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Revision as of 14:53, 24 January 2015
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Jonathan "Josh" McIntoash is the straight, white male who speaks on behalf of all women via Anita, for whom he writes the scripts, edits the videos, dictates the tweets, works as a her "PR agent" and from whom he receives money and access to Anita's mouth for his dick that is undoubtedly as pasty and stubby as him.
After spending his childhood being "Unschooled" by his crazy, fundie parents in their mansion built on an Island he was further traumatized by witnessing the most lulzy event of the millennium and, instead of going to trauma counseling, pathetically entered his rebellious teen phase in his mid 20's becoming a radical leftie communist who tried to convince his new SJW friends that he's not a trust-fund baby that thinks he's Che Guevara.
After years of working in the background applying his skill at "Remixing" (a different way of saying "Making propaganda videos" with stolen footage), McIntosh came into the limelight during GamerGate after a series of hilariously stupid tweets, earning him the illustrious title "SJW's biggest retard".
Who is McIntosh
Proto McIntosh
Jonathan was once a chubby, white, overprivileged child who grew up in the home of his millionaire daddy Rruce Alan McIntoshn house on an island (he also owns a hotel), together with his mom Debbie Paul (lol divorce?) and his brothers Justin (archive) and Jeffrey who were all reportedly "unschooled", which is the practice of keeping your children out of the school system and not teaching them anything so that they would be more easy to indoctrinate (just read "Hathor the Cow Goddess"). He spent his early twenties getting back at mommy and daddy by going around the world using their money and recording it all on his blog with awful spelling and grammar ("Some ware monsters masks", "They where activists", "network of cronies, than used the rest". 3 elementary grammatical errors in a single paragraph) before turning full SJW to really stick it to them.
For a while Jonathan was a republican (Read: Normal) and would have continued to be that way forever had it not been for this:
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Unable to see the lulz in 9/11, Jonathan became a butthurt liberal.
But on a more serious note, it seems McIntosh was seriously traumatized by seeing the jews take down the towers live and, instead of going to therapy that would help him get over it, he spireled down into insanity. Soon after he hooked up with professor of marxism and fellow loony toon Harry Cleaver and became the man he is today. Last Thursday when WTO general director Pascal Lamy was holding a lecture, FullMcIntosh saw an opportunity to put himself in the spotlight by interrupting the lecture by wearing an ugly red headband with the brilliant text "NO WTO".
 McIntosh caught in the act |
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Dat Privilege About missing Pics
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McIntosh and the Racism in Willy Wonka
Need more proof that Mac is a fucking psycho? Check out this batshit crazy article that he wrote.
Willy Wonka and the Racism Factory
This article examines the most recent film adaptation of Charlie and the Chocolate Factory, in relation to issues of racism and colonialism.
The most recent film adaptation of Charlie and the Chocolate Factory is shaping up to be one of the highest grossing summer blockbusters of 2005. This is the third re-incarnation of Roald Dahl's controversial story over the past four decades. As such, it is instructive, to examine it's transformation in relation to issues of racism and colonialism.
In 1964, Roald Dahl published his original book Charlie and the Chocolate Factory. In it he describes the Oompa-Loompas as dark-skinned “pygmies” from the heart of Africa. These indigenous people are brought back to the Western world from the jungles by the European chocolatier, Willy Wonka, with the intention of making them slaves in his factory, being paid only in cacao beans.
Dahl’s portrait of the Oompa-Loompas, includes the centuries old Western notion of indigenous populations as being exotic, simple and miserable. They are portrayed as unable to survive without the white Western world’s helping hand. Willy Wonka lulls his audience into quietly accepting this familiar and violent idea. In the process, Wonka becomes exalted as a white messiah to be revered and worshiped by the (literally) lesser brown people for having lead them out of darkness and into enlightenment and happiness. Throughout history, this false sense of altruism has closely accompanied racism.
