in Germany appeared in its pages.  Cause and motive had to do with Germany's diplomatic defeat at the Algeciras Conference which set off waves of recrimination among ministers, culminating in the removal of the spidery Holstein.  He blamed Eulenburg, although in fact his removal had been secretly engineered by Bülow.  Rabid for revenge, Holstein, who for year had kept secret police files on the private habits of his associates, now joined forces with Harden to ruin Eulenburg, whose influence on the Kaiser, Harden believed, was pacific and therefore malign.  With Holstein's files at his disposal, Harden opened a campaign of innuendo naming three elderly Counts, all A.D.C.s of the Kaiser, as homosexuals and graduallly closing in on the friendship of Eulenburg with Count Kuno Moltke, nicknamed Tutu, 'the most delicate of generals,'  commander of a cavalry brigade and City Commandant of Berlin.  The Kaiser ditched his friends instantly and forced Moltke to sue Harden for libel, which was just what Harden wanted to ruin Eulenburg.  Through four trials lasting over a period of two years, from October, 1907, to July, 1909, evidence of perversion, blackmail, and personal venom was spread before a bewildered public.  Witnesses including thieves, pimps and morons told of 'disgusting orgies' in the Garde du Corps regiment and testified to abnomal acts of Eulenburg and Moltke twenty years in the past.  A celebrated specialist in pathological conditions discoursed on medical details, Moltke's divorced and vindictive wife was called to testify, charges of insubordination and perjury were added, Chancellor Bülow was himself accused of perversion by a half-crazed crusader for the legal rights of homosexuals and forced to sue, the verdict of the first trial in favor of Harden was reversed by a second trial and re-reversed in a third at which Eulenburg, now ill, disgraced and under arrest, was brought to court in a hospital bed.  The public felt uneasily that justice was being tampered with, readers of Die Zukunft were given an impression of perversion everywhere and the prestige of Kaiser and court sank.  At the same time in Vienna the Emperor's brother, Archduke Ludwig-Viktor, known as Luzi-Wuzi, became involved in a scandal with a massuer. "  The Proud Tower by Barbara W. Tuchman Pgs. 319-20;321-22;323-24;324-25;329-30.

 

From Sinai's Height

I always thought that pro-choice meant being free to choose whether or not to be involved with abortion. That abortion is not about choice is shown by events at Mount Sinai Hospital in New York, where nurse Catherina Cenzon-DeCarlo, a Catholic nurse, was forced to participate in a non-emergency abortion on a 22-week pregnancy. The details can be found at www.hotair.com/greenroom/archives/2009/12/12/pro-life-nurse-forced-to-assist-an-abortion.

Forcing Morals Upon Others

The Christian Congressman took the floor of the House amid boos and objections. The opposition called him a fanatic and said he was trying to force his religion on others. Any one who wanted to debate this right would be stopped by a coalition of those who supported it. The Congressman tried to oppose the right, and claimed it was unconstitutional to suppress debate in this way. The oppostion claimed their right was part of the Constitution. This did actually happen. The date was May 26, 1836. The Congressman was John Quincy Adams. And the right was slavery.

Does Life Begin at Birth?

The thing about Oh-Blah-Blah that scares me the most is his ambivalence about when human life begins. Estase believes that it starts at conception, but many abortion supporters consider birth as the start of a child's life. Oh-Blah-Blah claims ethicists (Peter Singer???) are undecided on when life begins. When is that point Barack? Is it two weeks after birth? Is it two months after birth? Is it when a child enters Kindergarten? This is really scary.

Worse Than Terrorists?

What does the judicial system's make up have to do with slavery (See my previous blog "Making slaves of free men")? The fact that liberals force their pro-abortion preferences on the Judiciary is much like what the slavery advocates did before the CIvil War. Even Chief Justice Roberts was asked at his confirmation about whether or not he believed in "the right to privacy," liberal-speak for abortion-on-demand. It is much like the way that slavery advocates jealously guarded every seat in Congress, and insisted on new slave states (including their dream- - five slave states to come out of Texas. ) The ultimate misuse was that of Justice Taney and Dred Scott. In much the same way, the pro-life movement is harassed, marginalized, and treated as terrorists. Indeed, with the current Democratic proclivities, being pro-life is worse than being a terrorist. Lincoln said that the Democrats of his time were making slaves out of free men, and by that Lincoln meant that slavery supporters were taking away what power the opponents of slavery had. Witness tha near-death of Senator Charles Sumner at the hands of a slavery supporter, a crime committed on the very floor of the Senate chamber. With the pro-abortion headlock on the judiciary, it is only likely to get worse for abortion opponents.

Lost Causes and Opportunites Lost

Pro-lifers and opponents of oppression?

"If you succeed, you save those who cannot so much as give you thanks." Edmund Burke

New Perversion

A person calling himself Hunter at Daily Kos has brought forward a novel theory about perversion. Republicans are all (we are told) sexual perverts. I'll let the reader diagnose this person.

No shoving pictures of fetuses in people's faces, or taking their own daughters into "chastity vows", or pontificating about the dangers of man-on-dog relationships? Seriously, is this why Republicans are always so obsessed with governing everybody else's sex life- -because it's simply inconcievable to them that any two people would have a healthy non-messed-up relationship?

So anyone who opposes abortion is a pervert. And people who don't want their daughters to get pregnant or diseased in order to help give some creep twenty minutes of sexual pleasute are perverts too. The ones who really want to govern people's sex lives are the liberals who hand out free condoms. Incidently, these are the same people who want kids to lose their virginity before they know how to divide fractions. If thinking abortion is wrong is perversion, then Estase is a pervert. I suppose Hunter thinks Bill Clinton is healthy. Go figure.