One of the 1990s conspiracy theories which I recall hearing about in popular media and internet lore is that of the ‘Beast Computer’. The 1998 track ‘Information‘ off the (Wu-Tang-Clan affiliate) Killah Priest album ‘Heavy Mental‘ might be the best popular cultural example which I can to point to that may reflect this kind of thinking. (Much like the RATM canon artistically it’s not a bad album IMHO and I like the sound, although it is chock full of anti-Americanism. Just be sure to enjoy the lyrics critically from a strategic perspective as they probably relate to a legacy of disinformation.)
Much like the fabricated Nostradamus emails, usegroup posts, and text messages which flooded the internet following the September 11, 2001 terror attacks and are seemingly attributable to Russia, I recalled a similarly viral chain of disinformation from earlier in the 1990s. Lets call these fairly transparent conspiracies: ‘Bill Gates 666 disinformation’ (a good debunking can be found here).
In February 2018, YouTube started listing that ‘RT is funded in whole or in part by the Russian government’ on videos posted to RT’s YouTube channel. This change seems to be the consequence of attempts at enforcement of FARA-style regulation on social media in an attempt to curb the effects of state sponsored propaganda narratives. It also seems to be related to the near-unanimous assessment of the intelligence community as released in January 2017 that RT had been used as a malign influence vehicle for the Russian government campaign to subvert the 2016 US Presidential election.
Apparently, these findings were no ethical deterrent for the “Nostradamus of the legal scene”, Michael Avenatti – attorney for Stormy Daniels (aka Stephanie Clifford) – to appear on Larry King’s RT show on April 12, 2018 to make the case why he felt that it was common sense that former Trump attorney Michael Cohen would “roll over”; and that Cohen’s actions related to Stormy Daniels could lead to impeachment, or otherwise “end very, very badly” for the President.
In a back-to-back segment on the same program, Larry King also hosted former Congressman David Jolly (R-FL Pinellas). Jolly spoke on the matter of Paul Ryan’s announcement that he would not be seeking reelection (he had no on-air time with Avenatti, and the topics – although not necessarily the impeachment-orientated subject matter – of the discussions were different).
In an effort to expand my understanding of the film-making of Dario Argento, last evening I watched an Argento-produced-and-written film called The Church (or La Chiesa). It was directed by Michele Soavi, who has been a long-time assistant to Argento, and who is noted for taking inspiration from Sergei Eisenstein and Orson Welles – in addition to his mentor Argento.
On the so-far final episode of his CNN show Parts Unknown, the late Anthony Bourdain traveled to Bhutan with Darren Aronofsky. Introducing their trip, Bourdain said: “I’m here because of this guy, my friend, the film director Darren Aronofsky; fresh off the unjustifiably horrified reaction to what I think is his masterpiece: mother!”
As Aronofsky later recounted, there in Bhutan he and Bourdain had performed a “Bhutanese death ritual” in what Aronofsky described as an “ironic” reflection about his time spent with the late TV personality. In the end however, this story maybe should not seem so ironic at all, based on its ample connections to Communism and Russian occultism.
In the spirit of the ‘easy solve’ for Steve Lazarides as Banksy (I’m sorry, it’s just so obvious), I hadn’t initially watched his interview from 2014 on RT, although I used it as an image in the story. Having watched it now, I think it is very informative for the “Art War“. In fact, the segment itself was literally dangled before commercial break as: “The Art of War – how Britain’s artists are taking politics to the street”.
Come learn from the impoverished historical perspective of Professor Banksy Lazarides (but made much better by a possible Monty Python reference).
‘Power as a political message’ – Steve Lazarides on the street art revolution; Oct 8 2014 – Going Underground – RT (full episode, clip below)
Roseanne Barr and Madonna Louise Ciccone (a.k.a. the pop star “Madonna”) have been two outspoken feminist and ‘postfeminist’ figures from the 1980s-present. At first blush, there does not appear to be a great symmetry between the pair – however there is actually a very strong parallel in their social networks and plausibly ‘communistic’ social activism as women artists.
While it is no surprise that feminists will often adopt leftist or Marxist critiques of power which emphasize the disruption of patriarchal gender norms – it is interesting to note that both Roseanne and Madonna have currently adopted post-Soviet narratives regarding politics and the occult which are connected to modern Russian Information Warfare, underpinned by (apparently) past and present ‘communistic’ influences. This may give the social ‘performances’ of Americans Roseanne and Madonna strategic value to Russia parallel to the work of anti-establishment postmodern Russian groups like Voina (War) and Pussy Riot.