385 "Kill all the men and marry all the women". Hollywood's Homosexual Mafia - Luke Ford

"Kill all the men and marry all the women". Hollywood's Homosexual Mafia - Luke Ford

(1) & (2) Why women lose desire for sex
(3) Spencer Wells on the Genetic record: a few men did most of the mating
(4) First Contact in the Amazon: "Kill all the men and marry all the women"
(5) Mums-to-be rethink Caesareans; Babies being fed junk food in OZ
(6) Hollywood's Homosexual Mafia - by Luke Ford

(1) Why women lose desire for sex

From: Fredrick Toben <toben@toben.biz> Date: 05.10.2010 08:12 AM

NOT A PROBLEM:

If men are not grooming themselves and have, for example, dirty fingernails, any woman who desires a togetherness would naturally shy away from such men - rightly so!

(2) Why women lose desire for sex

From: Max <Max@mailstar.net> Cc: hollyavila@aol.com Date: 06.10.2010 09:19 AM

> I can tell you easily why women lose desire for sex. Men don't know how
> to keep us interested. For one, bossing us around or criticizing us all
> day will kill libido at night.

What a boring woman !!!

We create our own environment and mood. We are responsible for the world in which we live. It is not a man's duty to keep a woman interested but the other way around. If a plant does not flower, it cannot attract bees.

Marriage is a invention of the religion. Mankind lived prior to that tribal in typical groups of 50odd people. A new member to this group was always welcomed by the gen-pool and the outcome of it was brought up in the group. The inventors of our religions introduced marriage under the concept of 'divide and rule' and made both weaker. FUCK stands for 'fornication under consent of king' as until 200 years ago it was common that the first night of a bride was optional to her Lord. Perhaps this gave sex something secretive or forbidden in society and why many woman don't naturally enjoy it as men do - perhaps it was the fear of losing the exclusive provider in a non-tribal life. In anycase this weakening process was accelerated with the emancipation/womans lib.

Prior emancipation a women's role was different as she could be still chose to be woman. Today's role model for woman is to be equal to men and hence they attract criticism when they fail. In fact they mostly don't get criticized as the world settles simply for a lower standard. There is no equality in nature and particularly not between men and woman. Woman are right brainers, while men are left-brainers and would match each other perfect if they focused and excelled in their fields.

To 'fake routin sex' as she said shows that this woman has no clue what she is talking about. Her husband got cheated as he got married to a non-flowering plant. She probably looked like a woman and acted like a woman but tries to be otherwise a man and if she does not get the recognition as such, she puts the blame on him.

This wrong upbringing shows emotional in the brain as a CT brainscan clearly reveals. Changes reflect in the estrogen/testrogen production by both sexes and hence trigger personality changes. The 'New Medicine' can explain those changes and the NLP can - with the help of clinical hypnosis - even correct those changes - if desired. But which middle aged woman wants to become a real woman after never really having been one in the first instance. To her sex is spending time with her 'battery operated spare man' in her little self-contained world, while more and more men feel forced to seek real woman and often enough mistake this with sex.

Comment (Peter M.):

Flowering and reproducing are done at relatively young ages. Holly is talking about long relationships, where the initial exurberance has worn off.

Of course, it's not only men who criticize women; it happens the other way too.

Marx and Engels believed that, prior to the development of Civilization - which they called Class society on account of its stratification - there had been Primitive Communism.

Anthropologists' studies of tribal society did find them more equal.

But Geneticist Spencer Wells says that the Genetic record shows that a few men did most of the mating. Most women get to have children and pass their genes on, but a much smaller proportion of men do. It's no so different from herds of wild animals, or farm animals, or chickens/chooks in the back yard.

In part this is because primitive men kill other men and acquire their wives. They have no qualms about it.

Such behaviour is described from first-hand observation in a sympathetic book about the Kreen-Akrore, one of the last wild hunter-gatherer peoples of the Amazon rainforest in Brazil. It's recorded in The Tribe that Hides from Man, by Adrian Cowell.

This book tells the story of those who made first contact, and guided these Indians through a transition phase. The Kreen-Akrore have been now saved from extinction, have been brought into the modern world, and are claiming indigenous rights. They are known today as the Panara: http://en.wikipedia.org/wiki/Panar%C3%A1.

(3) Spencer Wells on the Genetic record: a few men did most of the mating

Spencer Wells is a geneticist and anthropologist, an Explorer-in-Residence at the National Geographic Society, and Professor at Cornell University. He leads The Genographic Project: http://en.wikipedia.org/wiki/Spencer_Wells

Deep Ancestry: Inside the Genographic Project

by Spencer Wells (2006)

{p. 159} In a paper published in 2000, more than 13 years after the discovery of Eve, Underhill, Oefner, and 21 others (myself included) described the clearest view yet obtained of our common male ancestor. ... It also showed how recently our common Y-chromosome ancestor lived - only 60,000 yars ago.

