The 22-minute video featured below is based on Lasha Darkmoon’s September 2013 article The Sexual Decadence of Weimar Germany.
FROM THE ARTICLE
¶ . . . NO account of the Jewish Question in Germany can be complete without some mention of the tidal wave of sexual immorality that was to engulf the country during the period of the Weimar Republic (1919-1933) following World War One. This also happened to be the apogee of Jewish power in Germany. Every single sphere of major influence had now fallen under Jewish control.
Dr Karl Wiehe, in his Germany and the Jewish Question, is painstaking in the details he provides:
“Well before 1933 the Jews had taken possession of the film industry even more thoroughly than of the theater. That was understandable, because the earnings in the film industry overshadow the earnings of any other artistic activity.
The biggest step in the direction of the decline of the German cultural life [however] was taken in the field of the light entertainment genre. Here—in the genre of musical comedy and above all in revue and burlesque—frivolity and lasciviousness were to rear their ugly heads. So much so that during these years Berlin was quite correctly considered the most immoral city in the world.
It was Jews who introduced this pornographic “art form” to Germany, a debased genre completely unknown before the Great War, and so it is the Jews who can be held responsible for the general decline in morals.
The Jewish sexologists Ivan Bloch and Magnus Hirschfeld became the representatives of “sex research” camouflaged as science—a bogus science that was merely an excuse for pornography and propaganda designed to destroy the institute of marriage and the sanctity of the family.”
Wiehe provides the following useful facts and statistics:
In 1931, over 60 percent of German films were produced by Jews and 82 percent of the film scripts were written by Jewish writers, though Jews made up less than 1 percent of the German population (0.90%). A quick look at the names of directors, producers, stage managers, actors, script writers and critics, “revealed everywhere an overwhelming preponderance of Jews.”
A cursory survey of the film titles, Wiehe tells us, shows us that the Jews had only one thing on the brain: sex. Here are some typical titles: “Moral und Sinnlichkeit” (Morals and Sensuality); “Was kostet Liebe?” (What is the Price of Love); “Wenn ein Weib den Weg verliert” (When a Woman loses her Way); “Prostitution” (Prostitution); “Sündige Mutter” (Sinful Mama); “Das Buch des Lasters” (The Book of Vices).
“The sensational titles correspond to the sleazy contents,” Wiehe complains. “All wallow in filth and display with cynical frankness the vilest scenes of sexual perversion.”
Light entertainment (revue/burlesque) was a Jewish innovation. The revue theaters, all concentrated within great cities such as Berlin, were owned and run almost exclusively by Jews. Shows consisted of little more than excuses for sexual titillation involving the display of the female form in lascivious dances that were to degenerate later into striptease and scenes of public masturbation. “In these revues,” Wiehe notes indignantly, “the uninhibited sex drive surrendered itself to disgusting orgies. All life was reduced to a common denominator of lust and its satisfaction. Chastity and self-discipline were mocked as old-fashioned prejudices.”
The Jews had managed, in the space of a mere fourteen years, to bring about a major “transvaluation of values” in Weimar Germany. The vices of the past were now its virtues. The only vice that remained was chastity.
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¶ . . . Wiehe points out that masturbation, hitherto a hole-in-corner vice, began to be shamelessly promoted for the first time in Weimar Germany by Jewish-run organizations. He mentions Dr Max Hodan, Jewish medical officer for Berlin, and ticks him off for circulating a booklet recommending regular masturbation for the working classes.
It is worth noting that one of the world’s worst serial killers, Peter Kürten, committed all his crimes in Germany during the 1925-1930 period.
This was of course the heyday of the Weimar Republic when the German people lay completely under Jewish domination and when the first dress rehearsal for the later Sexual Revolution of the 1960s was arguably being run.
Significantly, when asked what his primary motive for murder was, Kürten replied: “to strike back at an oppressive society.”
This was a society in which the serial killer was to become a popular icon, enough to create a whole genre of sensational sex crime literature.
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¶ . . . British historian Sir Arthur Bryant describes throngs of child prostitutes outside the doors of the great Berlin hotels and restaurants. He adds: “Most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.”
Arriving in Berlin during the hyperinflation crisis (1923), Klaus Mann—son of the great German novelist Thomas Mann—remembered walking past a group of dominatrices:
Some of them looked like fierce Amazons, strutting in high boots made of green, glossy leather. One of them brandished a supple cane and leered at me as I passed by. ‘Good evening, madam,’ I said. She whispered in my ear, ‘Want to be my slave? Costs only six billions and a cigarette.’