In 1971 Paramount Pictures released a feature film, Willy Wonka & the Chocolate Factory, staring Gene Wilder. The film’s creators felt it socially and culturally inappropriate to portray the Oompa-Loompas as originally described in Dahl's book. Instead, the characters appearance was changed, making them little people, with bright orange skin and green hair from the fictional "Loopmaland". Their native land was never displayed on screen and is only mentioned in passing.
Two years later, in 1973, the book was re-issued with major revisions. Responding to criticisms of racism from the NAACP, children's literature critic Eleanor Cameron and others, Dahl agreed to re-write portions of the book that mentioned the Oompa-Loompas. In the revised version, Dahl depicts them as small “hippy” people with long golden-brown hair and rosy-white skin. Their origin was also changed from Africa to the fictional Loompaland. These adjustments, while illustrating how culture has the ability to literally change art, are still problematic. It is not possible to negate the ideas of colonialism if the victims simply have light skin, come from a fictional place or are of a vague non-specific ethnicity.
Now, in 2005, Warner Brothers has released another version of the feature film, this time directed by Tim Burton and starring famed actor Johnny Depp. The new adaptation brings back the racism and colonialism that the 1971 film and the 1973 revised book attempted to downplay. In this most recent incarnation we follow Willy Wonka, sporting the classic attire of the colonial explorer complete with safari hat, as he travels on screen to a distant tropical jungle called "Loompaland". He is, we are told, in search of "exotic" flavors for a new line of sweets. While depicted as silly and adventurous, the right of the Western entrepreneur to take whatever “flavor” plant or animal he desires from developing countries is never questioned. It is just the kind of theft western pharmaceuticals and agro-corporations have been engaged in throughout the developing world over the centuries.
Interestingly, the film does not mention whether Wonka claims intellectual property rights over the ”flavors” he finds there, as is the case with his modern contemporaries. However, one assumes that the entire race of Oompa-Loompas falls under the umbrella of a fully owned copyright.
During this colonial montage, Wonka encounters a jungle village built in the trees that the Oompa-Loompas inhabit. This time, however, they are portrayed as a primitive miniature brown-colored indigenous people of non-specific ethnic origin. They sport feather headdresses, tribal style jewelry and grass skirts while dining on visibly "disgusting" green caterpillars and worshiping the rare coca bean. They are depicted as simple, whimsical, and of course, miserable in their native home. Wonka "generously" rescues the Oompa-Loompas by offering them the opportunity to work and live in his Western factory. Later they are shown "happily" imprisoned inside Wonka's factory, which they conveniently cannot leave or they will be subject to chilly weather and die. The Oompa-Loompas also "willingly" allow themselves to be experimented on, much like laboratory animals, by Wonka as he tests his new, and sometimes dangerous, candy concoctions. Clearly, Wonka has not taken the time to explain the ins-and-outs of unionizing or worker health compensation to his imprisoned work force.
The Oompa-Loompas have no spoken language of their own and must resort to mime and jester to communicate. However, they have learned to sing in English while they dance for the entertainment of Wonka and his all white and full-sized guests. This happened in the 1971 film version, although in the 2005 version, the songs are accompanied by the laughable sexual gyrations of Oompa-Loompas, encouraging the audience to laugh along at the supposed sexuality of the mini-male of color. This unfortunately follows along and sad historical tradition of emasculating men of color for the enjoyment of white audiences.
Moreover, the Oompa-Loompas all look exactly alike, as they are played by one actor using composite visual effects. This is a new invention by the current film's creators. The visual effect is ironic as it displays the problems at the very core of global labor issues: white populations perceive individuals of non-white populations as identical and all looking alike, lacking individual dignity. In this view, factory and sweatshop workers are ascribed no individual worth outside of the product they produce for consumers at low pay and in poor working conditions, unable to organize, form unions and improve conditions.
Many will no doubt respond to this critique disparagingly. They will say that the movie is just that, a movie. They will state that it has no social connection or cultural implications to the present western mindset. However, it is important to consider that Roald Dahl himself eventually made revisions of his story to meet the racial concerns that accompanied the changing social ethics in 1973. The fact that, in 2005, Tim Burton chose to revert back to the original description of the Oompa-Loompas as primitive “pygmies” is troubling at best. Burton has said in interviews that one of the things that attracts him to Dalh’s work is the "politically incorrect" subject matter. Audiences all over the country seem to feel the same attraction.