The date was stunningly recent, since it revealed that all of the Y-chromosome diversity in the world had been generated in that comparatively short amount of time. We were surprised because it differed so much from the date for Eve. If she lived 170,000 years ago, and Adam lived 60,000 years ago, that's a long time to wait around for your mate to show up. Where were the men 170,000 years ago?

The reason we don't find male lineages coalescing at the same time as Eve is because of early human sexual behavior. In most traditional societies, a few men do most of the mating - think of chieftains and warlords, for instance. Some men never get to have children, while others have more than their fair share. This is known as the variance in reproduetive suceess, and it is higher for men than women, which means that women have more equal opportunities to have children. Since women are passing on their mtDNA, the result is that - in general - mtDNA

{p. 160} lineages have a more equal chance of being passed on to the next generation than Y-chromosome lineages. This behavioral quirk tends to reduce the elective population size of the Y chromosome, since not every man will pass on his Y, while most women will pass on their mtDNA.

{end} More from Wells at http://mailstar.net/wells-genetics.html.

 (4) First Contact in the Amazon: "Kill all the men and marry all the women"

 The Tribe That Hides From Man

by Adrian Cowell

With a new preface by the author and epilogue by Stephan Schwartzman

Pimlico, London, 1995

{p. 181} So it went, to and fro, round and round, but without any physical contact, and therefore without any sense of reality. For a whole period of six weeks, not a present was taken; and then, quite suddenly, every present in the second village disappeared. The Kreen-Akrore had accepted what was for stone-age man the gift beyond price — a dozen steel axes. The same labour would now produce for them a fivefold increase in plantations, and, therefore, food. And in this sense, steel is the opium of the jungle. Once stone-age man has learnt to use it, he can never be without it again.

 {p. 93} "The Kreen-Akrore are hard," he said with feeilng. "Truly hard." And he went on to describe thdr attitude to prisoners.

In the jungle, women are the deciding factor in war. If you capture the wives, you not only eliminate your enemies' battalions of the future, but, with a little application, can double your own force in a generation. And so most Indian raids are for women, and this serves the — unconscious — purpose of bringing new genes into an isolated group. For instance, when Orlando and Claudio contacted the Txukahamei, they had found half a dozen white captives, and roughly a dozen children taken from other tribes. The white women had taught the Txukahamei to load and repair their captured guns, and thus, for tribes isolated in the jungle, captives represent a vital window on the outside world. That window the Kreen-Akrore had closed.

They killed all women and children at the site of an ambush, and the Txukahamei said this was why they had never learnt to use guns taken from Txukahamei bodies. In addition, Kreen-Akrore adults refused captivity. On their last successful raid, the Txukahamei had caught four Kreen-Akrore women in a plantation. Two had struggled so much that they were clubbed on the spot, and the other two were virtually carried back to the village. There, they lay down on their mats and killed themselves by starvation. Amongst Amazonian Indians this was a quite exceptional demonstration of self-will, and as the stories of the Txukahamei continued, our portrait of the Kreen-Akrore began to acquire something of an unusual, even a twisted, cast.

{p. 68} "Look round this camp," Claudio said, "and you will see Indians are more loving than we are. But the expression of their love is confined to the limits of this society. They cut a hole in the wilderness to contain their family, but outside this camp is the jungle where they kill meat for food, bamboo for arrows, leaves for their beds. Killing is the essence of forest existence, and if you stopped it, the forest and the Indian would die. Within the Indian mind there is a complete division between the duties within the group, and the absence of duty in the land of killing outside."

In Claudio's opinion, what ciilizados found hardest to accept was that just as the Txukahamei killed parrots for feathers, so they killed white men for guns. It was shocking that man, as man, had no greater right to life than an animal.

"But it was so for the Greeks and Trojans. In fact, the first to extend the love and duties from within the Jewish tribe to

{p. 69} all the world was Christ. And he was helped because the Romans had already extended citizenship from the Roman tribe to an empire, and thus widened the idea of society. How could Indians, who had never known strangers, who had not the remotest concept of an empire, be expected to have such ideas?

"Bringing civilisation is not teaching to read or write," Claudio went on. "It is widening the Indian's boundaries to indude our own — books and tractors are merely by-products of this. You must have heard the missionaries saying that I tell Indians to kill white men coming into the Parque. And it is true that I do not say it is a sin to kill, because that is meaningless to an Indian. What I say is, 'Look how small your tribe is today. Isn't it stupid to kill a fellow tribesman just because he has beaten your child?' Then, a few years later, I say, 'Look how many white men there are. They surround you everywhere. Isn't it stupid to kill Indians from other tribes when you are so few and your enemies are so many? Who will you dance and marry with when the other tribes are finished?' Finally I try to protect the white man, but I have to do this cautiowly. Every Indian knows the white are shooting, raping their women, stealing their land and bringing disease. So when skin-hunters and prospectors invade, I say, 'Yes, they are invading your land. And yes, your law is to kill. But if you kill, then other white men will avenge, and their chiefs will make it difflcult for me to help you. So it's better just to bring the invaders to me, and I will send them away.'

