Archive for the Hollywoodism Category

PURVEYORS OF FILTH: Jewish-spawned porn industry aims at ‘moral subversion’ of Christian America, admits Jewish professor

Posted in Hollywoodism on August 17, 2010 by The 800 Pound Gorilla

Triple-exthnics: Nathan Abrams on Jews in the American porn industry

Jewish Quarterly, Winter 2004

A story little told is that of Jews in Hollywood’s seedier cousin, the adult film industry. Perhaps we’d prefer to pretend that the ‘triple-exthnics’ didn’t exist, but there’s no getting away from the fact that secular Jews have played (and still continue to play) a disproportionate role throughout the adult film industry in America.

Jewish involvement in pornography has a long history in the United States, as Jews have helped to transform a fringe subculture into what has become a primary constituent of Americana. These are the ‘true blue Jews’.

Smut peddlers

Jewish activity in the porn industry divides into two (sometimes overlapping) groups: pornographers and performers. Though Jews make up only two per cent of the American population, they have been prominent in pornography. Many erotica dealers in the book trade between 1890 and 1940 were immigrant Jews of German origin. According to Jay A. Gertzman, author of Bookleggers and Smuthounds: The Trade in Erotica, 1920-1940 (Philadelphia: University of Pennsylvania Press, 1999), ‘Jews were prominent in the distribution of gallantiana [fiction on erotic themes and books of dirty jokes and ballads], avant-garde sexually explicit novels, sex pulps, sexology, and flagitious materials’.

In the postwar era, America’s most notorious pornographer was Reuben Sturman, the ‘Walt Disney of Porn’. According to the US Department of Justice, throughout the 1970s Sturman controlled most of the pornography circulating in the country. Born in 1924, Sturman grew up in Cleveland’s East Side. Initially, he sold comics and magazines, but when he realized sex magazines produced twenty times the revenue of comic books, he moved exclusively into porn, eventually producing his own titles and setting up retail stores.

By the end of the 1960s, Sturman ranked at the top of adult magazine distributors and by the mid-70s he owned over 200 adult bookstores. Sturman also introduced updated versions of the traditional peepshow booth (typically a dark room with a small color TV on which the viewer can view X-rated videos). It was said that Sturman did not simply control the adult-entertainment industry; he was the industry. Eventually he was convicted of tax evasion and other crimes and died, disgraced, in prison in 1997. His son, David, continued running the family business.

The contemporary incarnation of Sturman is 43-year-old Jewish Clevelander Steven Hirsch, who has been described as ‘the Donald Trump of porno’. The link between the two is Steve’s father, Fred, who was a stockbroker-cum-lieutenant to Sturman.

Today Hirsch runs the Vivid Entertainment Group, which has been called the Microsoft of the porn world, the top producer of ‘adult’ films in the US. His specialty was to import mainstream marketing techniques into the porn business. Indeed, Vivid parallels the Hollywood studio system of the 1930s and 1940s, particularly in its exclusive contracts to porn stars who are hired and moulded by Hirsch. Vivid was the subject of a behind-the-scenes reality TV show recently broadcast on Channel 4.

Nice Jewish girls and boys

Jews accounted for most of the leading male performers as well as a sizeable number of female stars in porn movies of the 1970s and ‘80s. The doyen of the Hebrew studs is Ron Jeremy. Known in the trade as ‘the Hedgehog’, Jeremy is one of America’s biggest porn stars. The 51-year-old Jeremy was raised in an upper-middle-class Jewish family in Flushing, Queens, and has since appeared in more than 1,600 adult movies, as well as directing over 100.

Jeremy has achieved iconic status in America, a hero to males of all ages, Jewish and gentile alike — he’s the nebbischy, fat, hairy, ugly guy who gets to bed dozens of beautiful women. He presents an image of a modern-day King David, a Jewish superstud who supersedes the traditional heroes of Jewish lore. No sallow Talmud scholar he. His stature was recently cemented with the release of a pornomentary about his life, Porn Star: The Legend of Ron Jeremy.

