“We Are the Champions”: How the Lavender Mafia Got Over the Wall and into the Sanctuary

“We Are the Champions”: How the Lavender Mafia Got Over the Wall and into the Sanctuary

Written by  Jesse Russell, Ph.D. | Remnant Columnist – 3/24/18

(A Remnant 80s Retro Special)

poison

Poison: the last hair metal band standing (yes, all four are men)

“Never interrupt your enemy when he is making a mistake.” – Napoleon Bonaparte

Throughout the Anglophone world while John Paul II, Margaret Thatcher, and Ronald Reagan inaugurated “liberal-conservative” or neoconservative revolution to combat the menace of Soviet Communism, the airwaves of the 1980s were saturated with the Dionysian crooning of suspiciously effeminate men who nonetheless were marketed to young teeny boppers as heartthrobs. In addition to being decorated with gaudy 80s fluorescent colors, the rooms of young girls were often plastered with posters of such “hunks” as the members of New Kids on the Block, Wham, and Duran Duran. And while sipping on their Pepsis, the 80s “cool kids” drink, many young and confused dudes sat in their rooms mesmerized by records and tapes of bands such as Human League, Level 42, New Order, and Flock of Seagulls. The fact that the musicians in these synthesizer-soaked bands sang and danced like (immodest) women and more often than not also dressed like women, clouding their eyes with mascara and outrageously teasing their way-too-long hair, did not seem to register with the boys who became the first generation of American kids to spend more time frantically pressing the hard plastic buttons of video game controllers than they did developing their critical thinking skills.

When concerned parents (themselves having drunk the Bacchanalian poison of 60s psychedelic and 70s rock) objected, sneaker clad young people, and their pied pipers in the pages of Rolling Stone and on the grainy MTV pumped into American homes via the newly-popular cable television, would always retort that it was just a gag; that the rockers adorned with blush and singing such sappy, melancholic pieces as Regret or such occult-laden blasphemies as Personal Jesus, were just having fun.

In some cases, this dismissal may have been at least partially true, as many of these “synth” and “new pop” 80s male artists would later go on to marry women and raise a family, even after it ceased to be hip to be a square and became hip to be gay in the 1990s.

But then there were artists who were very strangely out of place even amidst the Gordon Gecko decadence of the Reagan-Thatcher era. Musicians like George Michael, Pet Shop Boys, and Boy George didn’t need the makeup to seem girly and did a very poor job singing about ostensibly heterosexual (aka normal human) love in songs such as Careless WhisperWest End Girls, and Do You Really Want to Hurt Me?, which were played at high school dances while goofy 80s kids drenched in Aqua Net danced the last “slow dance” of senior year.

However, as homosexuality became increasingly normalized and propagandized, these artists officially “came out” as gay.

When musician after musician gave mascara bleeding, teary eyed “coming out” confessions to sympathetic and encouraging reporters and the idea of being gay crystallized in the minds of young people whose consciousness had been rinsed with the toxin of 80s pop culture, it soon became apparent that many of the favorite 80s love songs were by no means about love between men and women, but rather were about shocking and repulsive homosexual behavior buried in clever and often grotesque code words and illusions–in fact, some songs such as Erasure’s bold, lisping 1988 hit Chains of Love were politically charged anthems of the “gay rights movement.”

Oddly enough, some have suggested that the whole point of pumping coded homosexual music into the homes of young children broken by their divorce, which skyrocketed in the 1970s and 80s, was to lure them into the gay lifestyle carelessly whispered about by the androgynous Orpheuses, who sang the music to which they listened on their Walkman while roller skating through the increasingly dangerous streets of America.

 

Indeed, some more conspiracy-minded journalists have suggested that this effeminate music combined with the occult and magical references in the lyrics, music videos, and even tonality and rhythm of the music itself, was a part of an Aleister Crowleyan ritual to initiate the world into the gay 90s as one more step to the construction of a New World Order.

But I digress.

Looking back on these songs, the allusions to deviant and degenerate behavior (and the occult) are quite obvious and belie an arrogance and even diabolically puckish sadism on the part of the artists and music producers who wanted to initiate the young into the unhappy and cruel world of gay culture.

So, why couldn’t parents and young people notice this degeneracy in this seemingly innocent and playful music?

