Archive for the ‘Alt-right’ Category

Doja Cat Responds To Backlash Over Alt-Right T-Shirt: ‘It’s Not An Attack’ – HipHopDX

Doja Cat has addressed the controversial t-shirt she wore in the fall that featured Sam Hyde a comedian known for his alleged association with far-right political ideology.

The Juicy hitmaker spoke in depth with Ebro Darden for Apple Music in an interview published on Thursday (December 14). While noting shes not political, the California native said that she didnt know Hyde was a controversial figure.

First of all, Im not a political person at all, Doja began. I feel like when it comes to that sort of thing, I have to back the fuck away. Politics are not something that I wanna sweep into my life. I just want creativity and joy and just sort of the immediate reality of my friends, my family and my music and whatever. You cant know everything and me wearing a t-shirt of somebody who I thought was funny is an attack on people? Its not an attack. It didnt affect the world in a way where we now have to look behind our backs. We dont.

She continued: And I know that. And me saying that right now, Im going to get a lot of responses of, Yes it did! Its going to change everything! I also think that Im way too fucking famous. 100 percent. Im doing what I can slowly but surely to separate myself from this kind of narrative or whatever this world is that I kind of built. And Im fine tuning it and tailoring it to what I want out of it. I feel like it doesnt matter what you say, it doesnt matter what some people know.

Because theres fans that I have that know I dont put any involvement into whatever the fuck that negative shit was. I am more just: funny guy on t-shirt, wore it that day. But I dont need to explain myself. I dont need to prove myself to a bunch of people who are just gonna project no matter what I say, too. Theres people who are incredibly dogmatic. It doesnt matter what the fuck you do, what you say, theyre always going to stand by, That persons evil.

You can watch the full interview below. The shirt convo happens around the 7:30 mark.

The t-shirt in question was featured in a selfie Doja Cat posted to her account in October. After fans got in her comments and dragged her for filth for the post, she deleted it. She then re-uploaded it with the picture of Hyde cropped out, with a new caption: a series of eye-roll emojis.

That didnt stop the internet backlash, though.

While Hydes Million Dollar Extreme comedy troupe purports itself to be transgressive and subversive in its humor, there have been more than a few instances where Hydes humor has fallen on the offensive side. The comedian has been photographed giving a Nazi salute alongside infamous alt-right troll Weev, who also writes antisemitic tirades for The Daily Stormer. In another, Hyde proudly displayed swastikas behind him while performing.

In addition to being associated with 4chan/alt-right-type politics (as this was not the first time), Doja Cat has also been accused of worshiping Satan for the devil-related imagery she has used in both music videos and tattoos. But according to the Scarlet rapper, the narrative is annoying and tacky.

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December 11, 2023

I like the idea of: I did it on purpose and its this big ruse to make people react, she said elsewhere in the interview with Darden. But I also like the idea of: I love this piece of visual art, I like this visual for this sound.

So I chose that visual and applied it to the sound and people made up what they [want], which is what you do with art. You interpret it how you want to interpret it. Everybody has a right to interpret how they want.

She continued: But this whole very confident Satanism thing is like Im sorry, when the fuck did I say that I was a Satanist? Or even go marching outside the church? When the fuck did I say that?

Its really tacky and annoying and discredits a lot of the hard work that Ive put in.

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Doja Cat Responds To Backlash Over Alt-Right T-Shirt: 'It's Not An Attack' - HipHopDX

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Marvel and DC Writer Mark Waid Rejects Mark Millar’s Call To Root Out Comic Book ‘Cancel Pigs’, Dishonestly Paints … – Bounding Into Comics

Comic Books

In an unsurprising drawing of battle lines regarding the newly-reinvigorated battle to rid the industry of one of its worst elements, veteran comic book writer Mark Waid has responded to colleague Mark Millars recent declaration of war against cancel pigs by not only dismissing it as a cry for attention, but also disingenuously attempting to write off its supporters as being composed of nothing more than the Alt-Right.

RELATED: Mark Millar Takes A Stand Against Cancel Pigs, Calls On Creators And Fans To Never, Ever Appease Or Encourage Their Cruelties

Offering his thoughts on the comic book industrys latest turning point, as sparked by Millar after some of the industrys loudest voices sought to bully retailer Glenn OLeary over his very real criticisms of their current output, via a December 13th post made to his personal Facebook page, the current writer of DCs Batman/Superman: Worlds Finest Vol. 1, Teen Titans: Worlds Finest Vol. 1, and Shazam! Vol. 5 followed in the condescending footsteps of said bullies and opined, And like a falling star rocketing across the sky, another former comics superstar whose heat is fading chooses to cry for attention by blaming the industry, his peers, and the audience rather than taking stock of his own professional progress, admitting that we are often the authors of our own fate, and finding the courage to reinvent himself and stay relevant.