As probably the most famous Jewish male porn star, Jeremy has done wonders for the psyche of Jewish men in America. Jeremy has also just released a compilation CD, Bang-A-Long-With Ron Jeremy. For £7.99 (including delivery), the lucky listener gets to enjoy Jeremy’s hand-picked favorite porno grooves along with narration by ‘the legend’ himself. As the publicity blurb gushes, ‘Out of the brown paper wrappings and into the mainstream’.

Seymore Butts, aka Adam Glasser, is everything that Jeremy is not: young, handsome and toned. Glasser, a 39-year-old New York Jew, opened a gym in 1991 in Los Angeles. When no one joined, he borrowed a video camera for 24 hours, went to a nearby strip club, recruited a woman, then headed back to his gym and started shooting.

Although the movie stank, with a bit of chutzpah and a few business cards he wangled a deal with a manufacturer and started cranking out films. Within a few years, ‘Seymore Butts’ — his nom de porn which is simultaneously his sales pitch — became one of the largest franchises in the adult-film business. As the king of the gonzo genre (marked by handheld cameras, the illusion of spontaneity and a low-tech aesthetic meant to suggest reality), he is today probably the most famous Jewish porn mogul.

Seymore Inc., his production company, releases about 36 films annually, most of them shot for less than $15,000, each of them grossing more than 10 times that sum. Glasser employs 12 people, including his mother and cousin Stevie as respectively genial company accountant (and matchmaker for her single son) and lovable but roguish general gopher. Glasser currently even has his own reality TV show (also broadcast on Channel 4), a ten-episode docu-soap called Family Business, whose opening credits show Glasser’s bar mitzvah photo.

In search of a buck

Jews became involved in the porn industry for much the same reasons that their co-religionists became involved in Hollywood. They were attracted to an industry primarily because it admitted them. Its newness meant that restrictive barriers had not yet been erected, as they had in so many other areas of American life. In porn, there was no discrimination against Jews.

During the early part of the twentieth century, an entrepreneur did not require large sums of money to make a start in the film business; cinema was considered a passing fad. In the porn business, it was similarly straightforward to get going. To show ‘stag’ movies or loops, as they were known, all one needed was a projector, screen and a few chairs.

Not tied up with the status quo and with nothing to lose by innovation, Jews were open to new ways of doing business. Gertzman explains that “Jews, when they found themselves excluded from a field of endeavor, turned to a profession in which they sensed they could eventually thrive by cooperating with colleagues in a community of effort . . . Jews have for a very long time cultivated the temperament and talents of middlemen, and they are proud of these abilities”.

The adult entertainment business required something that Jews possessed in abundance: chutzpah. Early Jewish pornographers were marketing geniuses and ambitious entrepreneurs whose toughness, intelligence and boundless self-confidence were responsible for their successes.

Of course, the large number of Jews in porn were mainly motivated by the desire to make profits. Just as their counterparts in Hollywood provided a dream factory for Americans, a blank screen upon which the Jewish moguls’ visions of America could be created and projected, so the porn-moguls displayed a talent for understanding public tastes. What better way to provide the stuff of dreams and fantasies than through the adult-entertainment industry? Performers did porn for the money. As ADL National Director Abraham H. Foxman commented, ‘Those Jews who enter the pornography industry have done so as individuals pursuing the American dream.’

Secular sex

Like their mainstream counterparts, Jews who enter porn do not usually do so as representatives of their religious group. Most of the performers and pornographers are Jewish culturally but not religiously. Many are entirely secular, Jews in name only. Sturman, however, identified as a Jew — he was a generous donator to Jewish charities — and performer Richard Pacheco once interviewed to be a rabbinical student.

Very few, if any, porn films have overtly Jewish themes, although Jeremy once tried to get several Jewish porn stars together to make a kosher porn film. The exception is Debbie Duz Dishes, in which Nina Hartley plays a sexually insatiable Jewish housewife who enjoys sex with anyone who rings the doorbell. It has sold very well, spawned a couple of sequels and is currently very hard to buy — perhaps indicating a new niche to exploit.

