There is probably nothing in the universe that disgusts me more than the richest and most powerful people in the world creating fake counter-culture figures who agree with the every single aspect of the globalist elite agenda

It disgusts me more than child rape, if only because these fake counter-culture figures enable child rape by portraying the people doing the child-raping as heroes fighting for justice for Fentanyl Floyd, the hero who once pointed a gun at a pregnant woman’s stomach only to by martyred by cops by dying of a drug overdose while resisting arrest after committing a felony.

Bansky supports Soros, Banksy supports Schwab and Gates, Banksy makes globalist elite satanist pedophiles trendy and cool.

The only culture he is countering is the culture that is against vaxer pedophile billionaire bankers and tech oligarchs.

AP:

Hundreds of people lined up Saturday in the English city of Bristol to get the latest work by elusive street artist Banksy — a T-shirt created to help four defendants charged over the toppling of a local statue of a slave trader.

The gray shirt features the word Bristol above the empty plinth on which the statue of 17th-century slave merchant Edward Colston long stood, with a rope hanging from it and debris scattered around.

Anti-racism demonstrators pulled down the statue and and dumped it in Bristol harbor in June 2020 amid global protests sparked by the police killing of a Black American man, George Floyd.

Four people have been charged with criminal damage over the statue’s felling and are going on trial next week.

“I’ve made some souvenir shirts to mark the occasion,” Banksy said on social media Friday. “Available from various outlets in the city from tomorrow. All proceeds to the defendants so they can go for a pint.”

Banksy said the T-shirts cost 25 pounds ($33) and are limited to one per customer.

Banksy’s identity has never been confirmed, but he began his career spray-painting walls and bridges in Bristol, a port city in southwest England. Some of his works have sold for millions of dollars at auction.

A true rebel.

Meanwhile, Julian Assange, Alex Jones, and Andrew Anglin are dangerous threats to democracy, supports of an establishment fascist system that doesn’t exist, and is not even coherent as a spook, because they oppose the richest and most powerful elite, forcing an anti-human agenda on the entire planet.

There is no Soros-funded cause Banksy doesn’t shill. It’s all just the same, same, same distractionist pseduo-socialist pablum* you’re going to get from Hasan Piker and Vaush, drenched in tediously benign irony.

He recently did an Extinction Rebellion painting.

What’s more – Banksy sucks.

Putting aside that he likely doesn’t even exist, the art that is credited to him simply is not the least bit impressive in any way.

Nothing he has ever produced was even remotely good. It is Emperor’s New Clothes post-modern trash marketed as cool by the establishment media.

Let me be a little bit more fair: the very best of it is slightly clever rehashes of stuff that Andy Worhol might have tilted his head at 60 years ago.

I’m not Andy Worhol**, and I do not support him, and this is the only Banksy that ever made me tilt my head.

But I mean – you’re gonna find infinitely better art on any Yandex Image search for “wojak.”

*It is important to understand the distractionist pseduo-socialist pablum branding. This is when the globalist elite market a nonsense version of their own dystopian nightmare agenda as utopian socialism. It’s best represented by Antifa, which Banksy is obviously associated with.

They market as cool and rebellious:

• Mass immigration
• Racism hoaxes
• The gay
• Global warming
• Coronavirus tyranny
• Government dependence
• etc.

Most braindead goyim support authority because they are just hardwired to support any and all authority on principle. But there is an even more braindead group that believes that it is cool and rebellious to support authority. Banksy is the peak form of the latter.

**I feel pretty confident that if Worhol was alive today, he would be hyper-critical of Banksy as derivative, innocuous, conformist, mechanical, and generally ugly.

Frankly, Worhol, like Chuck Palahniuk, would probably be endorsing me as the relevant and interesting counter-culture icon.

If some Jew journalist said “you know Anglin said you should be stuffed in an oven, right?” he’d say something like, “this would be sort of an interesting experience, I think, I’ve never felt anything like that, and I don’t know much about it, but it sounds fascinating. Flattering, really. A fascinating energy, and I appreciate that sort of thing, though I can’t say I could ever feel close to it, it is more something that you feel a resonance from, and just try to absorb with a part of yourself that you’ve never been very in touch with.”