Its really Not. That. Hard, he continued. My stars not gonna burn forever, either. No ones does, and accepting that fact gracefully is a sign of emotional maturity. But if I ever, ever become That Guy, every single one of you has permission to slap me upside the head and force me to re-read the above paragraph as many times as it takes to sink in.

Following its publication, Waids post would be met with a bevy of responses from both supporters and critics, the latter of which he would use as jumping off points to further his argument.

Sharing the video of OLearys now-famous rant against the industrys turn to self-validation over good storytelling, fellow FB user Classic Marvel Era asserted, There are somethings that cant be agreed with but clearly there is a disconnect between the Big 2s editorial, the LCS owners and the readers: and Mark is not wrong to highlight that.

More quality story telling is needed, they detailed. Theres a reason why you, Joe Q, Kurt Buseik, Donny Cates made a mark that still wows the readers to this day.

Dismissing both the fan and OLearys frustrations, Waid proceeded to condescendingly declare, All this complaint about how comics are dying because familiar characters are being written out of character by people who want to self-insert their own political causes or turn them into SJW mouthpiecesbut not one single legitimate example given.

RELATED: Comic Book Pros Mock, Deny Complaints From Veteran Shop Owner Regarding Abysmal State Of The Market: His Business Is Dying Because He Refuses To Change With The Times

Proceeding to present one of the most dishonest reads of the entire situation that perhaps will ever be raised throughout the entire debate, Waid then questioned, Not one. Who? Superman? Batman? Green Lantern? Flash? Wonder Woman? Spider-Man? Captain America? Daredevil? Iron Man? Nightwing? Harley Quinn? Damian Wayne? Seriously, what am I missing here? Have these complainers read a single Marvel or DC comic in the 2020s?

Well they have and so have we, Classic Marvel Era pushed back. Since we focus on Marvel Comics, the Captain America series by Ta-Nehisi Coates is one of the bad examples (which seemed like a political manifesto shoved inside a comic unlike the writings of Kirby, Gruenwald and your very own Operation Rebirth) followed by post Hickman X-titles and most recently The Punisher by Jason Aaron.

Furthermore, shrugging an LCS owners opinion by simply questioning if they have read recent comics or not sounds a bit condescending, to put it mildly, they continued. Lets assume youre right but theyre the ones bearing the brunt in the form of loss of sales and possible business closure. Theres your POV, theres Millars POV, therere LCS owners POV and the truth is somewhere in between. Frankly youre too benevolent when it comes to todays comics which is surprising considering the kind of work you have produced for our favorite Marvel characters namely FF and DD.

Proceeding to immediately prove just how dishonest his above dismissal truly was, Waid then admitted, The Captain America series by Ta-Nehisi Coates is one of the bad examples (which seemed like a political manifesto shoved inside a comic unlike the writings of Kirby, Gruenwald and your very own Operation Rebirth) followed by post Hickman X-titles and most recently The Punisher by Jason Aaron.

Cap hasnt been written by Coates for some time now, said Waid as he attempted to shift the goal posts. The Punisher book thats being published today isnt reflective of your complaint. Isnt that what you wanted? Why are you arguing so hard for something you already have? As regards the current X-books, I need you to be more specific about your complaints. In what way are they any more SJW then they have been for decades?

Turning to the claim that he was too benevolent when it comes to todays comics, the writer argued, Im not benevolent; I simply acknowledge that not all of these comics are written to my specific taste, any more than the war and romance books were when I was a kid.

Or any more than half the DC and Marvel superhero line when I was a teenager, recalled Waid. And thats perfectly fine. Just because I dont like something doesnt automatically make it bad. Im not trying to minimize the fact that there are real problems in the industry right now. But strawman complaints about comics that simply dont exist arent helping.

Further expanding on his argument in reply to a since-deleted post from user Getsmelifted Amvs, Waid once again turned his nose up at readers and claimed, The overall complaint is that major classic characters are being written out of character, causing their books to fail. Tim Drake, Jon Kent, Iceman, Star-Lord? Those count as major classic characters? Do we really believe that the industry is ailing because of three mini-series and Star-Lord?

However, it would be in response to a separate user, Steven McKee, that Waid would confirm just how disingenuous his arguments truly were.

