“Liberal” Jew rat infiltrator Allen Ginsberg dupes the Gentile American goyim into thinking the looseness of the Jews’ counterculture is the way of the future for them
Deranged Jewish counterculture guru Allen Ginsberg has the gullible goyim agreeing with him and even giggling about their imminent demise, way back in the ’50s and ’60s, when they still had a chance to get rid of the “liberal” commie Jew rat infiltrators in what’s now the once fair land of the free … nauseating really …
Did you know that Caucasian/Khazar Jews orchestrated the beat generation and “flower power” counterculture in America, to scramble the brains of the best Americans and to make them more easy to manage when the Jews would have total control of the country, like they have today?
Duped Gentiles unwittingly used an inverted, broken cross as a sign of submission to the antichristian Jews’ ruse of using the beat generation and “flower power” counterculture to greatly facilitate the rise of the commie Jews who now have complete control of America, both up front and from behind the scenes.
The Jewish creep Allen Ginsberg was an American poet and one of the leading figures of both the Beat Generation of the 1950s and the counterculture that soon would follow. He vigorously opposed militarism, economic materialism and sexual repression. Ginsberg is best known for his epic poem “Howl”, in which he denounced what he saw as the destructive forces of capitalism and conformity in the United States.
In 1957, “Howl” attracted widespread publicity when it became the subject of an obscenity trial, as it depicted heterosexual and homosexual sex at a time when sodomy laws made homosexual acts a crime in every U.S. state. “Howl” reflected the Jew Ginsberg’s own homosexuality and his depraved relationships with a number of men, including Peter Orlovsky, his lifelong partner. Judaized judge Clayton W. Horn ruled that “Howl” was not obscene, adding, “Would there be any freedom of press or speech if one must reduce his vocabulary to vapid innocuous euphemisms?”
Duped hippies, high on the drugs and counterculture revolution the Jews provided them with, rejoice over the destruction of their own moral fiber and the power they once had to think their way out of the mess the Jews had got them into at the time
Ginsberg was a practicing Buddhist who studied Eastern religious disciplines extensively. He lived modestly, buying his clothing in second-hand stores and residing in downscale apartments in New York’s East Village. One of his most influential teachers was the Tibetan Buddhist, the Venerable Chögyam Trungpa, founder of the Naropa Institute in Boulder, Colorado. At Trungpa’s urging, Ginsberg and poet Anne Waldman started The Jack Kerouac School of Disembodied Poetics there in 1974.
Ginsberg took part in decades of non-violent political protest against everything from the Vietnam War to the War on Drugs. His poem “September on Jessore Road,” calling attention to the plight of Bangladeshi refugees, exemplifies what the literary critic Helen Vendler described as Ginsberg’s tireless persistence in protesting against “imperial politics, and persecution of the powerless.”
The creep Ginsberg was born into a Jewish family in Newark, New Jersey, and grew up in nearby Paterson. As a young teenager, Ginsberg began to write letters to The New York Times about political issues, such as World War II and workers’ rights.While in high school, Ginsberg began reading Walt Whitman, inspired by his teacher’s passionate reading.
In 1943, the Jew Ginsberg graduated from Eastside High School and briefly attended Montclair State College before entering Columbia University on a scholarship from the Young Men’s Hebrew Association of Paterson. In 1945, he joined the Merchant Marines to earn money to continue his education at Columbia. While at Columbia, Ginsberg contributed to the Columbia Review literary journal, the Jester humor magazine, won the Woodberry Poetry Prize and served as president of the Philolexian Society, the campus literary and debate group. Ginsberg has stated that he considered the required freshman seminar to be his favorite course while at Columbia University. Its subject was The Great Books and was taught by Lionel Trilling.
According to The Poetry Foundation the Jew Ginsberg spent several months in a mental institution after he pled insanity during a hearing. He was allegedly being prosecuted for harboring stolen goods in his dorm room. It was noted that the stolen property was not his. It belonged to an acquaintance.
Ginsberg referred to his parents, in a 1985 interview, as “old-fashioned delicatessen philosophers”. His father Louis Ginsberg was a published poet and a high school teacher. Ginsberg’s mother, Naomi Livergant Ginsberg, was affected by a psychological illness that was never properly diagnosed. She was also an active member of the Communist Party and took Ginsberg and his brother Eugene to party meetings. Ginsberg later said that his mother “made up bedtime stories that all went something like: ‘The good king rode forth from his castle, saw the suffering workers and healed them.'” Of his father Ginsberg said “My father would go around the house either reciting Emily Dickinson and Longfellow under his breath or attacking T. S. Eliot for ruining poetry with his ‘obscurantism.’ I grew suspicious of both sides.”