Indeed, according to an editorial on the World Union of Jewish Students website, “there are thousands of people searching for Jewish porn. After things like Jewish calendar, Jewish singles, Jewish dating, and Jewish festivals comes ‘Jewish porn’ in the list of top search keywords that GoTo.com provide”.

Sexual rebels

Is there a deeper reason, beyond the mere financial, as to why Jews in particular have become involved in porn? There is surely an element of rebellion in Jewish X-rated involvement. Its very taboo and forbidden nature serves to make it attractive. As I written [sic] in these pages before, treyf signifies ‘the whole world of forbidden sexuality, the sexuality of the goyim, and there all the delights are imagined to lie…’ (‘Reel Kashrut: Jewish food in film’, JQ 189 [Spring 2003]).

According to one anonymous industry insider quoted by E. Michael Jones in the magazine Culture Wars (May 2003), ‘the leading male performers through the 1980s came from secular Jewish upbringings and the females from Roman Catholic day schools’. The standard porn scenario became as a result a Jewish fantasy of schtupping the Catholic shiksa.

Furthermore, as Orthodox Jew and porn gossipmonger Luke Ford explains on his website (lukeford.net): ‘Porn is just one expression of [the] rebellion against standards, against the disciplined life of obedience to Torah that marks a Jew living Judaism.’ It is also a revolt against (often middle-class) parents who wish their children to be lawyers, doctors and accountants. As performer Bobby Astyr put it on the same website, ‘It’s an “up yours” to the uncles with the pinky rings who got down on me as a kid for wanting to be musician.’

As religious influences waned and were replaced by secular ones, free-thinking Jews, especially those from California’s Bay Area, viewed sex as a means of personal and political liberation. America provided the freest society Jews have ever known, as manifested by the growth of the adult industry.

Those Jewish women who have sex onscreen certainly stand in sharp contradiction to the stereotype of the ‘Jewish American Princess’. They (and I’m speculating here) may have seen themselves as fulfilling the promise of liberation, emancipating themselves from what feminist Betty Friedan in 1963 called the ‘comfortable concentration camp’ of the household as they set out into the Promised Land of the porno sets of Southern California.

It signified their economic and social freedom: they were free to choose to enter, rather than coerced into it by economic and other circumstances. Once they had lain down, they could stand on their own two feet, particularly as female performers typically earn twice as much as their male counterparts.

Sexual revolutionaries

Extending the subversive thesis, Jewish involvement in the X-rated industry can be seen as a proverbial two fingers to the entire WASP establishment in America. Some porn stars viewed themselves as frontline fighters in the spiritual battle between Christian America and secular humanism. According to Ford, Jewish X-rated actors often brag about their ‘joy in being anarchic, sexual gadflies to the puritanical beast’.

Jewish involvement in porn, by this argument, is the result of an atavistic hatred of Christian authority: they are trying to weaken the dominant culture in America by moral subversion. Astyr remembers having ‘to run or fight for it in grammar school because I was a Jew. It could very well be that part of my porn career is an “up yours” to these people’.

Al Goldstein, the publisher of Screw, said (on lukeford.net), ‘The only reason that Jews are in pornography is that we think that Christ sucks. Catholicism sucks. We don’t believe in authoritarianism.’ Pornography thus becomes a way of defiling Christian culture and, as it penetrates to the very heart of the American mainstream (and is no doubt consumed by those very same WASPs), its subversive character becomes more charged.

Porn is no longer of the ‘what the Butler saw’ voyeuristic type; instead, it is driven to new extremes of portrayal that stretch the boundaries of the porn aesthetic. As new sexual positions are portrayed, the desire to shock (as well as entertain) seems clear.

It is a case of the traditional revolutionary/radical drive of immigrant Jews in America being channeled into sexual rather than leftist politics. Just as Jews have been disproportionately represented in radical movements over the years, so they are also disproportionately represented in the porn industry.

