Declared Part of Gay Mafia (foto GayCo)

Hollywood’s Homosexual Maffia

Hollywood’s “Gay Maffia” (https://en.wikipedia.org/wiki/Gay_Mafia) or “Velvet Maffia” or “Lavender Mob” has long been the Subject of Gossip, with Occasional Blips into the MainStream Press.

Terms such as “Gay Maffia” refer to a Group of Powerful Homosexuals who exercise Extraordinary Influence in the Entertainment Industry.

“Gay Maffia” 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 back issues of the influential Spy magazine are now online. You can read Mark Ebner’s 1995 piece on the Hollywood Gay Mafia on page 44: https://books.google.nl/books?id=jdWIRUVZ27wC&printsec=frontcover&rview=1&redir_esc=y#v=onepage&q&f=false.

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 (http://www.whale.to/b/david_geffen.html), 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.

The Operator: David Geffen Builds, Buys, and Sells the New Hollywood is the title of an upcoming book by Tom King, a respected Wall Street Journal reporter who it seems has hit pay dirt – and it’s dirt, all right – with his exposé of the unspeakable Geffen. Actually it’s poetic justice. Geffen invited King to write a book about his amazing rise to the top, and allegedly named dozens of former boyfriends, many of them now famous stars. Indiscretion aside, Geffen is a lowlife sans pareil. I haven’t read the book, but I am sure that some of the so-called boyfriends did it with His Grotesqueness out of burning ambition and despite their heterosexuality.

I do not exactly hang out with scum like the Velvet Mafia, but about 10 years ago I got some firsthand information about how they operate. Libel laws do not permit me to name names. One of Europe’s greatest directors of opera, stage and screen gave a letter of introduction to an ex-assistant (and boyfriend) addressed to a very rich and particularly well-known tycoon, a member of the VM. I know both the director and his younger ex-assistant and they are gentlemen of the old school. Both are gay. As the assistant presented himself to the tycoon, he offered his CV and gave the director’s regards. “Screw the regards and the CV, let’s see if you know how to…” came the answer. My friend fled in disgust.

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.

According to King’s book, friends like Barry Diller, Sandy Gallin and Calvin Klein, among many others, keep a lower profile but apparently indulge in the sexual bacchanals that go with the territory. Alleged weekend-long orgies fueled by drugs at which Geffen and his powerful buddies run a “meat market” selecting young men for sex are apparently described in detail in King’s opus. Here is one of Bill Clinton’s close supporters, one who had a free run of the Lincoln bedroom, and was, I believe, once even called an adviser to the Draft Dodger, pushing a gay agenda of promoting stars and directors who make movies and records sympathetic to the gay lifestyle. Geffen is a natural for the Clinton White House. Sleaze is the operative word. Just think what Sid (the scumbag) Blumenthal would have done to Geffen if the tycoon were straight and a Republican. Has anyone in the Clinton administration – and that includes Al (the Liar) Gore – bothered to ask whether the Geffen agenda undermines our most important values? If anyone has, I’m Monica Lewinsky.

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.

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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.

5/14/95 Toronto Sun

Minnie Knows: Is there a corporation anywhere on our corrupt planet more obsessed with fostering and maintaining a straight-arrow, family-values image than Disney? Of course not. But Buzz, a lively monthly out of Los Angeles – it’s sort of like Toronto Life but more fun – says in its cover story that a lot of people who push the squeaky-clean, mom-dad-two-kids-plus-dog, relentlessly upbeat Disney image are more than just cheerful, gang: they’re gladly, joyously gay. Yes, kiddies, as many as 40 per cent of Disney’s 63,000 troops are gay. Yeah? Who says so, I can hear you asking. Well, how about Disney chairman Michael Eisner, who gave this estimate to a gay-rights activist. Working for the far-flung Disney kingdom is “magic,” says one gay employee. Recently, a gay and lesbian pride day was held at Walt Disney World and 12,000 showed up, walking down the streets of the Magic Kingdom “holding hands, embracing, and kissing.” And in yet another example of synchronicity, Spy has a story on Hollywood’s ‘Gay Mafia,’ a group that packs a tremendous punch in the movie industry’s boardrooms.

The big piece on “The Gay Mafia” in the June issue, for example, is ridiculous. Writer Mark Ebner mixes rumor with nasty, unattributed quotes about people like David Geffen, Sandy Gallin and Barry Diller, presenting it all as the final truth. Says “an actor with 20 pictures to his credit” about Geffen: “He probably wouldn’t remember me because he’s slept with so many people. . . . He had matchbooks with guys’ phone numbers on them, and when he got home, he listened to messages filled with guys.” This gay mafia makes and breaks careers, you see, and of course it’s all sexually motivated. And are we supposed to think Neil Jordan is gay simply because he has directed movies with gay, lesbian and bisexual characters?! Maybe Spy should merge with the National Enquirer and call it a day.

“Forrest Gump” producer Steve Tisch, a married father with children, isn’t put out by his inclusion in a Spy magazine photo titled “The Gay Mafia.” (also in the picture: David Geffen, Calvin Klein and Sandy Gallin). Last year, Tisch was named “Hetero Hero” by the gay magazine Advocate for his anti-AIDS action. “The only thing is,” said Tisch, “I was 65 pounds heavier when that picture was taken.”

