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Barrett Brown, The Wild One

“What are you rebelling against, Johnny?”, he answers “Whaddaya got?”

Every prominent arrested Anonymous figure becomes the instant object of Photoshop transposition with heroic figures. In the case of the “Fuck Sabu” poster taken from freebarrettbrown.org, we see Brown’s face transplanted onto Johnny (Marlon Brando) from The Wild One, a stereotypical rebel biker without a cause. Our link to Brown is mediated through this character, and the qualities of the biker hero completely and utterly replace those of Brown. Similarly, Sabu’s identity is superseded by the role of a subordinate police officer who stands behind Brown, grinning victoriously. In the far background, the solemn parents watch the scene, powerless and blinded.

“Inasmuch as photography is an ellipse of language and a condensation of an ‘ineffable’ social whole, it constitutes an anti-intellectual weapon and tends to spirit away ‘politics’ (that is to say a body of problems and solutions) to the advantage of a ‘manner of being’, a socio-moral status … Photography is therefore above all the acknowledgement of something deep and irrational co-extensive with politics.” ~ Barthes, Mythologies

The ‘original’ image.

The faces of Brown and Sabu are such poor fits they indicate the mask of this myth with flagrant, blatant, and comedic effect. Sabu’s face is crisp, yet his body is blurry, as if he is seen but as yet partially unresolved. The beaten, remorseful face of Johnny is here covered with Brown’s bovine glance, which like Sabu’s is fixed knowingly towards the camera. These two are foils: Sabu smirking, self-satisfied, smug, contemptible, completely despicable, his head bizarrely enlarged, and Brown determined, resolute, now subtly smiling, now angered, his expression shifting with each glance like the Mona Lisa, the perfect image of a trickster, the cat with the canary. Brown wanted to be arrested, he has done something right to be in such a position. He’s been plunged into this quaint, inverted, black-and-white fantasy of yore where nothing is fair and the only figure unmolested by the Photoshopper is that of authority. The angered old sheriff, completely impotent without Sabu, castigates Brown before certain punishment; the powerless public stands by but cannot watch because their eyes are blacked out.

“SOLIDARITY WITH ALL ARREST ANONS” also appears to dispense with the mythical mask, perhaps in an attempt to show contempt for the slick, well-disguised myths propagated by the ‘opposition’. Yet such labeling is overt misdirection. The image denies Sabu, a former Anon, with solidarity only to contrast the glory and heroism of Brown. The subtitle, “Fuck Sabu,” delivers this denial again with a cursive flourish.

Solidarity is only denied to Anons after the fact, even in the face of solid evidence of wrong-doing and cooperation with law enforcement. Gabriella Coleman, academia’s most prominent media expert on Anonymous, said in regards to Sabu, “I knew he’d been arrested. But of course, I couldn’t tell anyone. And that was really hard.” She’s right, of course, as all who sounded the alarm about Sabu, including myself, were met with derision from the Solidarity police in Anonymous.

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Tears of a Clown: ICP’s Concept Album Vindication of Barrett Brown

DETROIT, MICH. — In solidarity with Anonymous leader and fellow evangelical Christian Barrett Brown, arrested Thursday after publicly protesting his persecution at the hands of the minor children of an FBI agent, hip-hop all-stars Insane Clown Posse have already strung together a tribute album to Mr. Brown, of which The Internet Chronicle has obtained an advance copy. The proceeds from the album will go to Mr. Brown’s legal defense fund.

In a press release representatives of ICP released a track listing for the upcoming album, entitled “Have Sex with Dead FBI Agents’ Children (We Ain’t No Gang, Freak Whores).” The track listing for the album is as follows:

1. FBI Agent Robert Smith’s Kids (in the Dark Carnival)
2. Drug Dealer in Hell
3. Avenge MLK (KIA)
4. Brown Off Brown (His Drug Dealerz in Hell)
5. We a Gang, LOL JK (Bustin’ Nuts in a Dead Body)
6. Shoot Racist People with Illegally Obtained Firearms (Have Sex with their Dead Bodyz)
7. Fucking Internets, How Do They Work?
8. LulzCartel (His Drug Dealerz In Hell Reprise)
9. CHUG HFCS!
10. Not Forgivin’, Not Forgettin’, Painting Our Faces
11. John Wayne Gacy = God = Satan
12. It’s OK to be Poor (Cumming From Nothing)

Initial reports from representatives of ICP’s label, Psychopathic Records, have indicated that the release of this album may undermine the group’s recently initiated lawsuit against the FBI, which previously indicated ICP’s gang status, given their affiliation with drug prohibitionism, the Christian identity movement, the HFCS racket — in addition to their perpetual glorification of Illinois rapist/mass-murderer John Wayne Gacy.

In statements to the press FBI Director Robert Mueller has characterized ICP’s album a “dangerous travesty,” adding, “We will hunt these no-talent assclowns down as quickly as we did the drug-addled Anonymous leader.”

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CIA END OF WORLD PLOT UNRAVELS

Photo by Matt Cornell
The Innocence of Bin Laden played in a single theater, yet incensed an entire region.

APOCALYPSE–Today, bomb threats swept across America in a perfectly orchestrated CIA plot. Meanwhile, a former Anonymous leader–who has rumored ties to the CIA–was arrested for planning attacks on the children of FBI agents. In the Middle East, the showing of a mysterious film ignited anti-American riots that ended in the murder of an American ambassador. Is it possible that this film wasn’t the work of the CIA?

All of these events marked the 11th anniversary of September 11, 2001, putting an already xenophobic American public on edge. Canada recently severed diplomatic ties with Iran, and the IAEA condemned the Iranian nuclear program.

What follows now is a matter of speculation, but we can be sure whatever plan is unraveling will Destroy The Entire Earth.

UPDATE: Critics widely panned Bob Dylan’s newest album, released on September 11th, for alleged plagiarism. This comes on the heels of fifty years of Dylan’s “plagiarism,” which folk and blues fans know is actually the rule and not the exception. The critics, possibly tipped off by the CIA, have undermined the potency of America’s greatest protest musician, and there is nothing left but the whiny Occupy songs of Tom Morello. This is also seen by many as a move to clamp down on intellectual property, after the SOPA legislation failed to pass earlier this year.