The first answer is that many Christians did and kept their children away from this anti-Christian aural sewage.

The second answer is that the perversity and Satanism was hiding in plain sight.

Surely, many a naïve parent thought the FCC and the music industry would not allow for harmful and wicked music to be broadcast on radios and television.

But they did, and it has only gotten worse with contemporary 2000s music celebrating every immoral act and crime imaginable and being ushered to Americans via elaborate and detailed occult rituals performed in YouTube videos and Super Bowl halftime shows.

As the reader might guess, the music industry is not the only place where degeneracy is hidden in plain sight.

As Catholics, we do not have to turn to retro 80s musical nostalgia to uncover this rasping horror, we have our own long history of degeneracy hidden in plain sight.

Throughout much of the 1970s and 80s, under the careful eye of Chicago’s Cardinal Joseph Bernardin, the Catholic Church in America was overtaken by what has been called the “Lavender Mafia,” a group of gay clerics who ascended to positions of power and attempted to saturate much of the Church with their co-degenerates.

As the horrific sex scandals with which the Church has been rocked for over three decades now testify, the first generation of the Lavender Mafia or “Lavender Mafia 1.0,” full of “old school gay” old liberals, was a little too obvious and careless. Playing on the trust of Catholic families and communities, and the initial tendency of American law enforcement filled with Irish and Italian Catholics to look the other way, gay and pederast priests were able to accomplish what Protestants, Masons, and Communists were never able to do: completely destroy the faith of American Catholics in their priests and bishops.

After the “Spotlight” investigative journalism by the Boston Globe, led by editor Marty Baron (who now sits at the helm of “fake news central,” The Washington Post), the Lavender Mafia 1.0 largely laid low as their friends either went to jail, or if they had powerful enough connections in and outside the Church, escaped to Rome in humiliation.

Yet, like a slimy caterpillar mutating into a monstrous, gaudy and arrogant butterfly, the gay mafia in the Church has spawned Lavender Mafia 2.0.

Chastened by the abuse scandals, this mafia is much wiser and much more cautious than their reckless forefathers impelled by the ghostly spirit of Vatican II.

Like the cleverer producers and artists of 1980s sodomy-synth pop music, Lavender Mafia 2.0 has learned to adapt and now exercises a cackling, velvet-gloved, Machiavellian craftiness. At the same time, while they might be censured by the press and attacked by outraged laity, the members of Lavender 2.0 know that, within the Church at least, they have friends in high places.

The key to understanding the renaissance of degeneracy in the Church under the reign of Lavender 2.0 is to examine Pope Francis’s infamous July 2013, “Who am I to judge?” blurb within its proper context.

While most of the media attention given from both hostile and friendly sources to this quote has argued that Pope Francis was greenlighting homosexuality in general and gay marriage in particular (which he may, in fact, also have been doing), the Holy Father, in this context, was specifically talking about gay priests.

Even one of the most widely read articles on the nefarious quote, published, where else but in the New York Times, was titled, “On Gay, Priests, Pope Francis Asks, “Who Am I to Judge?”

Pope Francis was not specifically talking about the issue of homosexuality, gay marriage, or sodomitical acts: he was specifically talking about gay priests.

gay vatican

And these gay priests were listening. However, while they knew that had support in the Vatican, these members of Lavender 2.0 had to rework their modus operandi to avoid showing up on the front page of the Boston Globe.

There are four key tactics have been used by Lavender 2.0 to beguile their opponents, gain support from the hierarchy, and lure in support Catholic conservatives who have not yet turned to traditionalism.

The first tactic is what we might call “St. Sebastianism.”

Like the wounded martyr of Catholic iconography, many members of Lavender 2.0, present themselves as victims of judgmental and cruel traditionalists who are either crazy, evil, or even gay themselves.

This tactic is especially effective in drawing the sympathy of the women who, often having been themselves genuinely wounded by men, congregate for tea and sympathy with gay priests who shower them with “harmless” attention and affection, asking, like a lisping Mafioso, only for support and protection from these women when the cleric is attacked on Twitter or has a speaking engagement canceled.

The second mo. of Lavender 2.0 is simultaneously to make heretic statements as well as commit publicly scandalous acts and then immediately retreat behind a veil of piety.