I love your work Mark but seems anybody who tries to highlight the issues that the industry is facing either gets piled on or in this case his star is fading and looking for attention, replied McKee to Waids original post. Mark [Waid] said he hasnt relied on income from comics for a long time. See rather than this tit for tat that we are seeing throughout the fandom maybe people should actually try get together and try to fix whats wrong. I am by no means an expert only a consumer but all this doesnt seem to be helping matters.

In turn, Waid made a play at fear-mongering and declared, I think a lot of us would just rather see the industry burn down than get together with the alt-right.

I know I would, he continued his rant. Sorry. And I call bullst on anyone who tries to highlight the issues gets piled on. I think its far more accurate to say anyone who wants to blame everything on SJWs gets piled on or anyone who wants to complain that their favorite characters are being written as political mouthpieces but cant provide any examples of this is being piled on.

Eventually, Waid would exit the conversation, leaving the discourse to take on a life of its own within his replies.

However, the next day would see the Marvels Champions Vol. 2 author offer one final (at least for the time being), backpedaling statement regarding his recent take, beginning with the admission that Yep, The mainstream superhero comics industry is having a rough time of it lately. Few people are saying otherwise, and my heart goes out to struggling retailers.

Proceeding to once more misrepresent his opponents arguments, Waid continued, Steps need to be taken, and even the alt-right loudmouths make some good points. But when make better comics! becomes make more comics that are to my own personal taste!, thats a solution I cant get behind.

Badly produced comics sure arent helping, and there are a bunch out there, but neither is pretending that bad superhero comics is some new phenomenon, he concluded. As someone whos been reading them for nearly 60 years, I can promise you that many of the ones you remember with nostalgic fondness because you liked them as a Middle Schooler were just as bad compared to the actual classics of the day. Just because you and your friends dont like something doesnt automatically make it empirically bad.

NEXT: Marvel Comics Executive Tom Brevoort Denies Industry Is Dying, Instead Argues What Is Likely Happening Is That The Market Is Changing

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Marvel and DC Writer Mark Waid Rejects Mark Millar's Call To Root Out Comic Book 'Cancel Pigs', Dishonestly Paints ... - Bounding Into Comics

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Soda Jerk’s Hello Dankness The Brooklyn Rail – Brooklyn Rail

Soda Jerk Hello Dankness (2022)

Mirroring our every trip to the multiplex, Hello Dankness (2022) begins with a commercial. Before any credit or title pageindeed, before any commentary, manipulation, or outside editthe artist duo known as Soda Jerk present the entirety of PepsiCo, Inc.s deeply batshit 2017 commercial wherein Kendall Jenner solves racism and police brutality with a can of soda. The inclusion makes us giggle in self-defense at the vulturous media-scape we live inone capable of producing such infamous relicswhile simultaneously setting precedent for the plastic, mashed-up Frankensteins monster of a film to follow: nothing is off the editing table. The inclusion of the ad catalogs and recommits to cultural memory the footage itself, as the ad was (obviously) hastily pulled by the corporation as the (obvious) criticisms rolled in. It was called a trivialization of radical intentions and just another tone-deaf act by a corporation to cloak profit-mongering in the garb of art-making and activism. Which is to say: it was an advertisement.

The Pepsi adwherein an army of bougie makers and entrepreneurs lead a protest against something, only to end up confronted by a wall of cops whose defenses are charmed and breached as soon as Jenner offers a can of Pepsialso demands the spectator of Hello Dankness to reason whether the movie has begun or not. Where in the cinematic apparatus are we when the pre-spectacle space and the cinematic one mush together so goopily? Its perhaps not off-base to suggest that most viewers of a film made by artists who are, as their press bio notes, interested in the politics of images, might be media-literate (read: online) enough to recognize the advertisement and chuckle in recognition before it reaches its daffy climax. The inclusion is a perfect throat-clearing in the films quest to unpack, atomize, and re-package cultural thrulines and inadvertently chaoticize the preliminary thesis and ensuing existence of Hello Dankness: all moving images freight art and commerce equally, or can. Why construct a collaged mash-up that plunders recent American popular culture to retell American history when the Kendall Jenner Pepsi ad already exists as the perfect intersection of the crisis of image-making in the twenty-first century? What filmic critique exists past the bombed-out dread and looney resignation such a manipulation of image inspires? Because, Hello Dankness suggests that, simply by continuing past its opening ad-quote, we can waste an image just as good as art and commerce can. Hello Dankness, then, is not a question or investigation into whether acts of commerce and art bleed into each other (as always they obviously do), but a sensory experience of what that bleeding feels like in our collective, plastic body.