For all of my Worhol hate, he gave us Nico, which is something six million times better than every Banksy did combined (even though she wasn’t really very important, the three Chelsea Girl songs Jackson Browne wrote are all immortal).

These Days in particular will always be a part of my life and my journey to Christ.

Maybe it would have been better if Browne had been allowed to produce it himself instead of being meddled with by Worhol (which he later joked about in his easy-going manner). But the album version Worhol managed will be a part of me forever.

tl;dr

Corrosive counter-culture movements were infinitely more interesting when they were actually corroding Christian society instead of dancing on its corpse in the name of billionaire pedophiles who think they’re going to turn themselves into immortal cyborgs. This is primarily or exclusively because those counter-culture figures were actually rebellious, and were simply rebelling against what was there to rebel against. If they lived now, they would be rebelling against Soros, Schwab, and Gates, rather than working for them.

As the regular reader knows, the position of the Daily Stormer is that the celebration of the alleged “artist” Banksy is seriously indicative of the declining state of our society.

Banksy’s alleged “art” amounts to a form of vulgar spam, and his entire image is built around the idea that he is somehow rebellious for doing graffiti, and that it is mysterious that he remains anonymous.

This entire phenomenon is so utterly inorganic and forced that anyone with even a minor sense of what is fashionable or hip would recoil from it as if they’d been shown a rotting corpse hanging from a bridge.

When the media makes him out to be this cool figure, we get the image of a senile old man in his 80s coming up to some teenagers and saying, “hey you kids, what do you think of that Elvis Presley? He sure knows how to shake it, woo-hee.”

Everyone who exists outside of the swamp of modern pop culture is aware that the single fashionable product that the mainstream has produced in the last decade is Billie Eilish. And she is only “gnarly” and “rad” because she’s just an ugly fat bitch who doesn’t give a shit about anything.

She became a lot less cool, I will tell you straight, when she did that sexy video where she said she was fighting back against body-shamers. This is the worst imaginable garbage. No one wants to see your fat body; we liked you for the opposite reason.

This is the exact opposite of what anyone wanted from this bitch, and I believe that she was bullied into it by some Jew producer who was like, “baby, baby, gotta show the boys those titties, they don’t mind you got a couple extra pounds on ya!”

Probably, her brand is now doomed, because that shit was sooooo gay. It just happened in May, so we’ll see how she manages her image going forward, but what a disaster. (Billie, if you’re reading this: you know what’s up, don’t let yourself be pressured into doing uncool things by grimy old Jews.)

Apparently, Billie not being the same as everything else was considered a threat, so they told her to do some “sexy fat bitch” bullshit. They want everything to go in the same direction. They want every idea to swing around to the same place. Banksy is probably the single most representative of that place, to the point where I do not personally believe he is a real person, but rather a CIA culture product.

The product is this: “People with money want to oppress the world through the police, and the way we fight back against that oppression is by having the joy of children, and throwing tantrums like children to destroy the system, because children understand that everyone is equal and they just want to laugh.”

This is a manufactured counterculture message that supports the system, supports the rich people it is claiming to oppose. You are never going to have a society based on a lack of order causing chaos that keeps everyone equal. If you have three barbarians in a cave, they are not equal: one of them is in charge, two of them obey his orders, and of the two obeying orders, one has authority over the other if the one who is in charge is not around.

Because relationships of power is not the way civilization works, it is the way human beings work, biologically. You cannot ever get rid of that, under any system, ever, no matter what. Banksy’s obsession with children is obvious – because only a child could ever believe that you could have a system without adults. So the people who believe in this bullshit idolize children.

Here’s the thing: if people who oppose the political system are not offering a replacement system, but instead claiming that there shouldn’t be any system at all, there is zero chance that they will ever take over the system. So obviously, the people in power love that those who dislike them would embrace the idea that all systems are bad, because they are that way totally neutralized. Furthermore, as we’ve seen with the Antifa rioting against white people, the ruling class is very good at directing chaos and violence in a way that helps their agenda.

The default rebellion is a fake rebellion which necessarily benefits those in power whenever it is expressed as rebellion.

