The forefathers of the modern homosexuality movement have worked relentlessly to promote their lifestyle. In books and magazines, in art, music and fashion, on television, they have portrayed a lifestyle that is bright, happy and creative, with homosexuals living a life of margaritas and mardi gras, glossy magazines and flashy clothes. Like Glee¸ the juggernaut for decades now has sold the homosexual lifestyle as one without shadows or blemishes, without law and authority, without financial or moral constraints—and without consequences.
Think about it. When have you seen a documentary on mainstream television, or a prominent politician before Congress, openly discuss the darker side of homosexuality—the diseases, the guilty consciences, the family breakdown?
But did you know the movement operates this way by design? That it has a specific, calculated strategy?
This strategy can be traced back to February 1988, when activists from 175 organizations gathered to discuss the issue. Shortly after that conference, activists Marshall Kirk and Hunter Madsen published the strategy for selling homosexuality to America. Published in May 1989, After the Ball: How America Will Conquer Its Fear and Hatred of Gays in the ’90s lays out, with candor and in explicit detail, the homosexual strategy for winning over America.
Kirk and Madsen weren’t secretive about their agenda. “The campaign we outline in this book, though complex, depends centrally upon a program of unabashed propaganda, firmly grounded in long-established principles of psychology and advertising,” they wrote. The purpose of their plan, explained marketing expert Paul Rondeau of Regent University, was to “force acceptance of homosexual culture into the mainstream, to silence opposition, and ultimately to convert American society.”
Twenty-two years on, there’s no refuting that their plan has worked—at every stage—spectacularly!
Shows like Glee follow it to the letter.
Consider a few highlights from After the Ball. “When you’re very different, and people hate you for it,” explained Kirk and Madsen, “this is what you do: first, you get your foot in the door, by being as similar as possible; then, and only then—when your one little difference is finally accepted—can you start dragging in your other peculiarities, one by one. You hammer in the wedge narrow end first.” Glee followed that instruction perfectly!
Another goal of the homosexual movement is what Kirk and Madsen label “conversion”—that is, “conversion of the average American’s emotions, mind and will through a planned psychological attack, in the form of propaganda fed to the nation via the media.” They couldn’t have been more explicit!
Notice, too: These guys speak in terms of war!
They even gave tactics for bringing about “conversion.” In conversion, they wrote, “the target [the average American] is shown his crowd actually associating with gays in good fellowship.” Kirk and Madsen then explained that if the antagonist is consistently deluged with carefully constructed scenes of people just like him enjoying positive relations with homosexuals, his hostility toward homosexuality will eventually subside. Do it long enough, and he’ll eventually endorse and even gravitate toward the homosexual lifestyle!
Here’s another tactic, employed perfectly by Glee (among other shows). “The main thing is to talk about gayness until the issue becomes thoroughly tiresome,” wrote Kirk and Madsen. “[S]eek sensitization and nothing more …. If you can get [heterosexuals] to think [homosexuality] is just another thing—meriting it no more than a shrug of the shoulders—then your battle for legal and social rights is virtually won.”
The last part of that statement is telling: Win the culture war, and you win the legal war!
Put another way, those who accept homosexual teenagers losing their virginity on television are much more likely to accept pro-homosexual curricula in schools, pro-homosexual agendas in the workplace, and even same-sex “marriage.”