Jews in America have been sexual revolutionaries. A large amount of the material on sexual liberation was written by Jews. Those at the forefront of the movement which forced America to adopt a more liberal view of sex were Jewish. Jews were also at the vanguard of the sexual revolution of the 1960s.

Wilhelm Reich, Herbert Marcuse and Paul Goodman replaced Marx, Trotsky and Lenin as required revolutionary reading. Reich’s central preoccupations were work, love and sex, while Marcuse prophesied that a socialist utopia would free individuals to achieve sexual satisfaction. Goodman wrote of the ‘beautiful cultural consequences’ that would follow from legalizing pornography: it would ‘ennoble all our art’ and ‘humanize sexuality’.

Pacheco was one Jewish porn star who read Reich’s intellectual marriage of Freud and Marx (lukeford.net): “Before I got my first part in an adult film, I went down to an audition for an X-rated film with my hair down to my ass, a copy of Wilhelm Reich’s Sexual Revolution under my arm and yelling about work, ‘love and sex’.”

As Rabbi Samuel H. Dresner put it (E. Michael Jones, ‘Rabbi Dresner’s Dilemma: Torah v. Ethnos’ Culture Wars, May 2003), ‘Jewish rebellion has broken out on several levels’, one being ‘the prominent role of Jews as advocates to sexual experimentation’. Overall, then, porn performers are a group of people who praise rebellion, self-fulfillment and promiscuity.

What are we ashamed of?

This brief overview and analysis of the role and motivations behind pornographers and performers is intended to shed light on a neglected topic in American Jewish popular culture. Little has been written about it. Books such as Howard M. Sachar’s A History of the Jews in America (New York: Knopf, 1992) simply ignore the topic. And you can bet that the 350th anniversary of the arrival of the Jews in the United States did not include any celebrations of Jewish innovation in this field.

Even the usually tolerant Time Out New York has been too prim to deal with it, although the more iconoclastic Heeb plans an issue on it. In light of the relatively tolerant Jewish view of sex, why are we ashamed of the Jewish role in the porn industry? We might not like it, but the Jewish role in this field has been significant and it is about time it was written about seriously.

Nathan Abrams is a Lecturer in Modern American History at the University of Aberdeen. He has just completed a book on neo-conservatism in the United States.

The above article can be found here: http://www.jewishquarterly.org/issuearchive/articled325.html?articleid=38

Also see Hollywoodism: Jews, movies and the American dream’ here: http://800pg.co.cc/geeklog//article.php?story=20080903042527297

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The Satanic/Talmudic Origins of Star Trek

Posted in Hollywoodism with tags , , , , , , on May 29, 2009 by The 800 Pound Gorilla

STXI_Jlogo2_s Almost every Trekkie out there views the Star Trek phenomenon as a fantasy of the New age of secular humanism (Enlightened Human Society), but to the adepts and initiates it is a Talmudic doctrine of Satan.the various alien races are various earthly cultures and Vulcans are the the Jews, due to their “wisdom”and The Borg I think are the devilish depiction of Islam and/or “the people of the book”. Think about it, they assimilate cultures by force “Holy Wars” and make them into a collective or “Umah” or nation of Faith (this is the Talmudic depiction of Islam as well). The assimilated is no longer human or partaking in sinful pleasure, but rather abstains from sin. This demonizes the notion of the unity of one nation under God “Umah” and glorifies disunity under the guise of diversity, man’s achievements in place of God’s Creation, and finally promotion of impulsive primal animal-like behavior under the guise of unlocking your potential, developing your superpower, or evolving.

“Nimoy drew upon his own Jewish background to suggest the now-familiar salute. Back in the 1960s, hippies who watched “Amok Time” thought the salute was a variation of the two-fingered peace sign. But we Jews knew better. The Vulcan salute came not from protest marches, but from the pulpit of Nimoy’s childhood synagogue.

