Former APA President Reveals How Homosexual Activists Bullied APA into Removing Homosexuality from List of Disorders
By Jerry A. Kane
In 1970 homosexual activists began a program of intimidation aimed at the American Psychiatric Association (APA):
“It was never a medical decision—and that’s why I think the action came so fast…It was a political move…That’s how far we’ve come in ten years. Now we even have the American Psychiatric Association running scared.” Barbara Gittings, Homosexual Activist
The following year, 1971, homosexual activist Dr. Franklin Kameny wrote an open letter to the Psychiatric News threatening the APA with more and even worse disruptions:
“Our presence there was only the beginning of an increasingly intensive campaign by homosexuals to change the approach of psychiatry toward homosexuality or, failing that, to discredit psychiatry.” Franklin Kameny
Members of the “National Gay Task Force” managed to get the addresses of APA members, and with-out identifying themselves, sent out harassing letters to all members demanding they vote to remove homosexuality from the list of mental illnesses in the Diagnostic and Statistical Manual (DSM), the APA’s classification guide for mental disorders.
No new fact, set of facts, or scientific breakthrough triggered the removal of homosexuality from the list of mental illnesses in the 1974 seventh edition of DSM-II. It was dishonesty and intimidation by homosexual activists that moved 32.7 percent of APA’s total membership to approve the change and normalize homosexuality.
Against the wishes of two-thirds of the organization’s members, homosexuals were “cured” overnight by a vote. A psychiatric disorder that had been classified as a mental illness for 25 years (1948-1973) was suddenly banished by vote, by fiat, but not by valid science or by evaluating the pathology or lack of pathology surrounding homosexuality.
The X-Men comics and movies are really an allegory about homosexual culture and a stealth way to introduce homosexual propaganda to the general public. The mutant superheroes push a homosexual rights message and are in fact “stand-ins” for homosexual, lesbian, and transgender people.
“Since the comic appeared in the 60s, pop-culture critics have drawn parallels between the mutants’ struggle to gain wider acceptance for being genetically ‘different,’ and the gay community’s struggle for acceptance and recognition.”
Most of the homosexual propaganda in the X-Men movies can be attributed to Bryan Singer, the out-of-the-closet homosexual who directed “X-Men,” “X2: X-Men United,” and “X-Men: Days of Future Past,” and produced of “X-Men First Class.”
“[W]hat better way than in a giant, action, summer event movie! I could think of no better place to spill out one’s own personal problems and foist them onto the world … “—Bryan Singer
The accused pederast director/producer adapted his personal feelings of being alienated and ostracized as a homosexual to the homosexuality/homophobia subtext of the movie series.
“[Y]ou feel kind of alone in the world because you’re separate from everyone else. … A gay kid doesn’t discover he or she is gay until around puberty. And their parents aren’t gay necessarily, and their classmates aren’t, and they feel truly alone in the world and have to find, sometimes never find, a way to live.”— Bryan Singer
The X-Men movies have pushed homosexual issues into the mainstream. The parallels between the mutants’ struggle to gain wider acceptance for being genetically different, and the homosexual community’s struggle for acceptance and recognition are demonstrably obvious.
“Like queers, these mutants discover their ‘difference’ during puberty and struggle to hide it from friends and family. They forge their self-identity when they meet others like them. And they grow up learning to fight the system that shuns and persecutes them.”—Helmi
For the X-Men, mutation is a pressing social issue and telling the world one is a mutant is a serious matter when most people are “mutantphobes.” “X2: X-Men United” presents a coming-out scene, complete with confusion and mutantphobia, when Bobby Drake, aka Iceman, and fellow mutants visit his family.
The “Have you ever tried not being a mutant” scene is the rhetorical equivalent of a homosexual, lesbian, or bisexual teenager’s “coming out” ritual. Like members of the homosexual community, mutants who go public risk family rejection, political and social marginalization, and physical violence.
