Jonathan McIntosh

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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 scripts, edits videos, dictates tweets, works as her "PR agent," and from whom he receives money and access to her mouth for his dick, which is undoubtedly as pasty and stubby as he is.

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. Instead of going to trauma counseling, he pathetically entered his rebellious teen phase during his mid 20's, thus becoming a radical leftie communist who tried to convince his new SJW friends that he's not a trust-fund baby who 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 Bruce Alan McIntosh 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:

“	I was visiting Jersey City, New Jersey on September 11, 2001. I saw a jumbo jet slam into the World Trade Center. I walked down to the Hudson, eight blocks away, and stared gaping as both towers crumbled before my eyes. From that moment on, I started asking why. I started questioning everything. I started reading desperately seeking answers to explain why the world had suddenly gone crazy that morning. I couldn't seem to find the answers I was looking for in the usual places, so I looked abroad to the press from Britain, France and the Middle East. My own personal Pandora's box opened. Soon I found myself buried beneath a small mountain of books and articles by Michael Moore, Noam Chomsky, Edward Said, Arundhati Roy, Howard Zinn, Robert Fisk, Michael Albert, Gregory Palast, Kalle Lans, and Eric Schlosser. Having been brought up immersed in the doctrine of the ultra-conservative Christian Right, as I gained some inkling of the atrocities and injustice being carried out in my name across the globe, I was shocked. I felt betrayed by not just my government but by the media, my education and my family. I had been systematically misinformed, deceived and lied to all my life. So as someone born and raised in the United States of America I decided to make some changes. Today, two years later, I am an activist, a jammer, a vegetarian, a dissident detective, an info warrior, and a guerrilla artist. I ride a bicycle everywhere. I shut off my TV. I no longer buy things I don't need and I built this web site. It is dedicated to resisting war, injustice, inequality and empire through art, creativity, humor, fun, learning, mischief and disobedience. It is part of the growing rebellion!	„
—Jonathan McIntosh

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

	“	We have no problem with free speech	„
	—Jonathan McIntosh

	“	WTO means death to farmers, WTO means death to fisher-folk, WTO means death to healthcare…	„
	—A bearded man named FullMcIntosh

Dat Privilege About missing Pics

My internet sucks here in my dad's mansion on San Juan, boohoo.

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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 and the Fascism in Batman

Still not enough proof that Josh is completely unhinged from reality? Take a peek at his early "remix-narrative" project that tries to prove Batman is a fascist mascot.

Batman: The Ultimate Plutocratic Hero
One of the inspirations for this remix project was an excellent article I read back in January 2011 on Tor.com written by comic book editor Steven Padnick entitled Batman Plutocrat. In the post he argues that Bruce Wayne as Batman is essentially an aristocratic class warrior fighting on behalf of the wealthy (or at least on behalf of the system which upholds their power - and by extension his own power).

Here are a few choice excerpts that, as a lifelong Batman fan, rang extra true:

   “By their nature as vigilantes, acting outside or above the law, most superheroes have a troubling undercurrent of aristocratic, undemocratic, authoritarian values. Only the hero, not the police, judges, lawmakers, and average citizen, can effectively protect and improve the city they patrol, and god help anyone who gets in their way. No one exemplifies these tendencies more than Batman, the ultimate aristocratic hero.”

Padnick goes on to point out that Bruce Wayne sits at the very top of the socioeconomic food chain:

   “Batman isn’t just “the man,” Bruce Wayne is also The Man. He’s a rich, white, handsome man who comes from an old money family and is the main employer in Gotham. He owns half the property in the city. In a very real sense, Gotham belongs to him, and he inherited all of it.”

This next paragraph also got me thinking about what Gotham City would look like if the villain/hero roles were reversed in the narrative which is what I’m attempting to do with my remixed film:

   “Just look at who he fights. Superman (for example) fights intergalactic dictators, evil monopolists, angry generals, and dark gods, i.e. symbols of abusive authority. Batman fights psychotics, anarchists, mob bosses, the mentally ill, and environmentalists, i.e. those who would overthrow the status quo. Superman fights those who would impose their version of order on the world. Batman fights those who would unbalance the order Batman himself imposes on Gotham.”

Make sure to read the full article for more detailed insights from Padnick on Batman and class. I was a little dismayed at the comment section of the article which was filled with fans defending the Batman myth by using the fictional situations as justification for the fictional character’s actions.

Here is my response to that line of reasoning in the comments:

   “It always amazes me when I see people try use fictional contexts and fictional events inside of fictional worlds in order to try to rationalize or excuse the actions of fictional characters. Batman does not exist, we all know this, he is a construct. He is made up by the same people that make up everything that happens to him. He is written by writers making certain choices and as such they could, if they wanted to, make different choices. The writers create the narratives and in those narratives they make the hero an aristocratic, undemocratic, authoritarian, violent vigilantly. The writers also create the entire world Batman inhabits, create every single situation, as well as create all the "villains” he interacts with - all of it is specifically designed to justify Batman’s actions. Because the stories are meant to justify Batman’s actions those stories, of course, have an internal logic to them. Outside of Batman’s world however (the place all of us actually live) his actions can not be easily justified and are, more often than not, deeply problematic on a number of levels including class - as Steven’s article points out so well.“

Batman is both fictional and impossible. He is a fantasy. As such it is important to ask exactly who’s fantasy? And what ideological frameworks does that fantasy serve? My remix project will attempt to deconstruct that fantasy and create a Batman "anti-fantasy”.

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".