From: Franklin Wayne Poley 
Subject: SNET: Re: L&J: American Debauchery...or "Bye bye Miss American Pie"
Date: 28 Mar 2000 01:42:21 -0500
To: "John A. Quayle" 


->  SNETNEWS  Mailing List

Seen the latest "Madonna" video, John? Sorry I can't post to that
Kike-Mormon list of liars which calls itself Liberty and Justice. Canadian
Freedom Fighters are banned from it! Are the remaining sub'ers all
American whores and niggers?
FWP.

On Tue, 28 Mar 2000, John A. Quayle wrote:

> Cultural Currents 
> 
> American Depravity 
> by William Norman Grigg 
> 
> 	Released last year to rave reviews, the movie American Beauty is nothing
> more than propaganda for the latest American depravity.
> 
> 	Last November, the producers of the film American Beauty, which received
> eight Oscar nominations, received a phone call from the White House.  
> 
> 	Co-producer Dan Jinks told the March 28th issue of the homosexual journal
> The Advocate that Hillary Clinton had personally called "to tell us how
> much she and the president loved American Beauty." From the Clintonite
> perspective, what’s not to like?  
> 
> 	American Beauty, which extols the "redemptive" power of adultery,
> adolescent self-indulgence, drug use, and sexual degeneracy, is a celluloid
> assault by Hollywood’s homosexual "Velvet Mafia" upon conventional American
> values.
> 
> 	Lester Burnham (Kevin Spacey) is a stock character, a 
> 40-something man trapped in a pointless job and a joyless marriage.
> Despised as an inept loser by his wife Carolyn (Annette Bening) and
> daughter Jane (Thora Birch), Lester somnambulates through his dismal life
> until he sees Jane’s friend Angela (Mena Suvari) cheerleading at a high
> school basketball game.  
> 
> 	Lester becomes obsessed with Angela, and that obsession leads to supposed
> redemption as he quits his job, blackmails his boss, and embarks upon a
> second adolescence.  Lester’s spiritual guide and "personal hero" is
> teenage neighbor Ricky Fitts (Wes Bentley), who has made a small fortune as
> a drug dealer.
> 
> 	Ricky’s father (Chris Cooper) is a tyrannical ex-Marine colonel who
> watches old Ronald Reagan movies, has an extensive gun collection, and
> demands a drug test from his son every six months.
> 
> 	On the other side of the Burnham house resides the one "normal family" in
> the story — Jim and Jim, a homosexual "couple" who are the very soul of
> domestic tranquility and neighborliness, and the key to the film’s message. 
> 
> 	"Our marriage is just for show," Lester informs the colonel after learning
> that Carolyn has begun an adulterous affair. 
> 
> 	"It’s a commercial for how normal we are, when we’re anything but." The
> grim hypocrisy of Lester’s marriage plays in counterpoint to the warm,
> fulfilling "partnership" supposedly enjoyed by his sodomite neighbors.  
> 
> 	"After seeing the movie people have said almost as an afterthought, ‘You
> know, I just realized that the only normal people in the movie are the gay
> couple,’" producer Dan Jinks told the March 28th issue of The Advocate.
> 
> 	Promiscuity is a given in the lives of the film’s teen characters, as is
> deviant sex: On two occasions Jane is asked by her teenage friends if she
> has an incestuous fixation upon her father. It is also worth noting that
> all of the teenage characters smoke (which provoked not a syllable of
> criticism from Hillary and her fellow anti-tobacco zealots at the White
> House) and the language used by the female characters in this movie would
> bring a blush to the cheeks of Howard Stern.
> 
> 	The film’s denouement is dictated by propaganda concerns, in this case the
> need to display (in the words of a review published by The Advocate)
> "homophobia and its murderous consequences." The colonel, convinced that
> Lester is a homosexual who has been molesting his son, sneaks into the
> Burnham home and blows Lester’s brains out.  
> 
> 	Faithfully following their ideological checklist, the filmmakers reveal
> that the colonel, who had earlier condemned "faggots" and had told his son,
> "I’d rather that you be dead than a [homosexual]," is himself a repressed
> homosexual.
> 
> 	American Beauty, observes The Advocate, represents "the coming-of-age of
> gay Hollywood heavyweight David Geffen’s fledgling studio, DreamWorks SKG."
> (Geffen, according to a new exposé, reportedly updated the notorious
> Hollywood "casting couch": Many young actors desperate for a break from
> Geffen learned that to get by in Hollywood, they would have to get "bi" in
> Hollywood.)
> 	
> 	Steven Spielberg, one of Geffen’s partners in the SKG studio, personally
> gave the film a green light and was delighted with the finished product.
> Alan Ball, the screenwriter for American Beauty, is a homosexual activist;
> co-producers Dan Jinks and Bruce Cohen are as well. According to Cohen,
> American Beauty represents a breakthrough for the lavender lobby’s film
> auxiliary: 
> 
> 	"The excitement about mainstream films is the chance to get these messages
> across subtly in films that mainstream America is going to see. We have
> definitely hit a segment of the audience that is not used to seeing gay and
> lesbian characters."
> 
> 	American Beauty is the most successful film adaptation yet of the strategy
> outlined in After the Ball, a 1989 blueprint for the mass media’s campaign
> to normalize homosexual perversion.  
> 
> 	Written by Marshall Kirk and Hunter Madsen, Harvard-trained experts in
> neuropsychiatry and social marketing, After the Ball urged the use of "the
> visual media" to indoctrinate mainstream society. The Advocate observes
> that American Beauty portrays "homosexuality as part of the warp and weave
> of American life."
> 
> 	Kirk and Madsen point out that the homosexual movement has advanced by
> "conspiring with liberal elites within the legal and legislative system"
> and warned that without propaganda support, such conspiracies will collapse.
> 
> 	Films such as American Beauty are not works of entertainment, but rather
> propaganda support for conspiracies of the type described by Kirk and Madsen. 
> 
> 
> 
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