"In each case," Claudio ended, "we are widening the frontier of killing, extending the area of rights and duties. And you will see that is what our expedition to the Kreen-Akrore will be about."

{p. 62} The astonishing thing was that what was certainly the most feared tribe of Xingu, the slaughterers of entire villages in the past, had not touched a single Indian from another village since their settling in the Parque. They still killed invading prospectors and skin-hunters, but the Txukahamei had somehow widened and deepened their consciousness of the group to cover

{p. 63} all the tribes in the Parque, and even the civilizados brought in by the Villas Boas brothers.

{p. 186} Since the first Europeans came to the Americas, from La Casas to Mahal Rondon, there have always been civilizados who were genuine friends of the Indians, fighting to protect them. Yet, despite them, the Indians have died at an appalling rate. The idealism of Rondon's group of officers cannot be doubted, but in the crude light of hiatory, was not the bloodless acquisition of Indian land the final result of their heroism? And was it not at their Posts that the Indians were exposed to disease, without sufficient medicine to fight the disease? Once, when I had asked Rauni what the Txuahamei would do if they found a group of primitive women in the jungle, he had said:

"Kill all the men and marry all the women."

What I now suspected was that we followed this evolutionary technique, but that our principles made it hard to speak of it with the honesty of Rauni. After all, how could we mount a humanitaIian crusade to develop the jungle of Cachimbo in order to feed the poor, if this meant killing innocent Kreen-Akrore? And could a world civilisation, expanding across the globe to draw all men into a universal brotherhood, have as its by-product the slaughter of Indians? Perhaps it was the unconscious solution of our race to proceed with the ruthlessness of all evolution, but to send other civilizados to work against it — assuming that not enough men, and not enough resources, were sent to male any difference. In which case our expedition was little more than a ritual act to salve the conscience of society, as the Kreen-Akrore were robbed of the basis of their existence.

This is an extreme presentation of only one side of the case. But in the jungle, in the rain, it was the reason for confusion, or at least uncertainty, in my mind. I also suspected that something of this sort eplained Orlando's occasional outbursts of great bitterness.

{endquote} Not bad for a book I bought for 20c at Bundaberg rubbish tip.

(5) Mums-to-be rethink Caesareans; Babies being fed junk food in OZ

From: Tony Ryan <tonyryan43@gmail.com> Date: 05.10.2010 08:29 PM

> In a baby boom mums-to-be rethink caesareans

Caesarian births are more likely to discourage bonding, which is critical in the baby/mother relationship. But women who have their first baby after thirty have missed their best years for mothering and birthing. Moreover, if this was a deliberate decision, it suggests their values and priorities will be in conflict with the demands of parenthood, and the needs of the infant.

Breast-fed babies do not need solid foods before six months of age, and even then, this should be restricted to mashed vegetables, avacardo, and egg yolk, unsweetened porrige, and similar quality of foods in the first year. The emergence of several teeth heralds more chewable formats. Junk food of any kind should not be fed to babies or infants. It is the opinion of many midwives and early childhood practioners that parents who regularly feed babies and infants soft drink and junk food should be regarded as guilty of child abuse.

Even the use of canned or jar baby food should be avoided except for emergency situations, due to the likely trace-presence of GM components, the inclusion of which is not prohibited in Australia. There is an element of food science that regards use of plastics for baby food, or the use of microwave cookers, as equally perilous. Fruit is good whereas fruit juice is not, and can predispose to later obesity and diabetes.

(6) Hollywood's Homosexual Mafia - by Luke Ford

Hollywood's Homosexual Mafia

Luke Ford

Luke Ford is a convert to Judaism, who has ran porn gossip websites: http://lukeford.net/blog/?page_id=10 and http://en.wikipedia.org/wiki/Luke_Ford

This article is undated, but was uploaded by September 25, 2002

http://www.lukeford.net/essays/contents/homo_mafia.htm

Hollywood's "gay mafia" or "velvet mafia" or "lavender mob" has long been the subject of gossip, with occasional blips into the mainstream press.

Terms such as "Gay mafia" refer to a group of powerful homosexuals who exercise extraordinary influence in the entertainment industry.

"Gay mafia" is not a term used publicly or within polite company. It's not something we're supposed to talk about it. To do so, according to conventional wisdom, is to engage in homophobia or paranoia. It is the moral equivalent of anti-Semitism.