Recognition itself is under scrutiny in Hello Dankness, nominally a collage that re-edits hundreds of pre-existing films, songs, memes, news feeds, and foley from the recent past. It culminates into a credits sequence that feels more like a chapbooks acknowledgements page than sample clearance. The films movements are recognizable to anybody reared on or responding to a Rickroll, its narrative familiar to any whove walked around and watched America after the 2016 election. In a certain way, Hello Dankness is a history of America. Its first post-Pepsi sequence establishes both its language and story, as footage of Tom Hanks in The Burbs (1989), Annette Bening in American Beauty (1999), Mike Myers and Dana Carvey in Waynes World (1992), Ice Cube in Are We Done Yet? (2007) and a soon-to-be revealed cast of thousands share a neighborhoodand cinematic spacein 2016 America. Eyelines and match-cuts are swapped out and spliced in just as often as manipulated digital images are introduced into pre-existing frames. Hanks in The Burbs can look across his lawn at Benings Carolyn Burnham from American Beauty, their suspicious glances removed from their original contexts and remixed in reaction to a Bernie 2016 lawn sign for Hanks and an Im With Her Hillary placard for Bening. Though such a thing may only be theoretical, Soda Jerk suggests, on a purely visual level, Hello Dankness is a miracle of editing. In both image placement (of course Wayne and Garth move their hockey net out of the street to accommodate Carolyn Burnhams SUV) and image re-reading (of course the Waynes World doofuses would be chirpy alt-right teens, exhibiting trolly behavior by their own tuned-outedness, and of course American Beautys icy and beleaguered real estate girlboss would be the totemic Nasty Woman tote toter), the film feels both recognizable and alien. Its an ache in the mouth, a chewed-up something that impacts every utterance that passes through it. As the ensuing new text, Hello Dankness reads flawlessly despite being an act of flaw: an interrupted image (color correction and careful transcodingadvised by Anthology Film Archives own John Klacsmannacting in concert to nudge disparate images together). Less than a pre- or post-modern great soup of being, Hello Dankness is a digital quotation as ephemeral quotidian, a deadly lark that pranks looking as much as it pranks what gets looked at when were not looking: Because a vision softly creeping / Left its seeds while I was sleeping.

Narratively, Hello Dankness re-contains history in a certain way. In its plundered language, it plays out the ongoing farce of American electoral politics and charts the rise and decline of Bernies and Hillarys and Donalds and Joes amid conspiracy theory backlash, pandemic consciousness, and reactionary meme-making. One of its most compelling visual decodings occurs, again, in its credit sequence: by organizing its list of samples Ordered by president, the film presents the fallacy of assuming that history (of images and bodies) unfolds a certain way. Its a deliberate prank on the American social studies textbook, itself a collation of images curated a certain way to curate a certain narrative and an echo of Godards insistence: in order to see one image, you need two. Is the film ultimately an act of radical politics? Its too dubious of the culpability of the image to insist that it is. The film never gestures in irony. It ends with a breath of levity more sympathetic to the removal and recontextualization of human lives rather than digital images of them.

By forgoing memey irony for looney-tune heartinessas well as in its obvious affection for and attention to The BurbsHello Dankness is a fitting re-visitation of Joe Dantes own mash-up monster, The Movie Orgy (1968). Dante, a genre hound and film history font who made affably anti-capitalist films for several major American studios throughout the eighties and nineties, holds as much affection for the moving image as he does contempt for the market forces that corrode it. The best of his films areto invoke a word often misapplied to any hack with a studio contract and half a consciencesubversive dreamscapes, precisely because they hold postmodern despair accountable to material plasticity. What if we moved this way? What if we existed after a Pepsi commercial?

When one shot moves to another, there is, however momentarily, blackness. Certain decodings of film grammar suggest that this space between edits is where time and space continues to pass. As the camera position changes, moving either towards or away from the subject or finding a new one entirely, the spectator doesnt panic, recognizing the half-history, half-memory project of cinema itself. Theres an internal logic to each filmic universe that subconsciously teaches the spectator what these (very) momentary blackouts are: blinks in a unified vision. We dont panic in the iota interims blackness between shots, we fill in the gaps. Soda Jerk echoes and contains elders like Dante and Godard while simultaneously razing the rank and reductive idolization that stagnates both politics and image-making. In their digital slipstream, they suggest that the blink-void between different images isnt just inherent to a specific cultural object, but culture more broadly. The blink-space between shots in one movie is the same as the darkness between another. By not only allowing but chasing slippage, Hello Dankness insists that every image belongs to every other one and that cinema is the process by which, holding tightly to each other, we find the hollowing-out of commerce and the potentialities of art. And in between we fill in the gaps.