Singer and the X-Men screen writers are portraying X-Men muntantcy and their struggle for acceptance in society as analogous to the homosexual community’s quest to make homosexuality the moral equivalent of heterosexuality.
In the article “Making Gay Sense of X-Men,” homosexual author William Earnest, writes “Singer and his screenwriters equipped X-Men and X2 with the rhetorical stealth needed to fly below the gaydar of many critics and audience members.”
In a Facebook comment, “X-Men: First Class” screenwriter Zach Stenz posted, “I helped write the movie, and can tell you the gay rights … allegory stuff was put in there on purpose.”
X-Men: First Class, the prequel for “X-Men” and “X2: X-Men United,” continued the subtext messages of mutants as an allegory for the homosexual community. When Hank McCoy’s coworkers find out that he’s a mutant, they ask him why he hid his identity. McCoy tells them, “You didn’t ask; I didn’t tell,” which of course is an obvious reference to the military’s now defunct policy of “Don’t Ask Don’t Tell.”
To lure openly gay activist actor Ian McKellen to play Magneto, Singer told him that mutants were comparable to struggling homosexuals and that X-Men is really about lesbain, gay, bisexual, and transgender people.
McKellen, an open homosexual and co-founder of the LGBT gay activist group Stonewall, admits that when he stays at hotels he tears out pages from the Bible that condemn homosexuality. McKellen told “Details” that a married couple had sent him a package containing 40 pages torn from Bibles attached to a string with instructions to be hung in the bathroom and used for toilet paper.
“The main thing is to talk about gayness until the issue becomes thoroughly tiresome . . . If you can get [straights] to think [homosexuality] is just another thing—meriting no more than a shrug of the shoulders—then your battle for legal and societal rights is virtually won.”
The second stage is to silence all expression and support for dissenting opinion; and the third stage is to convert the public by spreading propaganda via the media to the nation.
To get a better idea of how well the propaganda has been working, the X-Men film series has grossed over $3 billion worldwide, making it the 12th highest-grossing film franchise of all-time, and the sad reality is very few of the millions who saw the films knew that they were being indoctrinated in subversive homosexual propaganda.
X-MEN COMICS AND MOVIES PUSH HOMOSEXUAL AGENDA
Posted in Latest Commentary, tagged accused pederast director, After the Ball, Bobby Drake, Bryan Singer, Chad Thompson, coming out, Details, Don’t Ask Don’t Tell, gay, gay activist group Stonewall, gay propaganda, Gay Rights, Hank McCoy, Homosexual, homosexual community, homosexual propaganda, homosexual rights, Hunter Madsen, Ian McKellen, Iceman, lesbian, LGBT, Magneto, Marshall Kirk, mutant, Ought to be Headlines, pederast director, tears out pages from the Bible, The Millstone Diaries, The Millstone Report, transgender, William Earnest, X-Men, X-Men muntantcy, X-Men: Days of Future Past, X-Men: First Class, X-Men: The Last Stand, X2: X-Men United, Zach Stenz on September 3, 2014| Leave a Comment »
The X-Men comics and movies are really an allegory about homosexual culture and a stealth way to introduce homosexual propaganda to the general public. The mutant superheroes push a homosexual rights message and are in fact “stand-ins” for homosexual, lesbian, and transgender people.
“Since the comic appeared in the 60s, pop-culture critics have drawn parallels between the mutants’ struggle to gain wider acceptance for being genetically ‘different,’ and the gay community’s struggle for acceptance and recognition.”
Most of the homosexual propaganda in the X-Men movies can be attributed to Bryan Singer, the out-of-the-closet homosexual who directed “X-Men,” “X2: X-Men United,” and “X-Men: Days of Future Past,” and produced of “X-Men First Class.”
“[W]hat better way than in a giant, action, summer event movie! I could think of no better place to spill out one’s own personal problems and foist them onto the world … “—Bryan Singer
The accused pederast director/producer adapted his personal feelings of being alienated and ostracized as a homosexual to the homosexuality/homophobia subtext of the movie series.