The arts community has long had a disproportionate number of homosexuals and Jews. More than half of the leading power brokers in Hollywood are Jewish, and about a third of the powerful are homosexual, including David Geffen, Ray Stark, Calvin Klein, Aaron Spelling, Steve Tisch, Barry Diller and agent Sandy Gallin. This creates an atmosphere conducive to pushing "gay rights" and inimical to "gay bashing."

In his 1999 book "Tabloid Baby," Burt Kearns, former managing editor for such tabloid TV shows as A Current Affair and Hard Copy, writes about the clash between his Australian tabloid buddies and Fox's head at the time, Barry Diller and his "Velvet Mafia."

To Diller, "the Aussies were unwashing homophobic ruffians... Hollywood was a place where untold secrets unfolded in the back of limousines and behind the walls of cloistered mansions, where rubber sheets covered priceless bedspreads...

"The manly men from Down Under had little reverence for the pampered poobahs of screenland and the secrets they held. They laughed at the Diller crowd and their fancy-pants airs. To be blunt, the Aussies regarded Barry Diller and many of his young male executives to be gay, and the Aussies referred to gays as "poofters." Diller... hated A Current Affair ..."

A Current Affair planned to do a story claiming that homosexual Cary Grant was straight. Their ad, written by Greg Snead, read: "Cary Grant: No More Fairy Tales."

Diller phoned: "The...word...fairy...makes...my...BLOOD...BOIL!"

Diller cancelled the entire month of A Current Affair's TV Guide ads and demanded to see copies of every promotional item Greg Snead had written in the past two years. (Tabloid Baby, pg. 46)

Kearns hired homosexual Paul Nichols, to directed a pilot of FUNY, as in F--- You New York. Paul couldn't understand a heterosexual funny bit with a beautiful woman doing a US weather map while wearing a spandex miniskirt.

Gordon Elliott read his script as sportcaster Adrian L. Adrian in a lisping effeminate voice of the stereotypical Aussie "poof." Paul got mad and walked out of the control room. Everything stopped until Elliott agreed to read it "straight." (Tabloid Baby, pg. 112)

Spy magazine published Mark Ebner's controversial essay on the gay mafia in its June 1995 issue. For years afterwards, Ebner was blackballed in Hollywood. It was not until about 1999 that he started selling scripts again.

From Taki's column in the 3/7/00 NYPress.com:

I’m not at all surprised to read that Hollywood is dominated by a Velvet Mafia of rich homosexuals who demand sexual favors in return for work in the movies. In fact I would have been surprised if it were the other way round. Those old Mittel-Europa Jews who ran Tinseltown in its heyday established the casting-couch practice long ago; but, as they say, at least they did it with style and with the opposite sex. ...

But what bothers me is not the bestiality and arrogance of the Velvet Mafiosi. It is the message they send out through their movies. American Beauty, for example, is said to be a well-made film–I haven’t seen it–that will probably win many Oscars, but carries a subliminal message against the family. (Geffen, as rumor has it, is supposed to have been thrilled that in the movie a homophobe father beats up his son when he suspects him to have had a gay affair with Kevin Spacey’s character, and even more thrilled when it is later revealed that the homophobe was actually a repressed gay.) Geffen, of course, denies there is such a thing as a homosexual cabal, and, typically, charges anti-Semitism. ...

Which brings me to the point I wish to make. Political correctness is the best way the left has to stamp out thought it doesn’t agree with. As the Spectator of London wrote recently, "If it’s impossible to say or write certain things, then it becomes impossible to think them and conformity is guaranteed for ever and ever." George Orwell’s 1984 is alive and thriving with p.c., except that this time it’s for real.

What the left and its p.c. adherents have managed to do is to turn everyone who is not mainstream into a persecuted racial minority. As Paul Craig Roberts (the best columnist by far) pointed out in the John Rocker case, "Bud Selig thinks that kids with purple hair, repeat felons, welfare moms and homosexuals with AIDS are ‘ethnicities.’" Selig, in his haste to please the politically correct, misinterpreted Rocker’s remarks. Most kids with purple hair are white, not black, and repeat felons are criminals, not a racial classification. There are many white immigrants who don’t speak English–as in Russians–but try to explain this to p.c. commissars. Geffen and his ilk know all this. Ergo the anti-Semitism defense.

Hollywood has never exactly been a moral place, far from it, but until the 60s and 70s it preached a hell of a moral lesson. God, the family, patriotism, even Mom were sacrosanct. Now it’s the exact opposite. Criminals are sympathetically portrayed, cops always negatively; people who think same-gender sex is wrong are fascists; businessmen are all crooks, while crooks are nice and quaint; drug-takers are cool, drinkers are fascist bullies. Well, you get the point. AIDS ribbons are in, while battle decorations are a real no-no. HIV, like lung cancer, is a lifestyle disease, but HIV carriers are celebrated in the manner winners of the Congressional Medal of Honor used to be.

