By Jasper, William F.
The New American , Vol. 21, No. 6
Maybe you're like this writer and rarely sample the toxic television fare that parades under the false label of "entertainment." Even so, it's impossible to conduct even a brief, occasional audit of the tube without confronting the hard fact that the forces in control of this omnipresent and potent medium are hell-bent themselves, and are determined to take our whole society there with them.
Nowhere is this more evident than in the incredible brazenness of the full-tilt campaign to homosexualize American culture. The organized sodomites, who constitute a tiny fraction of our society--1 to 2 percent, not the 10 percent they claim--have been given carte blanche to "overhaul straight America." You may not know it, but you are being psychologically overhauled to accept the homosexual revolution "whether you like it or not."
Welcome to the "queering of America." That's how the radical homosexual strategists themselves refer to their insidious crusade to remake our society and our entire culture in their image. They know they cannot succeed totally in the legislatures and the courts unless and until they have transformed our culture. This means saturating our popular cultural media with homosexual and lesbian characters, themes, styles, and symbols.
This also means placing homosexual and lesbian characters into virtually every sitcom, soap, and drama on television. And it has gone far beyond that, of course. Programs like Queer Eye for the Straight Guy, Queer Eye for the Straight Girl, and The L Word are total propaganda platforms for the superiority of homosexuals over straights.
This subversive crafting of the program content of network and cable TV is dictated by a contingent of homo-lesbo executives, artists, and consultants known in the trade as the Velvet Mafia or the Lavender Mob.
When the Velvet Mafia determines that it's time to inoculate the American public with a few more doses of "gay" culture, we get another spate of "coming out" episodes or homo-lesbo kissing scenes. Thus, on February 10, New York Times writer Virginia Heffenan approvingly noted the recent wave of lesbian smooching during the network sweeps: "On One Tree Hill, The O.C. and even Wife Swap, Sapphic love is in the air. And why not? It's that extended prom night for television lesbians--sweeps."
According to Heffernan, "in the last decade television's masterminds have discovered the lesbian kiss" as a gimmick to gain viewership. Lesbian kisses, she claims, "offer something for everyone, from advocacy groups looking for role models to indignation-seeking conservatives, from goggle-eyed male viewers to progressive female ones, from tyrants who demand psychological complexity to plot buffs. Hooray for the all-purpose lesbian kiss, then, cynical though it may be."
Heffernan then runs through a historical list of television's lesbian kisses, from L.A. Law in 1991, up through Picket Fences, Roseanne, Ellen, Ally McBeal, and Buffy the Vampire Slayer. "Next up, then, are Marissa (Mischa Barton) and Alex (Olivia Wilde) on The O.C. (Fox)," Heffernan reports, in apparent breathless anticipation. "The gorgeous California girls will finally kiss tonight."
Heffernan hit on the key element of the Velvet Mafia strategy when she said "gorgeous California girls." To sell their perversion to the targeted teen and young adult audiences, they have gone to great lengths to package lesbians as gorgeous, cool, hip, smart, chic. That is especially obvious in the new lesbian series, The L Word, now in its second season on the Showtime network. Giant billboards for The L Word show a bevy of beautiful actress/models posing naked in a group huddle.
Now comes Homer Simpson to further the revolution. In a special episode of The Simpsons on February 20, Homer, who has become a beloved cartoon icon, conducted "gay marriages" and one of the regular characters on the series, Patty, came out of the closet. …