In Ginsberg’s freshman year at Columbia he met fellow undergraduate Lucien Carr, who introduced him to a number of future Beat writers, including Jack Kerouac, William S. Burroughs, and John Clellon Holmes. They bonded because they saw in one another an excitement about the potential of American youth, a potential that existed outside the strict conformist confines of post–World War II, McCarthy-era America. Ginsberg and Carr talked excitedly about a “New Vision” (a phrase adapted from Yeats’ “A Vision”), for literature and America. Carr also introduced Ginsberg to Neal Cassady, for whom Ginsberg had a long infatuation. In the first chapter of his 1957 novel On the Road Kerouac described the meeting between Ginsberg and Cassady. Kerouac saw them as the dark (Ginsberg) and light (Cassady) side of their “New Vision”, a perception stemming partly from Ginsberg’s association with communism, of which Kerouac had become increasingly distrustful. Though Ginsberg was never a member of the Communist Party, Kerouac named him “Carlo Marx” in On the Road. This was a source of strain in their relationship.
Even ordinary niggers have cottoned on to the Jews’ ruse of selling them drugs and the “liberal” counterculture to distract, dumb down, and befuddle their already somewhat primeval race; but they have of course only been able to understand and articulate the wider ramifications of the conspiracy of it in a rudimentary way
In 1948 in an apartment in Harlem, Ginsberg had an auditory hallucination while reading the poetry of William Blake (later referred to as his “Blake vision”). At first, Ginsberg claimed to have heard the voice of God, but later interpreted the voice as that of Blake himself reading Ah, Sunflower, The Sick Rose, and Little Girl Lost, also described by Ginsberg as “voice of the ancient of days”. The experience lasted several days. Ginsberg believed that he had witnessed the interconnectedness of the universe. He looked at lattice-work on the fire escape and realized some hand had crafted that; he then looked at the sky and intuited that some hand had crafted that also, or rather, that the sky was the hand that crafted itself. He explained that this hallucination was not inspired by drug use, but said he sought to recapture that feeling later with various drugs. Ginsberg stated: “living blue hand itself existence itself was God” and “[I] felt a sudden awakening into a totally deeper real universe.”
Ginsberg moved to San Francisco during the 1950s. Before, Howl and Other Poems was published in 1956 by City Lights Bookshop, he worked as a market researcher.
In 1954, in San Francisco, Ginsberg met Peter Orlovsky (1933–2010), with whom he fell in love and who remained his lifelong partner. Selections from their correspondence have been published.
Depraved gay creep Ginsberg with his lifelong lover
Ginsberg’s principal work, “Howl”, is well known for its opening line: “I saw the best minds of my generation destroyed by madness, starving hysterical naked….” “Howl” was considered scandalous at the time of its publication, because of the rawness of its language. Shortly after its 1956 publication by San Francisco’s City Lights Bookstore, it was banned for obscenity. The ban became a cause célèbre among defenders of the First Amendment, and was later lifted, after Judge Clayton W. Horn declared the poem to possess redeeming artistic value. Ginsberg and Shig Murao, the City Lights manager who was jailed for selling “Howl,” became lifelong friends.
Ginsberg claimed at one point that all of his work was an extended biography (like Kerouac’s Duluoz Legend). “Howl” is not only a biography of Ginsberg’s experiences before 1955, but also a history of the Beat Generation. Ginsberg also later claimed that at the core of “Howl” were his unresolved emotions about his schizophrenic mother. Though “Kaddish” deals more explicitly with his mother, “Howl” in many ways is driven by the same emotions.
“Howl” chronicles the development of many important friendships throughout Ginsberg’s life. He begins the poem with “I saw the best minds of my generation destroyed by madness”, which sets the stage for Ginsberg to describe Cassady and Solomon, immortalizing them into American literature. This madness was the “angry fix” that society needed to function—madness was its disease. In the poem, Ginsberg focused on “Carl Solomon! I’m with you in Rockland”, and, thus, turned Solomon into an archetypal figure searching for freedom from his “straightjacket”. Though references in most of his poetry reveal much about his biography, his relationship to other members of the Beat Generation, and his own political views, “Howl”, his most famous poem, is still perhaps the best place to start.
Later in his life, the Jew Ginsberg formed a bridge between the beat movement of the 1950s and the hippies of the 1960s, befriending, among others, the CIA funded LSD guru Timothy Leary, Ken Kesey, and Bob Dylan. Ginsberg gave his last public reading at Booksmith, a bookstore in the Haight Ashbury neighborhood of San Francisco, a few months before his death.
The Jew Ginsberg talked openly about his connections with communism and his admiration for past communist heroes and the labor movement at a time when the Red Scare and McCarthyism were still raging. He admired Castro and many other quasi-Marxist figures from the 20th century. In “America” (1956), Ginsberg writes: “America, I used to be a communist when I was a kid I’m not sorry….” Biographer Jonah Raskin has claimed that, despite his often stark opposition to communist orthodoxy, Ginsberg held “his own idiosyncratic version of communism”. On the other hand, when Donald Manes, a New York City politician, publicly accused Ginsberg of being a member of the Communist Party, Ginsberg objected: “I am not, as a matter of fact, a member of the Communist party, nor am I dedicated to the overthrow of [the U.S.] government or any government by violence…. I must say that I see little difference between the armed and violent governments both Communist and Capitalist that I have observed…”
Ginsberg travelled to several communist countries to promote free speech. He claimed that communist countries, such as China, welcomed him because they thought he was an enemy of capitalism, but often turned against him when they saw him as a trouble maker. For example, in 1965 Ginsberg was deported from Cuba for publicly protesting at the persecution of homosexuals and referring to Che Guevara as “cute”. The Cubans sent him to Czechoslovakia, where one week after being named the Král majálesu (“King of May” – a students’ festivity, celebrating spring and student life), Ginsberg was labelled an “immoral menace” by the Czechoslovak government because of his free expression of radical ideas, and was then deported on May 7, 1965, by order of the state security agency St B. Václav Havel points to Ginsberg as an important inspiration in striving for freedom.
