His Sydney appearance in December is sold-out at $89 a ticket, even when anticipated protests by his arch-enemies, potentially “violent” leftist liberals, means Yiannopoulos and his promoters have not revealed the 1000-plus seat venue.

From his callously indifferent rants against feminists, gays, transsexuals, Muslims, teachers, academics and even child sex abuse victims, few in the audience are likely to avoid a vitriolic spray. At this stage Prime Minister Malcolm Turnbull is safe, although he is unlikely to join the audience anyway.

“I try to stay away from giving political endorsements,” Yiannopoulos answers when asked about Turnbull, particularly his relationship with US President Donald Trump. Yet Yiannopoulos enthusiastically endorses “every single thing Trump has said about the press”, as well as cheering Trump’s election victory.

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Yiannopoulos explains he is “not primarily interested in politics”, and “would not want to curse any politician with his endorsement”.

This may confuse readers of his book Dangerous, which Yiannopoulos is promoting, where political discussion embraces “today’s leftist political class”, Hillary Clinton and America’s right-wing Tea Party.

For those unfamiliar with the outrageous enfant terrible who champions himself as a one-man crusader in defence of free speech, Yiannopoulos elevated himself to celebrity from his job as an editor at right-wing US opinion website, Breitbart News.

Born Milo Hanrahan in Kent, England in 1984, he says his father is half-Greek and half-Irish, and his British mother has German-Jewish descent.

His father wanted to divorce his mother while she was pregnant with him, but they remained together for another six years.

He grew up with his mother and stepfather in a village in Kent, where he says his stepfather would beat him.

“My mother never really stopped that stuff happening with my stepdad,” he told interviewers. “She just let it go on. I don’t want to go too much into it ... it’s ancient history. But I did not have a happy time.”

He also described his biological father, a doorman, as “terrifying”. Yiannopoulos was puzzled that his father and stepmother had a nice house with a live-in housekeeper and cook, then suggested his father was a gangster, joking: “My dad is like Tony Soprano but Greek.”

Close to his Greek grandmother Petronella, he adopted her surname, Yiannopoulos.

He was raised Catholic, was sexually abused by priest Father Michael at 13, attended an academically selective grammar school where he came out as gay at age 14, and has step-siblings. He also has relatives in Melbourne.

After dropping out of Manchester and Cambridge universities he worked at The Catholic Herald.

Although keen to become a theatre critic, he became a technology writer in time to join Gamergate, inflamed when female video game developers took issue against male-orientated games with heavily-muscled protagonists and scantily-clad females.

Yiannopoulos took up the cause in 2014 in a story headlined, “Feminist bullies are tearing the video game industry apart”, and perhaps inadvertently became the mouthpiece of predominately young, white, angry men.

A persuasively articulate speaker, he has refined offensive outrage in spiels blaming the 1960s “left” for hijacking public debate and policy. Perhaps correctly, Yiannopoulos says in America complaints of voter-fraud never favour Republicans.

He accuses campus politics from the ’60s onwards of “inventing political violence”, citing as evidence the 1971 Rules for Radicals: A Pragmatic Primer for Realistic Radicals by Chicago academic Saul Alinsky.

When it is suggested the 1960s protest movement, inspired by anti-Vietnam War rallies, favoured nonviolent resistance as espoused by Indian independence advocate Mahatmah Gandhi, Yiannopoulos retorts he is not referring to sometime back in the 11th century; Gandhi was active in the 1940s.

Asked about Australia’s refugee policy, with 600 asylum seekers without power or water in Manus Island detention centre, condemned this week by the UN High Commissioner for Human Rights, Yiannopoulos almost echoed his despised liberal-left.

“It’s a complicated situation,” he says. “Obviously there are some people there who evoke more sympathy than others.”

But he endorses our refugee policy: “What I like about Australia is that you have never been afraid to turn people away,” he says, apparently unaware 90,000 Vietnam War boat-people were accepted in the 1970s and 1980s.

Praising Australia’s refugee policy as one of the best in the world, Yiannopoulos says the strict rules make it less likely people will “risk their lives on a whim.

It is clear that if you turn up, you will be sent home, so don’t bother. Otherwise, so many are going to die getting there.”

He married an African American man last month, but Yiannopoulos opposes gay marriage in Australia, as there is no constitutional protection for religious organisations. He fears Catholic churches will have to “close their doors” if countries that do not protect religious freedom adopt gay marriage.

“The pre-eminent criteria is freedom of religious conscience,” he says, adding that attacks by gay marriage supporters on those who oppose it was “typical of the radical left”.

He lost a publishing deal in February when he carelessly appeared to support sexual encounters between mature men and 13-year-old boys, while discussing his abuse by a priest.

He then adds that the Catholic Church has long “been a haven” offering protection for gay people.

Characteristic of his flexible positions, Yiannopoulos’ book flips between arguing that at 13, he never did anything he did not want to, so was not a victim. Then he says he can now see he was a victim of sexual abuse, but refuses to wallow.

He advises abuse victims who are wallowing to “get over it. Move on ... Get the fuck over it.” Two pages later, he accuses left wing media of supporting paedophilia, and promises to fight for “real victims out there”, partly by ending “feminist hysteria” that makes rape victims less likely to be believed.

Perhaps his guests should view Yiannopoulos’ Troll Academy floor-show as pitch-black comedy?