San Francisco Chronicle

1/28/96 No one denies there’s still a closet on-screen in Hollywood films – certainly for leading men. Off-screen, though, gay movie industry executives agree that the closet is indeed in many ways dead. Hollywood has always been accepting of homosexuals. Everyone in town who was even the teeniest bit hip probably knew Rock Hudson’s secret, just as today everyone knows, or thinks they know, who paid whom how many millions to marry him and be his “beard” and not say anything about the boyfriend ensconced in the guest house.

“The closet exists for actors, absolutely, but I don’t believe it exists for writers, directors and producers,” says Rick Leed, president of Wind Dancer Production Group. “If you’re talented and you can deliver to a studio a quality movie – and, hopefully, a quality movie that makes money – nobody cares.”

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 Ma fia” 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.

Ball’s family life was, by his own admission, dysfunctional. He compares his childhood to American Beauty’s Ricky, the son of Lester Burnham’s mad neighbour and eventual nemesis.

Ball’s home included a father who was remote and distant, plus a mother who suffered severe depression after Ball’s sister died in a car accident.

Ball says he did not even know he was homosexual until he went to university, but claims to have suffered enough persecution at the hands of heterosexuality to believe it is inherently evil.

At school, he was weedy and bespectacled. He played in the school band and was bullied by members of the school football team, who always dated the prettiest girls. He recalled recently that it was a time when homosexuality was so taboo he could not even acknowledge to himself that he was gay.

Once Ball arrived in Hollywood, he became successful writing scripts for TV comedies and it was here his contempt for heterosexuality hardened.

He wrote American Beauty while working for Cybill Shepherd on her show Cybill. It was a relationship forged in hell. Shepherd, a vivacious blonde, is an aggressive heterosexual.

If her new autobiography is to be believed, she once had group sex with her personal trainer and his best friend because she wanted all her pleasure points stimulated simultaneously.

She is also the kind of girl who would have spent time with football players at school – the kind of guys who used to slap Ball around.

Ball has made no secret of his hatred for Shepherd, and sources say much of the shrillness in Lester Burnham’s wife – played by Annette Bening – is based on Ball’s antipathy towards a woman who made no secret of her unalloyed enjoyment of the kind of macho hunk Ball has never been.

American Beauty provided Ball with another opportunity to promote his agenda. Last year, he wrote and produced a TV series called Oh, Grow Up, which featured two straight men sharing a house with a gay man, who, predictably, has much the better life.

The series did not do well but in his film Ball was able to make his anti-heterosexual themes work with more power. In American Beauty, Ball’s central characters, Lester and his wife, by focusing their sex drives on a teenage girl and a married man, are ciphers for the idea that heterosexuality must always mutate and become something damaging or perverse.

The Fitts, who live next door to Lester, have different problems. Mr Fitt is a violent ex-Marine who persecutes his wife – making the point that heterosexuality always tends to become abusive – and beats his son.

Mr Fitt’s problems, of course, stem from the fact that he is gay but cannot accept it. When Fitt mistakenly decides Lester Burnham is also gay, he makes a pass. Spurned, he shoots Burnham in the head.

The only battle Ball lost with his English director, Sam Mendes, and star, Spacey, as the script was filmed, tells much about Ball’s motivations.

In the final cut, Burnham stops just short of consummating his desires for his daughter’s Lolita-like friend. Ball wanted the consummation to happen so that, according to sources, Burnham, the dark soul of heterosexuality revealed, could be seen as completely irredeemable.

But Burnham is allowed to show a sudden emotional maturity, rejects this chance of a seedy seduction and dies gazing lovingly at a picture of his wife and child. The revised ending weakens Ball’s attack on heterosexuality, but by then the main damage has been done.

Were Ball the only prosletysing gay character in this off- screen drama, the case against American Beauty could not be made, but that is far from the truth.

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.

These two men got to know each other in 1995 when Cohen invited Jinks to be on the steering committee of Out There, an activist group of gay entertainment executives that he had co-founded.

Sources say that one of Out There’s key objectives is to promote the gay lifestyle within films and members talk openly among themselves about how best to mock heterosexuality.

Members of Out There have been actively involved in films like American Pie, which makes adolescent heterosexuality seem like a monstrous affliction, and the U.S. TV series Will And Grace, whose two leading gay men always seem to get the best lines, usually at the expense of a hapless heterosexual.

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.

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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 homo erotic 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
https://www.amazon.com/exec/obidos/ASIN/1569801185/qid%3D1043259787/sr%3D11-1/ref%3Dsr%5F11%5F1/103-8849281-0858204

From New York Daily News 1/7/98: Members of Hollywood’s Velvet Mafia (https://www.lukeford.net/profiles/profiles/michael_ovitz.htm) 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 fternoon at the Casual Mountain Lodge of [a Major Hollywood Star and Noted Partyer] (…) we settled into the Cushy Sunken Living Room Floor, where [the Actor dipped Liberally into the Cereal Size Bowl of White Crystal Powder as though it were a Heap of Pretzels.”

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

http://www.whale.to/b/homosexual_mafia.html

Meer informatie
https://robscholtemuseum.nl/?s=Gay+Maffia
https://robscholtemuseum.nl/?s=Hollywood

https://beforeitsnews.com/entertainment/2022/05/luke-ford-hollywoods-homosexual-mafia-2675656.html