Beyond Freud - the Mapplethorpe Card

Modern times produce new pioneers. Indeed, in the 1990's Sigmund Freud seems a bit like old hat. For special enemies Freud's tactic is too "civil".

As we mentioned before in a series of earlier posts:

And indeed the latter half of the Twentieth Century has produced new images which hold a much more powerful sway over our elites than do the theories of Sigmund Freud.

The most powerful of these images are the photographs of Robert Mapplethorpe.

These, dear reader, are photographs and other artistic representations of male genitalia. These works attract large numbers of our cosmopolitan sophisticates to exhibitions in galleries from New York and Chicago to LA. and San Francisco.

Most of the pictures are of what our press, lapsing as it must into "code", calls "homoerotic art."

They run the gamut from a relatively mundane phallus protruding from the center of a flower, to men copulating, and on to a man with a bullwhip protruding from his rear end.

So powerfully do these images resonate with our predominantly heterosexual elites, that Yggdrasil has seen prints decorating the walls of the world headquarters of a client. (And indeed it is at such times that one appreciates the ego on patrol against the dark "id" preventing any inadvertent "slips" into aggression against the hand that pays the bills.)

Now I mentioned that our press must talk about these exhibits in code. It is not so much that the pictures themselves cannot be discussed; it is the gravitational pull these images exert on our elites that is troublesome.

It is not so much that the "art" might be described when a middle American city like Cincinnati bans the exhibit from its museum; but that in describing the court case brought by the ACLU to reverse the ban, the newspapers might have to explain its "redeeming social value" in the eyes of our elites. Now _that_ must be described in code!

The middle class American probably has no trouble understanding that homosexuals might hold a fascination toward these works.

But what about our heterosexual elites? What is in these photographs that excites them?

Let us no longer speak in code!

The centerpiece of Mapplethorpe's exhibit is a photograph of a black man urinating into the mouth of a white man on his knees.

Perhaps to a homosexual, this photograph could represent some sort of erotic play.

But to our elites it has an entirely different meaning. It is the ultimate triumph of their multiculturalist vision. It is a graphic image of the endpoint of their struggle for "tolerance" for "diversity" and to "right wrongs" and to procure "equal justice for all."

That endpoint is the ultimate humiliation of the White Male.

The centerpiece photograph and the entire Mapplethorpe collection become a symbol to our elites of their hope to accomplish with sly manipulation of cultural toxins that which could never be accomplished through direct confrontation.

The liberal frustration with half-way measures like employment quotas finds its release here in a photo of a white male on his knees in a position of degradation and subservience to one of the liberals' dark allies. It is an excitement that is heightened by the danger of its discovery by the masses. No freudian "slips" allowed!

And so it is not terribly surprising that in the fever swamps of alt.revisionism we should see the Mapplethorpe card appear, in defense of the Holocaust story and all else that is "just and true":

Caution is advised-


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