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Soda Jerk's Hello Dankness The Brooklyn Rail - Brooklyn Rail

What We Know About ‘Microchip,’ the FBI’s Far-Right Judas – Southern Poverty Law Center

The government deployed Microchip as a witness in the trial of Douglass Mackey, aka Ricky Vaughn, part of the mostly online alt-right coalition that helped boost Donald Trump to the presidency in 2016. Following four tense days of deliberation, a jury convicted Mackey of election interference on March 31, increasing the probability that Microchip might provide information for future federal prosecutions of a similar nature.

During the trial, the court granted Microchip the ability to keep his real identity secret, which is relatively rare, and sometimes not granted to witnesses even in cases involving mobsters or members of drug cartels. The trial established that Microchip is working for the FBI on multiple cases and has been a source for them for five years, going back to the time around the 2018 midterm elections.

A 2018 post from Microchip's "Pro" Gab account.

Microchip has deep connections to the pro-Trump radical right, and his cooperation with unknown FBI investigations could have profound implications for his allies. He testified at trial in March that he pleaded guilty to a conspiracy against rights, which is a charge along the lines of what Mackey faced. The public admission of Microchips crime marked the end of an online persona based around being untouchable.

I cant believe Ive gotten away with what Im doing for so long, Microchip wrote in a direct message in October 2016, according to testimony in the Mackey trial. We have a million-dollar campaign in Hillary and they have no idea how I spread like cancer.

Here is what Hatewatch knows about Microchip and his work as a federal informant:

Although Microchips identity remains secret, he showed up in court on March 22 unmasked. Everyone in court that day, including Douglass Mackey, Mackeys family, the jury and the reporters present, saw Microchips face. Online, Microchip favored an avatar featuring an impish young man wearing a MAGA hat and raising an ice cream cone. The real Microchip is a middle-aged man.

Microchip entered court wearing a hoodie, and carried himself with a vague swagger that matched his reputation as an online troll. That trolling attitude crept into his testimony, like when he defined the hateful and pro-fascist imageboard website 4chan to the jury as a place where internet intellectuals get together to discuss current events.

Microchip's Twitter account in March 2016 sharing fake news about senator and then-presidential candidate Ted Cruz.

On the stand, Microchip described himself as a mobile app developer. He said he is presently self-employed. He previously told Buzzfeedhe lives in Utah. He told the jury he first joined Twitter in 2015, where he shuffled through numerous accounts as moderators struggled to keep up with his stream of hate-inflected disinformation.

Microchip also posted on the white supremacist-friendly social media platform Gab, where he used a verified account. Unlike Twitter, Gab did not repeatedly suspend him, making it easier for researchers of the radical right to find his numerous posts in one place.

When not trafficking in disinformation and hate, Microchip liked to post about cryptocurrency, namely Bitcoin, and so-called altcoins such as Ripple. He expressed an interest in day trading crypto, which means buying and selling the currency in a speculative, short-term manner.

Microchip claimed during testimony that a loathing for Hillary Clinton and a desire to undermine her ambitions motivated him to publish disinformation more than any admiration he might have held for Trump. Other statements he has made about his ideology through the years are inconsistent, but lean into fringe, far-right and conspiratorial ways of seeing. He has praised Adolf Hitler,as well as the terroristic neo-Nazi group Atomwaffen Division.

Mackeys attorney Andrew Frisch grilled Microchip on the stand about his past drug use, which the FBI documented. Microchip confessed to using hallucinogens such as psychedelic mushrooms, and harder, more addictive drugs like heroin, primarily in the early 2000s.

Frisch also brought out several comments Microchip made about Adderall, a legally prescribed stimulant used to treat attention-deficit/hyperactivity disorder (ADHD), as part of a string of questions about his mental health. He confessed to using Adderall more recently than the other drugs.

Frisch: Did you say in this tweet: I'm now 36 hours into my Adderall and ChatGPT marathon. Did you say that?

Microchip: I did.

Frisch: Do you know what ChatGPT is?

Microchip: I do.

Frisch: What is it?

Microchip: Its a generative AI; a generative artificial intelligence using a language model.

Microchip's updated, nonsensical Twitter bio from February 2023.

Frisch highlighted a nonsensical recent Twitter bioMicrochip published and posted under in February:

Frisch: Do you recognize this one?