It is a topsy-turvy world, Hollywood, and I can’t wait to read Tom King’s book. In the meantime, don’t hold your breath before the Geffen spin machine, in cahoots with such Clinton flacks as the grotesque Geraldo Rivera, go to work on the author. After all, if a phony like Jeffrey Toobin can demonize Starr and acquit Bill Clinton, think what his kind can do in defense of the ghastly Geffen. ...

The word "outing" refers to the publicizing of a person's homosexuality. "Outing" as in "out of the closet." "Outing" became widely used during the 1990s.

Michelangelo Signorile, author of "Queer in America: Sex, the Media and the Closets of Power," is one of the leading advocates of "outing." But the outing pioneer is San Francisco Chronicle homosexual columnist Armistead Maupin who "outed" actor Rock Hudson.

"When I came out of the closet (in 1973), I came to the revolutionary conclusion that there was nothing wrong with being gay and that included everyone else as well," Maupin told the LA Times. "It became clear to me that the only way to lift the onus was being as matter of fact about it as I possibly could. I've never accused anyone of being gay because I don't think it's worthy of an accusation."

After Hudson, the next celebrity revealed to be homosexual was publisher Malcolm Forbes. A month after Forbes' death in February, 1990, Signorile wrote a cover story for the now-defunct magazine Outweek, "The Secret Gay Life of Malcolm Forbes."

Rolling Stone publisher Jann Wenner was written up in early 1995 for taking up with a male companion, following Wenner's divorce. ...

Homosexuality can also be a common bond in an industry where contacts and information are everything. Everyone knows Hollywood is a "boy's club," meaning straight men run it, but even if the straight boys don't accept someone, there are plenty of gays and lesbians to bond with, and there has even arisen, in the media, a phrase, "the gay Mafia." It's a term one reads in the press but one seldom hears it in the business. It's a sneaky, double- edged coinage.

On one level, "gay Mafia" pays homage to the supposed "gay power" in Hollywood, but on the other it makes that power seem sinister. One of the unspoken implications of "gay Mafia" is that gay actors are sleeping their way to the top with gay executives. "I don't know if it's to the top, but there are many who have slept their way to the middle," Leed says.

It's nothing new. Gore Vidal's recently published memoirs report that way back during the making of "Rebel Without a Cause," Sal Mineo was fooling around with the director Nicholas Ray. Ray had been married to Gloria Grahame, an actress who specialized in dangerous allure and played the town tramp in "It's a Wonderful Life." She also turns up in "The Celluloid Closet," getting a massage from a big, mannish masseuse in a scene from "In a Lonely Place," also directed by Ray.

Hollywood's Heterophobia

I found this article by Daniel Jeffreys in the 4/1/00 Daily Mail.

AT THE start of the film American Beauty, Kevin Spacey's character, Lester Burnham, says: 'In a year, I will be dead' - and by the movie's end, he is, killed by his repressed homosexual next-door neighbour. In the meantime, his middle-class life implodes as he falls in love with his teenage daughter's best friend and his wife finds comfort in the arms of a reptilian estate agent. We are left feeling that suburbia is a hellish place where happiness will for ever be absent.

Everyone in the film is explosively dysfunctional, except for the Burnhams' other set of neighbours, an affluent gay couple who float through the mayhem with disarming serenity.

To some, the film is a thought-provoking lesson in the importance of not taking stereotypes at face value and of seeking out the joy and wonder we otherwise take for granted in modern life.

To the more sceptical, its main mesage seems clear: if only we could all be gay and out of the closet, we would be happy. The flip side to that message is that, as heterosexuals, we are doomed to unhappiness and strife. If we are lucky, the best we can achieve is manic depression. At worst, we will be murdered by some causality of heterosexual deviancy.

The film that dominated the Oscars is a triumph of dark cynicism with some wonderful acting and direction, but I believe that it was only made because of what I call its 'heterophobia' - the systematic denigration of heterosexual lifestyles - that has become part of the Hollywood mainstream.

American Beauty is heterophobia's propaganda masterpiece.

Its sweep of the Academy Awards' top categories thrilled Hollywood's gay community, who have been trying to prove for a long time that heterosexuality is a sad form of sexual dysfunction.

American Beauty is now regarded as a classic in the same mould as The Graduate, but far more interesting are the characters behind the movie and the agenda they hope to promote.

In the Seventies, homosexuals had legitimate grievances. They were persecuted for their sexuality and discriminated in ways that were repellent.

THE GAY rights movement that became increasingly vocal in the Eighties won deserved new freedoms for homosexuals.

Nobody should be persecuted for their sexuality, except those who prey on young children.

Yet at some time in the past ten years, a new theory gained currency among gays, especially in the entertainment business. This held that heterosexuality was a curse to be denigrated and mocked wherever possible, and that gays could never win the power they craved in society without undermining heterosexuals whenever possible.