The Vulcan greeting is based upon a blessing gesture used by the kohanim (koe-hah-NEEM) during the worship service. The kohanim are the genealogical descendants of the Jewish priests who served in the Jerusalem Temple. Modern Jews no longer have priests leading services as in ancient times, nor do we have animal sacrifices anymore. (Yes, people really do ask about that!) The sacrificial system ended with the destruction of the Temple by the Romans in the year 70. C.E. However, a remnant of the Temple service lives on in the “kohane blessing” ritual (duchenen in Yiddish) that is performed on certain holy days. ” excerpt from The Jewish Origin of the Vulcan Salute by Rabbi Yonassan Gershom trekjews.com

Religion seems to be largely absent from the futuristic and secular world of the Federation and in particular from human society. Star Trek’s takes on religious topics are often critical, and they almost routinely close with a victory of science over faith. This is anything but a surprise, knowing that Gene Roddenberry was an active atheist who struggled against any form of religion:

“I condemn false prophets, I condemn the effort to take away the power of rational decision, to drain people of their free will — and a hell of a lot of money in the bargain. Religions vary in their degree of idiocy, but I reject them all. For most people, religion is nothing more than a substitute for a malfunctioning brain.” (Gene Roddenberry)

In a Q&A session executive producer Brannon Braga was asked whether there was supposed to be a deity in the stories that he wrote. He said:

“No, there was no consideration in giving humans, talking about God, or talking about those types of things. We wanted to avoid it to be quite frank. But we did very often explore theology through alien characters. Which frankly is much more interesting anyway. Whether it was the Bajorans and their religion or the Borg and their religion. They had the religion of perfection. That, I think, was more interesting. We want to keep Star Trek secular. The human facet of Star Trek secular.” (Brannon Braga, transcript from his former website)” excerpt from: Religion in Star Trek

If daily life is not concerned with familiar economic activities and the whole of life is not informed with religious purposes, then what is life all about in Star Trek? Well, the story is about a military establishment, Star Fleet, and one ship in particular in the fleet, the Enterprise. One might not expect this to provide much of a picture of ordinary civilian life; and it doesn’t. One never sees much on Earth apart from the Star Fleet Academy and Picard’s family farm in France — unless of course we include Earth’s past, where the Enterprise spends much more time than on the contemporaneous Earth. Since economic life as we know it is presumed not to exist in the future, it would certainly pose a challenge to try and represent how life is conducted and how, for instance, artifacts like the Enterprise get ordered, financed, and constructed. And if it is to be represented that things like “finance” don’t exist, one wonders if any of the Trek writers or producers know little details about Earth history like when Lenin wanted to get along without money and accounting and discovered that Russia’s economy was collapsing on him. Marx’s prescription for an economy without the cash nexus was quickly abandoned and never revived. Nevertheless, Marx’s dream and Lenin’s disastrous experiment is presented as the noble and glorious future in Star Trek: First Contact, where Jean Luc Picard actually says, “Money doesn’t exist in the Twenty-Fourth Century.”

So what one is left with in Star Trek is military life. Trying to soften this by including families and recreation on the Enterprise in fact makes the impression worse, since to the extent that such a life is ordinary and permanent for its members, it is all the easier to imagine that all life in the Federation is of this sort. Not just a military, but a militarism. In the show, this actually didn’t work out very well. In the beginning, Star Trek: The Next Generation wanted to remind us of the daily life, children in school, etc. on board; and more than once the “battle hull” of the ship was separated from the “saucer” so that the civilian component of the crew would be safe from hostile action. This cumbersome expedient, however, was soon enough forgotten; and we later forget, as the Enterprise finds itself in desperate exchanges with hostile forces, that small children are undergoing the same battle damage that we see inflicted on the bridge — unless of course it is brought to our attention because there is a story with a special focus on a child, as with Lieutenant Worf’s son. In Star Trek: First Contact, crew members are being captured and turned into Borg. Does that include the children? We never see any. Do Picard’s orders to shoot any Borg include Borg who were human children? This disturbing situation is completely ignored by the movie. Star Trek, therefore, cannot maintain its fiction that military life on a major warship will be friendly to families and children. excerpt from The Fascist Ideology of Star Trek: Militarism, Collectivism, & Atheism