Microchip: I do.

Frisch: Did you tweet this one?

Microchip: I didnt tweet that. Thats my profile.

Frisch: Thats your profile.

Microchip: Thats right.

Frisch: It says: I drink Black Rifle coffee, wear a fishnet trucker hat, have a Jesus tattoo, and inject testosterone. George Santos and John Kirby Stan account. Pro-balloon. Did you write that?

Microchip: I did.

Frisch: By the way, Stan is a modern slang word for being a fan of. Is that fair?

Microchip: Big fan of those two, yeah.

George Santos is a New York congressman who has been accused of fraudand of fabricating many elements of his life story. John Kirby is a spokesperson for the Department of Defense who has helped craft messaging about Americas military withdrawal from Afghanistan.

Frisch also highlighted a post in which Microchip wrote, I have the crazy, which the defense attorney successfully fought to have entered into evidence. Frisch also quoted another over-the-top tweet Microchip wrote about his mental health.

Frisch: This one is February 13, 2023. You say: 3,109 crazy tweets over two weeks. What can I say, Im insane, on pills, dont shower, can barely take care of myself, hear voices, talk to the walls, and can predict the future. Did you say that?

Microchip: I did.

Microchip offered the jury a summary of why he chose to plead guilty to participating in a conspiracy against rights. He described the part he played in group direct messages on Twitter that were littered with different pseudonymous extremists who collaborated to deceive the public. Microchip himself ran, or headlined by name, direct message groups where people crafted politically charged disinformation.

Direct messages function like group text messages, and radical-right activists used them to coordinate public-facing campaigns designed for Twitter, like choosing what disinformation would be most impactful in shaping the outcome of the 2016 election.

Yeah. So, I was in a group. I was in many group DMs, and in one of those group DMs we crafted memes, and one of the memes that was crafted there dealt with voting the incorrect way. Voting by text or hashtag. And then I intentionally spread those memes to defraud voters of their right to vote, Microchip said of his own criminal case.

Microchip also testified to the government that he employed bots to inflate his online profile. Microchip told the court he paid services both to boost his content and encourage authentic users to boost him organically. Assistant U.S. Attorney William Gulotta questioned him on behalf of the team prosecuting Mackey.

Gulotta: At the height of your following, how many followers did you have?

Microchip: On this account, 134,000. On other accounts, 80,000, 30,000. Probably comes out to millions over time.

Gulotta: How did you build up your following?

Microchip: The first phase of building up the following would be through bots. The first step

Gulotta: Let me stop you there. Sorry. Whats a bot?

Microchip: Yeah, its basically well, its a Twitter account that is created either by human or through an automated process and that account is then used to, you know, retweet, like, reply, to people on Twitter.

Gulotta: Okay. Were there specific services that you used to build your following?

Microchip: Oh, yeah.

Gulotta: Can you describe those?

Microchip: Yeah, so one of the first services to kind of seed the followers was a service called Add Me Fast, and that service is kind of like a peer networking service where I would insert the tweet into that service, somebody else would insert a tweet and then, we would retweet each others information, right? And you could gain points doing that and, if you accumulate points, you can then expend those on likes, followers, retweets. So that service, I would spend sometimes $300 a month on it. That would give you around a thousand to three thousand retweets, likes, or follows.

Gulotta: And, so, this is a system in which other actual human beings log in, and they will see a tweet that another member has posted, and they will either follow it, follow the person, or retweet the tweet?

Microchip: Thats right.

Gulotta: And then you would do the same thing for other members.

Microchip: And you can get points and then you can expend those, also. The $300 is, youre basically buying points to have people do that or you can sit there and retweet their stuff to get points, so you can do that. That was the first step. Another step is using Fast Followerz with a Z at the end. And that service, you spend like, a monthly fee of, you know, a hundred to two hundred, sometimes three hundred bucks a month. And they have control of all the bots, so you dont actually retweet anything, but you put in your Twitter handle or you put in a tweet that you want to get retweeted, and the service that I would use would be 50 to a hundred followers, something like that, a day, and then those followers would also retweet or like my tweets anywhere from three to five times.

Gulotta: Did you build your following organically, too, without the use of bots?

Microchip: Oh, yeah. The bots were there only to accumulate anywhere from a thousand to 5,000 followers, at which point people would see that account and then say, oh, maybe this person has something interesting to say, he has a lot of followers, and so then it would organically take off from there.

Gulotta: Okay. So, the bot sort of kick-starts the account and it goes from there.

Microchip: Yeah.

Gulotta: Why is it important to have followers?