At the same time, gays who held this view began agitating for homosexuality to be accepted as a form of behaviour on a par with heterosexual activity.

This was to be done in two ways.

On the positive front, these radical gays argued that homosexuals should be entitled to get married in the same way as heterosexual couples, and that schools should teach about gay sex as if it were no more normal or abnormal than male-female intercourse.

Academics began writing papers arguing for gay parenting, using statistics to suggest that children of gay couples had no more emotional problems that the average child of a 'straight' family.

On the negative end, gays began countering undesirable images of homosexuality - such as the spread of Aids - with a bleak picture of what they derisively called 'straight sex'. Lesbians began affirming that any woman who had a sexual relationship with a man must, at some point, submit to rape.

Workplace behaviour, such as mild flirting, once regarded as innocent, was lumped together with flagrantly intrusive and unacceptable advances, and all of it labelled 'sexual harassment'.

The point of this exercise was to demonise normal heterosexual behaviour, and to make the ordinary rituals of attraction and relationships seem aberrant, so that gays could advance their own cause by claiming 'straights' led lives that were much worse than theirs.

Along the way, sexual harassment law, and the industry which has developed around it, distorted from a sensible set of safeguards into something which could be used to attack heterosexuality at its roots, effectively conveying the idea that a heterosexual male was inherently dangerous and needed to be constrained by Draconian laws just as bars might hold back a rabid tiger.

Into this picture enter the men responsible for American Beauty, who must be stunned that their insidious attack on heterosexuality has not only become an Oscar-winner but has broken box office records.

The screenwriter, who won an Oscar for Best Screenplay, is Alan Ball. He grew up in the American South, in Georgia.  ...

LONG before it became an Oscar hit, Ball's script was picked up by Dan Jinks and Bruce Cohen, who eventually produced the film and were on stage last Sunday to collect the Oscar for Best Picture. ...

Given their Out There affiliation, Jinks and Cohen knew just where to take the American Beauty script to get it made - to fellow Out There sympathizer David Geffen, Steven Spielberg's partner in Dreamworks.

As, The Operator, a new biography of Geffen makes clear, Geffen is a predatory homosexual who has devoted considerable energy to projects that target heterosexuality.

He is allegedly the main force in the Velvet Mafia, a loose association of powerful gay men who use their influence in Hollywood to advance gay issues.

Sources say Geffen has frequently changed scripts if they seem to be too sympathetic towards heterosexual love or if they show any hint of antipathy towards gays.

In 20 years of filmmaking, Geffen has become infamous for making or breaking careers based on whether the people involved are gay and willing to be part of his extremely active sex life.

His summer parties at Fire Island, a gay resort 30 miles outside Manhattan, are legendary as the place the Velvet Mafia meet to indulge in extraordinary bacchanals.

HIS GUEST list begins with designer Calvin Klein and includes other Velvet Mafia members such as Barry Diller (who helped create The Simpsons), George Michael and Sandy Gallin, the super-powerful talent agent who discovered Madonna, Tom Cruise and Julia Roberts.

In recent years, several guests at Geffen's Fire Island house have described weekend-long orgies, fuelled by drugs, at which Geffen and his powerful friends ran a 'meat market', selecting young men for either sex or stardom.

'If you weren't incredibly handsome and well-built, there was no way you would get in,' says a New York movie agent who has been to several Geffen parties. 'Dress was minimal or nonexistent, and Geffen would prowl with his friends, squeezing men like they were cattle.'

When Jinks and Cohen took American Beauty to Geffen, the billionaire producer was ecstatic.

He rushed the script through the approval process - virtually unheard of for a screenplay by a writer with no previous movie hits - and maintained a close personal interest in casting.

Geffen, Jinks, Cohen and Ball all attended half a dozen Oscar parties after the triumph of American Beauty. One producer who is close to Ball said they had good reason to be happy.

After all, he said, they have created a film that is both a masterpiece and the most corrosive satire of heterosexual life that has ever made $100 million from the very people it vilifies.

And that is the hard truth about American Beauty. It exists and triumphed because, for some gays, it is not enough to win civil rights and equality of opportunity.

They want more: a society in which heterosexuality is so condemned that homosexuals can win any increases in power they might choose. ................

Camille Paglia writes 5/26/99 in Salon.com: Would an admission of gayness hurt a young male singer's career? Of course it would: This junior Adonis type requires the electric charge produced by the mass projection of adolescent girls in erotic hysteria. Elton John, after his sham marriage, could afford to be openly gay because he caricatured himself as a sad-sack clown, crying through his sequins. Pretty boys, with their androgynous glow, have a more direct and dangerous sensual appeal. If Ricky Martin turned out to be just another buff gay clone, he'd cut himself off at the knees as an international artist. Current gay male culture is too shallow to provide the kind of psychological development that a performer needs.