“[Y]ou feel kind of alone in the world because you’re separate from everyone else. … A gay kid doesn’t discover he or she is gay until around puberty. And their parents aren’t gay necessarily, and their classmates aren’t, and they feel truly alone in the world and have to find, sometimes never find, a way to live.”— Bryan Singer
The X-Men movies have pushed homosexual issues into the mainstream. The parallels between the mutants’ struggle to gain wider acceptance for being genetically different, and the homosexual community’s struggle for acceptance and recognition are demonstrably obvious.
“Like queers, these mutants discover their ‘difference’ during puberty and struggle to hide it from friends and family. They forge their self-identity when they meet others like them. And they grow up learning to fight the system that shuns and persecutes them.”—Helmi
For the X-Men, mutation is a pressing social issue and telling the world one is a mutant is a serious matter when most people are “mutantphobes.” “X2: X-Men United” presents a coming-out scene, complete with confusion and mutantphobia, when Bobby Drake, aka Iceman, and fellow mutants visit his family.
The “Have you ever tried not being a mutant” scene is the rhetorical equivalent of a homosexual, lesbian, or bisexual teenager’s “coming out” ritual. Like members of the homosexual community, mutants who go public risk family rejection, political and social marginalization, and physical violence.
Singer and the X-Men screen writers are portraying X-Men muntantcy and their struggle for acceptance in society as analogous to the homosexual community’s quest to make homosexuality the moral equivalent of heterosexuality.
In the article “Making Gay Sense of X-Men,” homosexual author William Earnest, writes “Singer and his screenwriters equipped X-Men and X2 with the rhetorical stealth needed to fly below the gaydar of many critics and audience members.”
In a Facebook comment, “X-Men: First Class” screenwriter Zach Stenz posted, “I helped write the movie, and can tell you the gay rights … allegory stuff was put in there on purpose.”
X-Men: First Class, the prequel for “X-Men” and “X2: X-Men United,” continued the subtext messages of mutants as an allegory for the homosexual community. When Hank McCoy’s coworkers find out that he’s a mutant, they ask him why he hid his identity. McCoy tells them, “You didn’t ask; I didn’t tell,” which of course is an obvious reference to the military’s now defunct policy of “Don’t Ask Don’t Tell.”
To lure openly gay activist actor Ian McKellen to play Magneto, Singer told him that mutants were comparable to struggling homosexuals and that X-Men is really about lesbain, gay, bisexual, and transgender people.
“I think he expected that I was going to consider it a not posh-enough job. I thought he was right. It’s not just a fantasy story. It’s a parable.”—Ian McKellen
McKellen, an open homosexual and co-founder of the LGBT gay activist group Stonewall, admits that when he stays at hotels he tears out pages from the Bible that condemn homosexuality. McKellen told “Details” that a married couple had sent him a package containing 40 pages torn from Bibles attached to a string with instructions to be hung in the bathroom and used for toilet paper.
In their book, After the Ball: How America Will Conquer Its Fear and Hatred of Gays in the 90’s, Marshall Kirk and Hunter Madsen describe a 3-stage plan to further the homosexual agenda and homosexualize America.
The first stage is to desensitize the public:
“The main thing is to talk about gayness until the issue becomes thoroughly tiresome . . . If you can get [straights] to think [homosexuality] is just another thing—meriting no more than a shrug of the shoulders—then your battle for legal and societal rights is virtually won.”
The second stage is to silence all expression and support for dissenting opinion; and the third stage is to convert the public by spreading propaganda via the media to the nation.
To get a better idea of how well the propaganda has been working, the X-Men film series has grossed over $3 billion worldwide, making it the 12th highest-grossing film franchise of all-time, and the sad reality is very few of the millions who saw the films knew that they were being indoctrinated in subversive homosexual propaganda.
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