Microchip: Because theres that human inclination that when you see somebody as being followed by a lot of people, that they might have something interesting to say, so its a it's basically taking advantage of that of that human trait.

Microchip made it clear that he and other radical-right posters viewed Twitter as a highly trafficked, but loosely regulated, public square they could hijack in service of their political goals. He noted that Twitters appeal to journalists made it an ideal place for such tactics, because they could multiply their reach by getting people to write stories about their antics.

In May 2018, Data and Society published an influential report called The Oxygen of Amplification,which highlighted the role that media figures played in buoying the visibility of hate and disinformation. As a leader among the radical-right figures who posted to Twitter during the 2016 election cycle, Microchip seemed to understand that principle better than the media did at that time. During the Mackey trial, Microchip said he wanted to infect everything through Twitter in 2016, adopting rhetoric like the contagion metaphor found in Data and Societys analysis.

Gulotta: What does it mean, as far as you understand, to push a hashtag?

Microchip: Yes, so thats when you have an agenda of some sort, and you see that theres a hashtag thats already out there or you develop your own hashtag, and what you do is you basically have the group of people that youre with make new tweets with those hashtags so that you have thousands of tweets that are attached to at that hashtag.

Gulotta: And why would you do that?

Microchip: To register ourselves on trending lists.

Gulotta: Whats a trending list?

Microchip: Its a list on Twitter. Back then it was like, on the right-hand side of the homepage. I think there was an explore feature on there as well at one point, and it would show, you know, global trends. There would be USA trends, sometimes they had local trends, but yeah, those would be keywords from hashtags mostly back then, yeah.

Gulotta: And that sort of measures the popularity of a particular hashtag?

Microchip: It does, yeah.

Gulotta: So if a bunch of people are pushing a particular hashtag, the hope is it gets on the list?

Microchip: Thats right.

Gulotta: And why would you want it to be on a trending list?

Microchip: Because I wanted our message to move from Twitter into regular society and part of that would be well, its based on the idea that, you know, back then maybe, I dont know, 10 to 30 % of the US population was on Twitter, but I wanted everybody to see it, so I had figured out that back then, news agencies, other journalists would look at that trending list and then develop stories based on it.

Gulotta: What does it mean to hijack a hashtag?

Microchip: So, I guess I can give you an example, is the easiest way. Its like if you have a hashtag. Back then like a Hillary Clinton hashtag called Im with her. Then what that would be is I would say, okay, lets take Im with her hashtag, because thats what Hillary Clinton voters are going to be looking at, because thats their hashtag. And then I would tweet out thousands of tweets of, well, for example, old videos of Hillary Clinton or Bill Clinton talking about, you know, immigration policy for back in the 90s where they said: You know, we should shut down borders, kick out people from the USA. Anything that was disparaging of Hillary Clinton would be injected into those tweets with that hashtag. So that would overflow to her voters, and theyd see it and be shocked by it.

Gulotta: Is it safe to say that most of your followers were Trump supporters?

Microchip: Oh, yeah.

Gulotta: And so by hijacking, in the example you just gave a Hillary Clinton hashtag, Im with her, youre getting your message out of your silo and in front of other people who might not ordinarily see it if you just posted the tweet?

Microchip: Yeah, I wanted to infect everything.

Gulotta: Was there a certain time of day that you believed tweeting would have a maximum impact?

Microchip: Yeah, so I had figured out that early morning eastern time that well, it first started out with The New York Times. I would see that they would they would publish stories in the morning, so the people could catch that when they woke up. And some of the stories were absolutely ridiculous sorry. Some of the stories were absolutely ridiculous that they would post that, you know, had really no relevance to what was going on in the world, but they would still end up on trending hashtags, right? And so, I thought about that and thought, you know, is there a way that I could do the same thing? And so what I would do is before The New York Times would publish their, their information, I would spend the very early morning or evening seeding information into random hashtags, or a hashtag we created, so that by the time the morning came around, we had already had thousands of tweets in that tag that people would see because there wasn't much activity on Twitter, so you could easily create a hashtag that would end up on the trending list by the time morning came around.

Mackey represents one of dozens of radical-right figures Microchip associated with during the three-year period between when he started using his pseudonym and when he first started cooperating with the FBI. Those three years, 2015-18, mark a busy period for the hard right, one in which disinformation and foreign influence campaigns sometimes monopolized attention on social media. Microchips layered involvement in the online Trump movement, connecting neo-Nazis to more mainstream figures, and his willingness to talk, makes him an ideal source for detailing how that world operated, using methods both lawful and unlawful.