'Gay Mafia' Takes Over Control of Hollywood

by Paul Richert (from the May/June 1995 issue of The Nationalist Times)

If you're wondering why homosexuals have skyrocketed in recent years to join blacks and feminists at the top of liberalism's hallowed list of "minority groups" entitled to special rights and privileges, look no further than Hollywood --- Tinseltown is controlled these days by the "Gay Mafia." The Gay Mafia is dominated by three individuals --- Sandy Geffen, Barry Diller, and Sandy Gallin. Geffen is a billionaire mogul who has recently joined forces with Steven Spielberg and Jeffrey Katzenberg to start "Dreamworks," a new studio which may well come to surpass all the other studios, given the resources and clout of its partners.

An expose of the Gay Mafia in the May/June issue of Spy magazine by Mark Ebner states that Geffen "can end a career with a phone call." Geffen "married" Bob Brassle, a Warner Bros. vice president, at an est outing, in a ceremony replete with wedding bands. But Geffen is known for sleeping with countless male Hollywood executives and actors.

Diller is another superrich Hollywood executive. Ebner calls Diller the "smartest don in the Mob," noting that he has made "gods" out of those loyal to him --- people like Michael Eisner, Katzenberg, Peter Chernin, Sherry Lansing, and Dawn Steel, among many others. Although Diller still refuses to publicly acknowledge his homosexuality, according to Ebner he was known for cruising the dorms at UCLA and holding homosexual parties.

Gallin is a 54-year-old agent, manager and TV producer. According to Ebner, Gallin has had more plastic surgery than Michael Jackson, in an effort to perpetually look like a 30-year- old.

Beyond the three "dons" of the Gay Mafia, there are of course many film executives, agents, and actors --- and the mafia acts in concert to protect each other and their images. Agent Steve Dontanville was sued by a man for sexual harassment, but the mafia has kept the story hushed up. Another agent, Scott Zimmerman, was caught having sex with his male personal trainer in his office at the same time he was divorcing his wife. Zimmerman did not receive so much as a reprimand.

The Spy article notes that "straight agents, or any mid-level industry powers for that matter, would have --- and have been --- fired, blasted in the trade press, and sued for such indiscretions." A very powerful agent was Stan Kamen, employed by the William Morris agency, who died of AIDS a few years ago. His clients included Barbra Streisand, Steven Spielberg, Robert Redford and Goldie Hawn. About his homosexuality, "[T]he straight guys who came off his desk idolized him, and wouldn't mention [his sexuality], or even [kid] around about it. It was just not spoken about --- ever. It's fear, and a reverence built out of fear . . . It's not based on intellect, but based on what will happen to you," according to a former employee of Kamen's.

Jann Wenner, the founder and publisher of Rolling Stone, the far- left, pro-corporate music magazine, recently left his wife for a man. Every single U.S. publication blacked out the story, until it was finally printed by The Mail, a British paper with a circulation of over 2 million. Geffen made sure the movie "Interview With a Vampire," directed by the homosexual Neil Jordan (who also directed the perverted movie "The Crying Game") had its homoerotic undertones removed. This was also insisted upon by lead actor Tom Cruise, who has been the subject of much speculation about his sexual orientation. Cruise "squirmed around" that subject area when interviewed by Vanity Fair last year.

The Disney studio, once an icon of American wholesomeness when it was run by Walt Disney, has five top executives who are homosexual.

Even the Los Angeles Police Department has decided to leave the super-powerful Geffen alone. The LAPD recently busted David Forest, the head of a male prostitution ring on a par with the one run by Heidi Fleiss. According to Spy, Geffen's name was at the top of Forest's client list. But the LAPD refuses to use Geffen's name as evidence during the trial, a detective being quoted as saying, "We don't wanna touch Geffen."

Ebner also writes about the "Circle of Fire," a group of young, good-looking guys who are flown around the country to the "big orgy parties" held by homosexual power brokers. Even the existence of the Lavender Mafia is denied by most of the principles involved. The incessant need to not only advance their fellow homosexuals but to zealously protect each other from public scrutiny is because the "need to maintain America's wholesome image of them is something that connects Hollywood gays at all levels --- whether one is a struggling (or a mega- star) actor, writer, agent, or producer," Ebner writes.

Virtually all of the "Gay Mafia" are Jewish. Vicious character attacks are always leveled at anyone who has noted the undeniable fact that Hollywood has been Jewish dominated since its inception --- yet most Americans are aware of that fact. Probably very few are aware yet of the rise within that subculture of a homosexual subculture to dominance. Many critics of the current System note that even as Americans seem unable to influence the political process with their votes for two essentially similar, bureaucratic political parties, they have absolutely no sway over powerful institutions like the media, who hide behind the smokescreen that they are "objective" and that the ideology and agenda of those who control the most powerful instruments of persuasion ever invented are never to be subjected to close scrutiny..