Jewcy.com
May 19, 2009

As seems de rigeur for this sort of post, let me prove my Star Trek bona fides (or lack thereof) before going forward. I was a child of Star Trek: The Next Generation, only three years old when it premiered, but ten when it concluded and old enough to remember the season finale broadcast. I later caught up on every episode of that series. I have also seen more than a handful of the original series, and about two to three dozen episodes of Deep Space 9. So I’m not trekkie, as it goes. But I’m familiar with the shows, and if my knowledge is not encyclopedic, it is viable. I may not be able to recall the exact science-fiction hook used in season 4, episode seven offhand, but if you hum a few bars, I think I could sing along.

Once said, let’s put that to rest. If my credentials aren’t enough to discuss the new film with any depth, please skip ahead. I won’t be offended. I understand fandom, and if someone wanted to write about the X-Men without an encyclopedic background, I’d thank them kindly to their face and say bad things about them behind their backs. So go ahead. Say bad things.

What struck me about the film was the role of the Jew, or the lack thereof. The Original Series always had Leonard Nimoy as Spock. He was not simply the intellectual rationalist to Kirk’s fly-by-the-seat-of-his-pants adventurer, as a number of critics have suggested. What is clear from those earliest episodes is that Spock was an equal partner in the great adventure. He may have brought a cooler head from time to time, but the mission was equally his. As such, he was something of a philosopher-warrior, a Jewish archetype rare in contemporary society, but rich in our history; from the Biblical Joshua, King David, to Franz Rosenzweig writing The Star of Redemption “in the Macedonian trenches,” or maybe David Ben-Gurion.

The Next Generation took the Jew in Star Trek one step further. Despite not having as public a Jewish identity as Nimoy in a main role, one could say TNG was even more Jewish than the Original Series. Watch them argue about the Prime Directive, debate subtleties of ethical and intellectual dilemmas, or entirely forgo physical confrontation in favor of multiculturalism and empathy. Hell, the crew was so neurotic, they kept a full-time therapist on the ship. The greatest triumphs were not the defeat of an adversary, but the breaching of borders, the comprehension of foreign language. Watch “Darmok,” in my most humble opinion the greatest episode of The Next Generation. It is moving beyond words.

I mean, they might as well have called it Star Trek: The Great Jew Extravaganza. The central themes of the Star Trek shows – exploring new worlds, making contact with new civilizations, doing mitzvoth and good deeds throughout the universe – are central tenets of Judaism. Would a Michael Lerner luncheon have been out of place on The Next Generation? Picard was already, always doing birur nitzutzot (elevating the sparks of the universe) and performing tikkun on the galaxies.

I have no doubt the Jew in Star Trek has been explored and interrogated at greater lengths than I could do justice to. Certainly, if there were no Jews in Star Trek, there was still plenty of locations for a Jew to find himself in the show. And yet, now, we have J.J. Abram’s new Star Trek and, despite enjoying the spectacle, I find myself wondering: Where has the Jew gone? At first, the obvious issues; there is no exploration, no new worlds to discover. If anything, there’s the collapse of old worlds – the destruction of Vulcan. There’s a political agenda; sometimes terrorists can’t be negotiated with (Spoiler alert: Eric Bana’s villain chooses to die rather than accept Kirk’s compassion).

Spock is no longer played by a Jew, but by Zachary Quinto (whom I know as the villain Sylar on Heroes). That itself is not a problem, but coupled with the character’s transformation makes him into a non-Jewish figure. He is now quick to rush to anger and violence, not to fight based on logic but based on emotional betrayal. He is vindictive against Kirk, and he now embarks on a fairly public love affair with Uhura. In other words, he is an arrogant bore, and he lacks wisdom, possessing only intellect.