10-year-old children turned tricks in the railway stations. A group of 14-year-old Russian girls, refugees from the Red Terror in Stalin’s Communist slaughter house, managed to make a lucrative living in Berlin as dominatrices. Little girls were freely available for sex not only in child brothels and pharmacies but could be ordered by telephone and delivered to clients by taxi, like takeaway meals. Particularly bizarre were mother-and-daughter teams offering their services to the same client simultaneously. Mel Gordon writes: “One French journalist, Jean Galtier-Boissière, described, in sickly pornographic detail, the creeping horror of feeling a nine-year-old girl’s tiny, but proficient, fingers stroking his upper thigh while the broken-toothed mother covered his face with hot sucking kisses.”
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¶ . . . Luigi Barzini, in his social memoir The Europeans, describes the saturnalian scene in the Tingel-Tangels or sleazy bordellos of sex-crazed Berlin in the 1920s, the Golden Age of the Jews:
“I saw pimps offering anything to anybody: little boys, little girls, robust young men, libidinous women, animals. The story went the rounds that a male goose whose neck you cut at just the right ecstatic moment would give you the most delicious frisson of all—as it allowed you to enjoy sodomy, bestiality, homosexuality, necrophilia and sadism at one stroke. Gastronomy too, as one could eat the goose afterwards.”
In October 1923, when one US dollar could buy 4.2 billion marks and six wheelbarrows of banknotes could barely buy a loaf of bread, it was said that “the most exquisite blow job to be had in Berlin never cost an American tourist more than 30 cents.”
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¶ . . . German author Erich Kästner, writing of Weimar Berlin, was to reflect on the topography of the soul sickness that had now taken possession of the once proud city: “In the east there is crime; in the center the con men hold sway; in the north resides misery, in the west lechery; and everywhere—the decline.”
German Jewish author Stephan Zweig has much to say about homosexuality, pointing out that even in Ancient Rome—where fourteen of the first fifteen Roman emperors were homosexual—the degree of drunken depravity and public shamelessness was far less shocking than in Weimar Berlin:
Bars, amusement parks, honky-tonks sprang up like mushrooms. Along the entire Kurfürstendamm powdered and rouged men sauntered and they were not all professionals; every high school boy wanted to earn some money and in the dimly lit bars one might see government officials and men of the world of finance tenderly courting drunken sailors without any shame. Even the Rome of Suetonius had never known such orgies as the pervert balls of Berlin, where hundreds of men costumed as women and hundreds of women as men danced under the benevolent eyes of the police. In the collapse of all values a kind of madness gained hold. Young girls bragged proudly of their perversion; to be sixteen and still under suspicion of virginity would have been a disgrace.”
¶ . . . My own impression, though I could well be mistaken here, is that Weimar Germany can be seen as a trial run or dress rehearsal for the Sexual Revolution of the 1960s, a revolution in attitudes and behavior that was to convulse America and then spread like a moral virus to Europe and the rest of the world.
Recollect that it was in Germany during the Weimar period—in 1923 to be exact—that the Institut für Sozialforschung was set up at the University of Frankfurt. Financed by the Argentian Jew Felix Weil, this was later to become the infamous Frankfurt School.
It is my own hypothesis that the Germans were to be the initial guinea pigs of these Cultural Marxists, all of them initially Jewish apart from Habermas. These were revolutionaries intent on complete social control by the imposition of their Marxist worldview on the rest of society. It is self-evident that there is no other way to get control of a society with strong moral values than to weaken those values. The formula is simple: destroy the belief system on which that society is founded, especially its religion and its traditional codes of honor and decency. Promote godlessness and a philosophy of despair. To put it in even plainer language: reduce men to beasts if you wish to control them.
It was George Lukács, one of the founding fathers of the Frankfurt School, who had called for “a culture of pessimism and a world abandoned by God.” And it was one of their most fanatical ideologues, Willi Munzenberg, who had said he wanted to turn the world upside down and make life a hell on earth. His exact words:
We must organize the intellectuals and use them TO MAKE WESTERN CIVILIZATION STINK! Only then, after they have CORRUPTED ALL ITS VALUES AND MADE LIFE IMPOSSIBLE, can we impose the dictatorship of the proletariat.
With Jewish intellectuals like this at the helm, doing their utmost to promote moral anarchy and create an Orwellian dystopia, is it any wonder that the Germans went helter-skelter down the slippery slope and ended up where they did?
VIDEO : 22 mins