Homosexual militants demand that their "lifestyle" be treated as equal to the traditional family, yet most still scrupulously hide their identity, preferring to do their subversive undermining of American culture as "closeted" revolutionaries. A Nationalist government will regulate the media, by ending the media dictatorship currently exercised by the radical left, and making sure that what Americans see and hear is commensurate with this country's heritage and values."

In the Flesh: Undressing for Success

From New York Daily News 1/7/98: Members of Hollywood's Velvet Mafia may be quivering in their Lear jets now that a long-delayed tell-all is headed for bookstores. Almost eight years ago, Putnam bailed out of publishing "In the Flesh: Undressing for Success," the memoir of former gay porn star Gavin Geoffrey Dillard. But Barricade Books renegade chief Lyle Stuart has pushed the work into print by giving fig-leaf names to the two major moguls who Dillard says were his boyfriends.

"Success," is the memoir of former gay porn star Gavin Geoffrey Dillard. But Barricade Books renegade chief Lyle Stuart has pushed the work into print by giving fig-leaf names to the two major moguls who Dillard says were his boyfriends. Among the juicier passages in Dillard's tome, which has already drawn a warning letter from Dolly Parton's lawyers:

"He was small say five-six about ten years my senior, nice- looking, dark-haired, Jewish, but no one to die over . . . I became accustomed to waking up there each morning, yawning while Mr. Mogul attended to his array of early morning phone calls. It amused me no end to lie there teasing his sensitive parts while he schmoozed and cavorted with Paul McCartney, John and Yoko, Paul Simon, Cher.

"He was paying for my voice lessons, but I steadily refused to sing for him. . . . One particular morning I heard `Sam' scream from the bathroom. I ran in to find him flushed with anger and confusion. Did I know if I had the clap? "

`The Bear' and I were introduced through `Sam" . . . This was Mr. Hollywood . . . His kisses were timid, but direct. He was elegant, commanding, yet, I was sure, yearned to become putty in someone else's hands. I came to learn that Bear lived both in New York and Beverly Hills. In New York, he was seen publicly with a fashion {designer}; she rarely came out West. . . . I would spank his bottom that very night!

"Bear and I spent our afternoon at the casual mountain lodge of {a major Hollywood star and noted partyer} . . . we settled into the cushy sunken livingroom floor, where {the actor} dipped liberally into the cereal-size bowl of white crystal powder as though it were a heap of pretzels."

The rise of the Velvet Mafia

DANIEL JEFFREYS

http://www.thefreelibrary.com/The+rise+of+This+man+is+the+leader+of+an+all+powerful+cabal+of...-a0109684574

HOLLYWOOD has many ugly secrets. In a town with so much money and so few morals, almost every closet has a nasty skeleton.

Usually the moguls who run the entertainment business are careful to keep their indiscretions hidden, but a new book full of astonishing revelations has the whole place quaking.

Last year David Geffen, the man who runs the DreamWorks movie studio with Steven Spielberg and who recently rescued George Michael's career by arranging a new record deal, invited Wall Street Journal reporter Tom King to write a book about his amazing rise to the top.

In a weak moment Geffen, known as the most powerful gay man in Hollywood, gave King the names of dozens of former boyfriends - many of them now, apparently, famous stars.

When King was halfway through writing The Operator - David Geffen Builds, Buys, And Sells The New Hollywood, Geffen saw he had made a mistake. He discovered his former boyfriends were telling all, and the man who produced The Lion King and dozens of other hit movies realised the book would damage him and many of his friends.

Geffen tried to have the book stopped but it was too late. Now Random House will publish King's book next week with none of the changes Geffen demanded.

On the manicured lawns of Beverly Hills the book will land like a bomb for its main theme is that Hollywood is dominated by a Velvet Mafia of wealthy homosexuals who often demand sexual favours in return for work in the movies.

The prime example of the power of Geffen and the Velvet Mafia is American Beauty, nominated for eight Oscars this year. Many U.S. critics see the film, produced by Geffen's DreamWorks, as a caustic and dark attack on heterosexual family life. ...

Like many Hollywood executives who become famous for excess, Geffen's origins were humble.

He was born in Brooklyn, the son of poor Jewish immigrants. At 19 he moved to Hollywood where he worked as an usher at CBS, then moved to the mailroom at the William Morris talent agency.

A mail room job at an agency is regarded as the best way to get into the executive side of the movie business and places are usually filled with top university graduates. Geffen knew this but he had no degree.

As an indication of later ruthlessness Geffen made up a University of California degree.

He later admitted this, and was stunned when a fellow mail room aspirant, found to have also faked his degree, was fired. Geffen says for the next year he arrived at work before everybody else, and opened every letter looking for a telltale letter from the university that would have ended his dreams. ...