The highlight of Thursday’s protest against Gavin McInnes’s appearance at New York University was a woman who screeched at the police:

Who’s protecting NYU from this bulls**t? Why are you here? You’re not here to protect these students from Nazis. No, you’re not! This is completely f***ed up. And these students had to f***ing face them on their own. You should be ashamed of yourselves! You should be standing up to those Nazis! You should be protecting students from hate! This is hate! These are f***ing assholes . . . you are a joke. You’re grown boys! You’re grown boys . . . and I’m disgusted! I’m a professor! How dare you! How dare you f***ing assholes protect neo-Nazis? F*** you! F*** you! F*** you! These are kids who are trying to learn about humanity! They’re trying to learn about human rights and against racism and xenophobia and LGBTQ rights, and you’re letting these f***ing neo-Nazis near here! You should kick their ass! You should! You should be ashamed of yourselves! You should! F*** that s**t. F*** that s**t. It’s not up to these students to kick the ass of a neo-Nazi! They don’t have to raise their fist! They were taught to be peaceful! F*** you! F*** you. I’m a professor. God f***ing damn it … you’re here to protect neo-Nazis! So f*** you! God f***ing damn it! Those kids should not have to take fists up to neo-Nazis, and you’re putting them in that situation! Go to hell. F*** you NYPD!

Click here to watch the video of her unhinged meltdown.

In case you lost count, that was 16 F-bombs in less than two minutes, and she twice identified herself as a professor, prompting curiosity as to whether she taught at NYU and what subject. However, online investigators say she is in fact an artist named Rebecca Goyette, an adjunct professor at Montclair State University in New Jersey.

Professor Boyette’s online biography:

Rebecca Goyette creates persona-based works that poke holes in Puritanical sexual mores. . . .

Situated within a largely queer, fantasy paradigm, her work is able to embrace a fruitful multiplicity of sexual desire and engage a panoply of non normative gender roles. . . .

For Goyette, sex is one gateway into the rich territory of psychology and human interaction, into the remotest ranges of the subconscious mind.

Well, her subconscious mind is definitely a non-normative panoply, eh?

Works in Professor Goyette’s “queer, fantasy” oeuvre include “Lobstapussy,” “F–k Platter,” “Ghost Bitch” and “Masshole.”

It appears that “non-normative” is a synonym for crazy and, if you suspect that Professor Goyette’s mental illness is hereditary, you might not be surprised to learn that she claims to be the descendant of a woman who was hanged as a witch in Salem in 1692:

Goyette, haunted by the horrific tale of her ancestor’s death, has long dreamed of making an artwork in her honor. Her summer exhibition at Freight and Volume marks the realization of said dream. Of course, as those familiar with Goyette’s radical feminist practice might have anticipated, this will be no orthodox tribute. Rather, to honor her martyred ancestor, Goyette made a pornography. . . .

The Salem witch trials, Goyette explained in an interview with The Huffington Post, were fueled, above all else, by an erratic hatred and fear of feminine power. A panic had spread amongst the Puritan pilgrims, who became suspicious of sexuality, empowerment, and the other, leading little white men in tall black hats to accuse over 200 individuals of witchcraft, when their only crime, much of the time, was standing out.

Though the trials officially ended in 1693, the odious assumptions that permitted them still persist today, manifested in various forms of sexism, xenophobia and racism. “Donald Trump is the perfect pilgrim,” Goyette said, “he’s spewing all kinds of hate. He has the freedom to do whatever but he imposes arbitrary rules onto everyone else.”

Goyette believed the best way to send a big “f–k you” to pilgrims past and present, who go to wildly unconscionable lengths to silence otherness in all its forms, was to make an irreverent, nasty, hilarious, empowering feminist porno.

How many times must we refute this feminist myth of witchcraft as “empowerment”? After feminists seized upon this theme in the 1970s, they enjoyed several years of unimpeded myth-making, with Mary Daly, Andrea Dworkin, Barbara Ehrenreich and others cobbling together a narrative composed of a cherry-picked selection of fact woven together by theories of women’s intuitive nature and male oppression. Feminist “research” included picking through 19th-century works by such authors as the anti-Catholic French writer Jules Michelet (La Sorcière, 1862) and the anti-Christian suffragette Matilda Joslyn Gage (Woman, Church and State, 1893). Michelet was the primary source of the claim that witches were skilled practitioners of the healing arts, possessed of an arcane knowledge of herbal medicine, who were wrongly persecuted by an envious Catholic hierarchy. Gage was the source for the claim that 9 million women were killed during three centuries of witch hunts. There is no actual evidence for Michelet’s claim, however, and reputable historians now estimate the actual number of witchcraft executions in Europe as 100,000 or less, and at least a quarter of the victims were male, so that Gage’s number was a 90-fold exaggeration.

Unfortunately, by the time serious scholars began debunking these feminist claims in the 1990s — I highly recommend Ronald Hutton’s The Triumph of the Moon: A History of Modern Pagan Witchcraft — the mythology of the witch as an “empowered” woman had acquired a vast bibliography produced by Women’s Studies professors. Long on theory and short on facts, this ideological myth-making had taken root in academia, so that every October, we find journalists cranking out Halloween-themed articles that recycle the feminist witch narrative.

This is not merely coincidental to Rebecca Goyette’s insane rage. Her “art” is a sort of pornographic “queer, fantasy” cosplay, with her “non-normative” expressions of perverse sexuality intended to challenge the alleged misogyny and “puritanical” fear of sex that are peddled as historical truth by the feminist witchcraft myth:

Goyette addresses the seeds of hatred and fear that have prevented America, in her opinion, from becoming truly great. She does so in a feminine language all her own, where trauma and desire are not mutually exclusive, but wound up in the same, messy psychosexual playground.

As I explained last April: “Feminists have long understood, far better than most of their opponents, that destroying Christianity is necessary to feminism’s success.” This project seeks to impose on society a new feminist “morality” that is a neo-Gnostic inversion of scripture:

A blasphemous denial of God’s sovereignty and righteousness, Gnosticism rejected the idea of Original Sin and thus rejected also the significance of Christ’s atoning sacrifice. If humans are sinless, we need no Savior, and what is necessary instead is for humans to get in touch with their inner divinity, to “become part of the universal whole by a process of self-knowledge and self-realization,” as Professor Peter Jones explained in his 1992 book The Gnostic Empire Strikes Back: An Old Heresy for the New Age.

Making “self-knowledge” the basis of religious truth, of course, is entirely consistent with the feminist claim that “the personal is political.” The result of this self-obsessed worldview is not only Rebecca Goyette’s obscene adventures in the “messy psychosexual playground,” but also her shrieking irrational rage toward Trump supporters.

In February 2016, Professor Goyette produced “Trump/Palin Performance Art Rally,” a work of political obscenity, and her partner in that performance, artist Brian Andrew Whiteley, subsequently produced a Donald Trump grave stone in Central Park, which earned Whitely a visit from the Secret Service, and also, free publicity.

Did I forget to mention that Professor Goyette’s “Ghost Bitch” exhibit included her fantasies of castrating a certain Republican?

A highlight of the exhibition, the video aptly entitled Ghost Bitch U.S.A., couples Ghost Bitch with none other than misogynistic, fear-mongering (presumptive) Presidential candidate Donald Trump. We see Trump bound to a tree, allowing Ghost Bitch to have his way with him, ultimately leading up to his castration.

“Fear and Loathing of the Penis” is, as I have said, the psychological inspiration of feminist ideology and, also, bad feminist art.







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