Internet legend John Tiessen spoke in defiance of IRC bans and IRL double trouble Barrett “The Wild One” Brown Monday. During his Internet podcast, Tiessen once again decried the rats amongst us, referring to undercover agents at Occupy meetings, and outlined the divide and conquer mentality of government opposition, referencing Sun Tzu’s Art of War.
Barrett Brown is in police custody after threatening the children of federal agents.
Tiessen quietly yelled to his audience of no one, “We’re rootin’ for Barrett Brown to get out of jail, and we’re fuckin’ protesting against that. They say they’re protestin’ against them but they’re not – they’re tryin’ to stop it. They’re tryin’ to stop the movement and they’re winning. They’re winning and people are listening to ’em. We are the pee-pool! We are the pee-pool!”
As something resembling emotions rose up within him, Tiessen got carried away with himself and, remembering why Brown, on whose behalf Tiessen is speaking, was arrested, corrected himself midstream: “We have our minds and we’re going to do what we want to do. If we want to take down the feds– if there’s five people that want to take down the feds . . . they’re gonna do it, leave ’em alone!”
Tiessen concluded by encouraging his presumably sleeping audience to “wake the fuck up.”
The following is funnier than anything we could possibly write ourselves
The Innocence of Muslims has spread wildly throughout the Middle East and is one of the most critically-acclaimed popular films since The Passion of The Christ. A new landmark in American Cinematography, the wondrous shots of the barbaric setting for desert people transport audiences to a fantasy land where nothing makes sense and buildings are set on fire simply because they are inhabited by Christians.
Culturally speaking, this is a landmark for American film that could have only been shot by a highly-acclaimed pornographic filmmaker. Muhammed’s depiction as a bisexual who likes both submissive and dominant acts of sodomy had me laughing at all the sodomite homosexual submissive Muslims in the world. The poignant tale of Islam’s founder and his dynamic struggle for a sexual identity dropped a bomb on my misconceptions. No longer do I think of Muslims as serious practitioners of a religion, but now I see they are just innocent heathens led to destructive and violent acts by crazed Imams who follow in the tradition of Muhammed. No wonder they don’t like it when people depict him!
I have never seen a film which better facilitates masturbation. The sex scenes in this movie aroused me sensually and made me want to violate the Sweet Virgin Mary. I spilt my seed when Muhammed told his followers to rape the children of the conquered, because that has always been a dream of mine. Perhaps I will join the Army so I can get back at the Muslims for all their horrific war crimes through history. My only problem was that there were no graphic depictions of genitalia, and we did not actually get to see Muhammed having sex. That would have greatly improved my enjoyment of the furious masturbation.
It was hilarious how at certain points during the movie the actors lines were overdubbed with all the really incendiary lines about Muhammed, and that none of the actors were actually conscious they were participating in such a controversial movie. Not only has the entire Muslim world been fooled like the sad innocent child-like people they are, but the actors were also similarly fooled! The film all came together in the end, and the “Great Prophet” was depicted as a crazed sword-wielding maniac covered in blood, just as everyone in America has always imagined. Surely, this is the work of America’s greatest filmmaker. It was an intellectual tour-de-force that had me thinking, laughing, crying, and cumming in my pants all at the same time.
I’ve heard that its reception in the Middle East has been fairly negative, but that’s sad! If you can’t laugh at God, who can you laugh at?
“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.