The social media profiles and interviews of many of Lavender 2.0 clerics are loaded with gay innuendos, heresies, and even creepy-flirty messages to those in the know.

At the same time, Lavender 2.0 clerics protest of their devotion to the Blessed Mother and the Holy Sacrament of the Altar and are not afraid to drop pious public statements that neocon and liberal Catholics quickly paste as headlines on their blogs and websites.

This tactic is drawn right out of the playbook of our friends in the entertainment industry: hide degeneracy in plain sight but then double back with affirmations of normalcy, or, in the case of lavender clerics, orthodoxy.

All of these manipulative tactics are part of what is called in the field of psychiatry “gas lighting” or a type of manipulative and controlling behavior in which the abuser hides his abuse in plain sight and then gets the victim to blame him or herself for the abuse and end up adoring the abuser.

Despite the recent efforts of Lavender 2.0 priests and bishops to portray themselves as martyrs for the cause of tolerance as well as Pope Francis’s own attempts to save his image with the public with the release of a heart tugging and hip new film, Catholics the world over have had enough of the charade.

And many in the Lavender mafia cannot abide by the new 2.0 rules of more discretion and tact, and gay clerical scandals from Detroit, to Chile, to the Vatican itself are, once again, a sign that Lavender 2.0’s attempt to present themselves as gay-but-chaste priests is all an ugly charade.

But, as is always the case, there is more to the story, and we do not have simply a few bad apples in the Church; this network runs throughout many if not most dioceses, religious orders, and Catholic education institutions.

Catholics who are currently waging a war against the network of degeneracy in the Church in both the concrete public square and in the digital trenches must redouble their efforts and, to paraphrase the great Pope Leo XIII, finally “rip the mask off” of the degenerates who have hijacked our Church.

Facebook
Twitter
Google+
http://angelqueen.org/2018/03/25/79049/
Get AQ Email Updates
AQ RSS Feed

3 comments on ““We Are the Champions”: How the Lavender Mafia Got Over the Wall and into the Sanctuary

  1. There are both Communist and Illuminati secret society aspects to the anti-Catholic infiltration of the Church and the clergy using unhinged homosexuals. The Bella Dodd account told to Dietrich von Hildebrand pre-dates the tacky hair bands of the 1980s. The similarity of tactics is probably not just a coincidence.

    On another level, the manager of the British punk band The Sex Pistols was a Marxist who viewed British punk rock music as a method for social revolution. If anyone thinks it was just some kind of coincidence that all of the sudden there was predominantly horrible music in the 1980s and 1990s, lacking any pleasant sense of melody, coming from terrible music groups and pop stars, think again. It is an occult theory that cacophony and disharmonious noise blasted through the airwaves non-stop puts people on edge and intensifies social antagonisms and discord. It’s a form of psychological warfare used in torture.
    Ditto with the misogyny of Rap, singing about rape and murder.

    These are part of the Black Mass of the Illuminati. An atmosphere of decadence and depravity lead to despair. That is why these are used for the demoralization of Western society. The horrible New Wave and Punk music in the 1980s and the Seattle “grunge” noise in the 1990s were part of a mind control operation.

    This has a long and disturbing history:

    Dave McGowan: “The CIA and the Music of Laurel Canyon — The Magic Carpet Ride”
    www.youtube.com/watch?v=g4eUhv9hReU

  2. Here:
    CIA Hippie Mind Control: Inside Laurel Canyon with Dave McGowan
    www.youtube.com/watch?v=o2GjY8DN-7I

    Maybe it was just a coincidence that the former head of the CIA was Vice President of the United States through much of the 1980s, and then president. Then again, maybe not.

  3. There was an espionage film in 1965, based on a Len Deighton spy novel, which deals in part with repetitive noise blasting for Communist mind control:
    The Ipcress File, part of the Harry Palmer series, featuring Michael Caine who is subjected to sonic torture:
    https://en.wikipedia.org/wiki/The_Ipcress_File_(film)
    >BR>


    IPCRESS stands for “Induction of Psychoneuroses by Conditioned Reflex under Stress”, inducing sustained stress through horrible noises and flashing lights was theorized to trigger amnesia useful for re-patterning personality. Is that what the horrible musical counterculture of the 1980s and 1990s was about? Try listening to some of it.

Leave a Reply