During the Mackey trial, the judge said maintaining Microchips anonymity was partially based on the possibility that exposing his name could endanger ongoing cases.

Photo illustration by SPLC

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What We Know About 'Microchip,' the FBI's Far-Right Judas - Southern Poverty Law Center

‘Against All Enemies’ Explores Why Veterans Are Drawn to … – Military.com

"The problem is not the bomb itself," Gen. (ret.) Stanley McChrystal says in an interview with filmmakers, describing how to combat improvised explosive devices in Iraq. "You have to go 'left of the boom.' You had to go upstream from the problem and look at where the problem is coming from. Where is the energy?"

McChrystal, former commander of the U.S. Joint Special Operations Command, is one of many veterans, officials and experts interviewed in the new documentary film, "Against All Enemies." The movie takes a deep look at the Jan. 6 insurrection, the roots of military extremism and why so many veterans of the armed forces are attracted to those movements.

"When I look at Jan. 6, of course, there were people who did violence and climbed gates and caused trouble, but in my view, they were likely the foot soldiers. They were the result of the efforts of other people," McChrystal says.

More than a thousand people have been charged with storming the Capitol that day, the filmmakers say. According to research conducted by National Public Radio (NPR), one in five of those defendants served in the U.S. military.

"Against All Enemies" is a very dense but engaging documentary that not only shows the evolution of extremism from the start of the 20th century through today, it also tries to explain the appeal of these groups to the veteran community by exploring all sides of the issue, even that of the extremists themselves.

The film reveals that Jan. 6 wasn't just a once-in-a-lifetime event; it was the latest in a developing pattern of attacks that could pose a serious threat to American democracy. Many of the groups leading the charge are military veterans.

"The challenge with having veterans directly involved is twofold," McChrystal says in the film. "They bring a certain expertise. They might bring in organizational skills or military skills that can make a movement more dangerous. The second thing that's disturbing is, in our society, veterans have legitimacy; they have a particular place of respect."

Their presence not only brings legitimacy of service to alt-right groups, it brings the potential for recruiting more veterans with military skills to the extremist cause. "Against All Enemies" uses veterans like former Army officer Michael Breen. As the president and CEO of Human Rights First, a nonprofit that researches and uncovers extremist tactics, he reminds us that those skills aren't limited to firearms.

"There are places in our military where we are trained to start and fuel insurgencies," Breen says in the film. "There are places in our military where we are trained to overthrow governments or work with armed militias to do that sort of thing. I'm not saying this to be alarmist, and I don't think we need to be afraid of our veterans. I do think we need to have a solid understanding of how badly this can escalate."

For those wondering how bad it can get, "Against All Enemies" takes us back to the late 1960s, when Vietnam veteran Louis Beam launched his right-wing movement that echoed the same talking points used today. Beam created a network of militia cells that even used early forms of the internet to communicate, disseminate radical literature and plan robberies, bombings and other acts of violence across the country.

From Beam, the film fast-forwards to 1995, when Timothy McVeigh and Terry Nichols, friends who met while in the U.S. Army, bombed the Alfred P. Murrah Federal Building in Oklahoma City. Then in 2021, of course, comes the Capitol insurrection.

Kristofer Goldsmith, a former U.S. Army forward observer, was initially attracted to groups like the Proud Boys, but is now a self-proclaimed "Nazi hunter," tracking and exposing their activities. He warns that there is already a future for extremism, forming in Gen Z-led groups, some of which are openly fascist and advocate violence. The groups, say the experts and veterans, are sliding to authoritarianism or worse: a civil war.

One of the biggest reasons veterans are attracted to alt-right groups, Goldsmith believes, is the lack of the culture of service and the bonds it forms. When veterans leave the military, they also leave their service family, and these right-wing paramilitary groups fill that hole.

"When you're vulnerable and you're looking for family, they look like they could be family, providing that sense of mission and camaraderie that you had in the military," Goldsmith says.

"Against All Enemies" premiered at the 22nd annual Tribeca Festival in June 2023. It was produced by former U.S. Navy aviator turned writer and podcaster Ken Harbaugh and award-winning director Charlie Sadoff, who also directed the film. Its executive producer is New York Times bestselling author and documentary filmmaker Sebastian Junger.

It can be viewed through July 2, 2023, on Apple TV, Roku, Fire TV and web browsers on iOS and Android devices via Tribeca at Home.

-- Blake Stilwell can be reached at blake.stilwell@military.com. He can also be found on Twitter @blakestilwell or on LinkedIn.

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