This move is made all the more evident by the inclusion of the old Spock, Leonard Nimoy, in the film. Nimoy is everything that Quinto’s Spock is not. He is thoughtful, caring, and wise. When he calls the young Kirk his longtime friend, the scene is poignant and moving. Tellingly, the character is a man literally caught out of time – a refugee from a future time – much as the ethos he once represented are too caught out of time. This new Star Trek has no place for deliberation over ethics, or warm human contact. Compare Nimoy’s brief moments with Kirk to Quinto’s moments. One is deeply connected to the human. The other, no matter how many times the film may argue otherwise, is deeply alienated from the human experience. No, this Spock is no Jew. He truly is alien.

This would bother me far less if the movie didn’t hold the promise of future installments. The film is doing well in release and I have no doubt a sequel is already in the works. But can they possibly use Nimoy again? It seems unlikely – his role here was as intermediary, ferrying the series from the Roddenberry vision to the Abrams’ vision. I imagine he’ll be gone in the next film and then we’ll be left with no Jew at all, just a bunch of very entertaining goyim canvassing the universe. Maybe they’ll decide to explore strange new worlds, but I doubt it. Abram’s likes his monsters. There’ll be a new villain, a new world-ending catastrophe, another distended-anus snow creature. There isn’t a lot of time for tikkun ha’olem when you’re reacting against terrorists and psychopaths. Or rather, there should be time made, but who will make it? Our only hope, I fear, is that Chris Pine’s Kirk grows into the role Spock once held. He does seem to have sensitivity and a thoughtfulness hiding just behind his impetuousness and impulsiveness. Maybe he’ll cultivate it.

The narrative itself addressed this. Nimoy-Spock tells Quinto-Spock in one of the final moments that he’ll hide out of sight, working on the preservation of Vulcan cultural heritage. And that, finally, is what the Jew of Star Trek has been reduced to: A cultural heritage, a memory of a series long past. Now, we look to the future. Too bad J.J. Abrams is such a goy.

The above article can be found at: Jew Trek

Like many other aspects of the Star Trek world, these dicta are simple “there” – given an explanation only when the story calls for it. Roddenberry used his shows as a type of very passive or yinful propaganda: he merely SHOWED what could be, what humans COULD become if they developed certain potentials.

Likewise, the fact that in the 1960’s the original Trek series had a crew including people of many nations and races, and both genders – and, to top it off, an alien Second in Command, Mr. Spock! Yet this was not explained, it was simply presented. Another beautiful Roddenberrian idea is the Vulcan motto of “Infinite Diversity in Infinite Combinations.”

One way of seeing this is that there is a TREND in society. Some people are “hung up” on what could be called personal issues, or behaviors borne of inner conflict like bottled-up rage, broken self-hood, warped sexuality or emotionality, or similar developmental problems. These people seem to “go nowhere” – they don’t Become, because they are “stuck on themselves.” Everything they do is a reflection of their warped selves and inability to grow or develop – their lives play like broken records in what seem to be abortive attempts to repair or correct psychological problems. Satanically speaking, people like this are pent-up/apathetic, and ophionic – two stages of the same problem. They are unable to Become – they only stagnate and Unbecome (self-destruct). Societies where these people predominate do likewise: stagnate and unbecome. They are all increasingly stress-filled, illogical, and inhumane.

And there is another trend in society – this could be called the Progressive movement, or Enlightenment movement. Note the Satanic connotations of these words: Progressive, as in Becoming – and Enlightened, as in The Light or Black Flame. These people tend to focus on very practical problems outside the self: better education for people, improving quality of life, better food, less work, less stress, less crime, etc. Focus is on phenomena – the outer – the world! As in, exploring the galaxy! Enjoying the world, and improving the world for more enjoyment and less pain. The self is not an issue with people like this – and in a sense people like this are “alooof” because they are inwardly content. This latter trend, politically, tends to make societies that are more equitable, less stressful, more humane.

Star Trek is merely a continuation of this latter trend – without the “garbage” associated with the first, negative trend.

excerpt from To Boldly Go… a self admitted Satanic socialist website!