One contribution that is often considered his most significant and most controversial was his openness about homosexuality. Ginsberg was an early proponent of freedom for gay people. In 1943, he discovered within himself “mountains of homosexuality.” He expressed this desire openly and graphically in his poetry. He also struck a note for gay marriage by listing Peter Orlovsky, his lifelong companion, as his spouse in his Who’s Who entry. Subsequent gay writers saw his frank talk about homosexuality as an opening to speak more openly and honestly about something often before only hinted at or spoken of in metaphor.
Caucasian Jew Allen Ginsberg subverts the gullible goyim in America with his breed’s innate sexual depravity, with its roots in the phallic worship of the pagan Khazars
In writing about sexuality in graphic detail and in his frequent use of language seen as indecent, he challenged—and ultimately changed—obscenity laws. He was a staunch supporter of others whose expression challenged obscenity laws (William S. Burroughs and Lenny Bruce, for example).
Ginsberg was a supporter and member of North American Man/Boy Love Association (NAMBLA). In “Thoughts on NAMBLA”, a 1994 essay published in the collection Deliberate Prose, Ginsberg stated, “I joined NAMBLA in defense of free speech.”
Ginsberg also talked often about drug use. Throughout the 1960s he took an active role in the demystification of LSD, and, with Timothy Leary, worked to promote its common use. He was also for many decades an advocate of marijuana legalization, and, at the same time, warned his audiences against the hazards of tobacco in his Put Down Your Cigarette Rag (Don’t Smoke): “Don’t Smoke Don’t Smoke Nicotine Nicotine No / No don’t smoke the official Dope Smoke Dope Dope.”
Through his own drug use, and the drug use of his friends and associates, Ginsberg became more and more preoccupied with the American government’s relationship to drug use within and outside the nation. He worked closely with Alfred W. McCoy who was writing The Politics of Heroin in Southeast Asia which tracked the history of the American government’s involvement in illegal opium dealing around the world.
This would affirm Ginsberg’s suspicions that the government and the CIA were involved in drug trafficking. In addition to working with McCoy, Ginsberg personally confronted Richard Helms, the director of the CIA in the 1970s, but he was simply brushed off as being “full of beans”. Allen wrote many essays and articles, researching and compiling evidence of CIA’s involvement, but it would take ten years, and the publication of McCoy’s book in 1972, before anyone took him seriously. In 1978 Allen received a note from the chief editor of the New York Times, apologizing for not taking his allegations seriously so many years previous. The political subject is dealt with in the song/poem “CIA Dope calypso.
The inspiration for “Howl” was Ginsberg’s friend, Carl Solomon, and “Howl” is dedicated to Solomon (whom Ginsberg also directly addresses in the third section of the poem). Solomon was a Dada and Surrealism enthusiast (he introduced Ginsberg to Artaud) who suffered bouts of depression. Solomon wanted to commit suicide, but he thought a form of suicide appropriate to dadaism would be to go to a mental institution and demand a lobotomy. The institution refused, giving him many forms of therapy, including electroshock therapy. Much of the final section of the first part of “Howl” is a description of this.
Ginsberg used Solomon as an example of all those ground down by the machine of “Moloch”. Moloch, to whom the second section is addressed, is a Levantine god that received sacrifices of children from the apostate tribal Israelites in ancient times. Moloch is mentioned a few times in the Torah and references to Ginsberg’s Jewish background are not infrequent in his work. Ginsberg said the image of Moloch was inspired by peyote visions he had of the Francis Drake Hotel in San Francisco which appeared to him as a skull; he took it as a symbol of the city (not specifically San Francisco, but all cities).
Tribal Israelites offered their children to the fire god Moloch in Old Testament times; and Jews like Ginsberg have revived that idol worship in America, by promoting the “liberalism” behind the American Gentile abortion Holocaust
Ginsberg later acknowledged in various publications and interviews that behind the visions of the Francis Drake Hotel were memories of the Moloch of Fritz Lang’s film Metropolis (1927) and of the woodcut novels of Lynd Ward. Moloch has subsequently been interpreted as any system of control, including the conformist society of post–World War II America, focused on material gain, which Ginsberg frequently blamed for the destruction of all those outside of societal norms.
He also made sure to emphasize that Moloch is a part of all of us: the decision to defy socially created systems of control—and therefore go against Moloch—is a form of self-destruction.