In the context of the present political landscape one cannot help but draw disturbing parallels between the fabled chocolate factory and US foreign policy in the Middle East. The notion that Wonka rescues the indigenous Oompa-Loompas from their “difficult lives” with his gift of industrialization seems to mirror the patronizing notion that the United States is presently rescuing the peoples of Afghanistan and Iraq from their preserved savagery. It is disturbing that, this time around, no mainstream movie reviewers, civil rights organizations or social critics have pointed out these parallels or made these comparisons. Could it be that overt racism and colonialism have again become the norm in our society, passing almost without comment? Do we no longer even take the time to hide it under the surface?
For now, it seems, children will delight in recreating white master chocolatier and indigenous slave worker scenes as they play with colorful plastic Oompa-Loompa action figures from Wendy’s kids’ meals.
McIntosh Today
Some of you might think that FemFreq is so shit that even a woman can make it. However, Anita is not alone. Because where would a feminist woman be if she didn't have a patriarch in the background whom she sleeps with to thank for her success? In comes her "partner", Jonathan McIntosh, who she is obviously dating as can be inferred from the fact that she posts on Facebook about inviting him home to meet her parents and cooking him dinner at her house.
While Anita is a scam artist, McIntosh is a 'Pop Culture Hacker' propaganda producer. He works as a "PR agent" (he calls it "A media consultant") of sorts alongside Maya Kramer (Zoe Quinn's lover/agent) at "SilverString Media", a company promoting diversity by only hiring white men (recently deleted their staff page to hide that fact).
In his spare time, Johnny-boy likes to "remix" videos. Meaning he takes other people's original content and turns it into attack videos for his own political agenda, which is exactly what FemFreq is. Simply said, his job is not unlike that of Joseph Goebbels.
This also explains Anita's poor handling of intellectual property issues, since he himself has been caught repeatedly stealing it (that's pretty much his entire job) and in the past has defended the position that copyright infringement for his shit videos is A-okay, and is at times seen blaming Jewtube in the cases where the he got DMCA'd.
Finally, he won some sort of Buffy related contests which explains why Joss Whedon defends Anita on twitter despite most of his work containing asses, rape threats and rape.
McIntosh Enters the Spotlight
For years McIntosh operated from the shadows as Anita's puppet-master, but when GamerGate began he made the fatal mistake of trying to comment on the issue himself. Sadly for him, one of his tweets was so monumentally stupid that he was no longer able to slither back into the darkness.
Vivian James is the retarded mascot of GamerGate... But what is this "rape joke"? For weeks people speculated as to what the hell he was going on about, until someone realized he was talking about Piccolo Dick. Yes, Vivian James' colors must be based on an ancient joke people thought was funny for about a week, instead of... say:
You would think a hero of feminism like McIntosh would know the official colors of the suffragettes.
Going Full McIntosh
After this fiasco, Mac started to show everyone just how fucking crazy he really is with his continual flow of psycho tweets. Tweets implying things like: School shootings are caused by gamers, video games are bad because "fun" is a tool used by the patriarchy and, a camo colored Xbox controller he found in a store is proof that gaming is controlled by the military-industrial complex.
As a result someone coined the term "Going Full McIntosh".
Crazy Tweet collection
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Gallery
#FullMcIntosh About missing Pics
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See Also
External Links
The GamerGate thread on our forum- He interviewed a leftist Marxist
- An old video on how much he hates the banks
- his commons Wikipedia page He calls himself "Thehero".
His TOW account- Him talking more shit about Charlie and the chocolate factory
- His CV *
(archive) - (archive) His photo CV
his smugmug profile
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Jonathan McIntosh is part of a series on Visit the Social Justice Portal for complete coverage. |
| Featured article January 6 & 7, 2015 | ||
| Preceded by Brony |
Jonathan McIntosh | Succeeded by Sarah Butts |