Banksy doesn’t even follow his own beliefs. Allegedly, this person (who again, I don’t believe in) recently bought a boat to help Africans flood Europe. So he’s apparently doing pretty well financially, as boats are very expensive.

This alleged communist is doing well financially because this alleged person is very good at brand management.

An EU court is now threatening his brand management.

artnet news:

A panel of three judges from the European Union’s Intellectual Property Office has ruled against Banksy in a two-year-long trademark dispute with a greeting-card company seeking to use his iconic design of a protestor throwing a bouquet of flowers. 

Setting a precedent that may put all of the guerilla artist’s trademarks in jeopardy, the panel ruled that because his identity remains a mystery, he can’t claim trademarks to his works.

Remarkably, the ruling also invalidates his UK trademark for the flower-thrower image.

“Banksy has chosen to remain anonymous and for the most part to paint graffiti on other people’s property without their permission, rather than to paint it on canvases or his own property,” the panel said in its decision, published today.

“It must be pointed out that another factor worthy of consideration is that he cannot be identified as the unquestionable owner of such works as his identity is hidden.”

The card company, Full Colour Black, first initiated legal proceedings against Banksy and his legal team, Pest Control Office, in the fall of 2018. Their case hinged on the claim that the artist had no intention of using the trademark he had taken out on the design in 2014.

The artist responded in distinctly Banksyian fashion, launching a shop called Gross Domestic Product to shamelessly peddle his wares. Ostensibly, the idea was to demonstrate that he was using the trademarks on his work.

“Banksy has been forced into the merchandising market,” the artist’s lawyer Mark Stephens, told Artnet News last year. “The European trademark categories became his muse—you have a ludicrous court action being met by creative genius!”

But the ploy appears to have had the opposite effect. In their ruling, the intellectual property judges called the shop “inconsistent with honest practices.”

“The use, which was only made after the initiation of the present proceedings, was identified as use to circumvent the requirements of trademark law and thus there was no intention to genuinely use the sign as a trademark,” the panel wrote.

…

In an interview with World Trademark Review, attorney Aaron Wood, who represented Full Colour Black in the case, suggested that it could have serious repercussions for the artist’s other trademarks in the EU and the US.

So, let’s review a story of two artists who identify as political dissidents:

• Banksy is allegedly a rebellious figure who is against the system
• Banksy is celebrated by the entire media as a creative genius
• Banksy is some kind of multimillionaire who is able to buy boats
• Banksy engages in copyright trolling, presumably for the purposes of revenue generation
• Banksy is able to set up stores to sell products and process them using the banking system
• Andrew Anglin is hounded by governments
• Andrew Anglin is censored by every single mega-corporation on the planet, his website was stolen from him, and can only stay online because of the Chinese and because a world-renowned hacker helps him out as charity
• Andrew Anglin is condemned as evil by the media
• Andrew Anglin is as broke as any artist ever was (please donate)
• Andrew Anglin is completely shut out of the entire financial system

I’m not saying I’m right about everything or even that I’m right about anything.

What I will say is this: the system does not view Banksy as a threat. The system views me as a threat. So if you’re comparing two self-proclaimed political dissidents, and you find that one is celebrated by the media and promoted everywhere and the other is condemned as evil and totally and completely censored, you must be able to draw some obvious conclusions here.

The idea that any of this leftist stuff is anything other than controlled, manufactured dissent is simply ridiculous and nonsensical. Anyone who genuinely believes that he’s fighting the power by consuming the products put in front of him by the media is subhuman.

Banksy is no more rebellious than a Disney movie.

In fact, I would actually argue that the Disney film “Mulan” is significantly more rebellious than Banksy, because the actress in it denounced a color revolution and a bunch of CIA shills tried to organize a boycott against it.

I just wish these Anarchists would be honest and say: “we love the system, we are fighting for the system.”

I’ve always said that the popularity of the fake artist “Banksy” was a sign of the total decline of Western civilization. Art is supposed to be good, and culture is supposed to be relevant.

Banksy is bad at making art, and what people are apparently into is the completely contrived “mystique” around a “rebel” street artist, who at the same time as being a rebel, is also the definition of “safe” and “establishment approved.”

Of course, he’s big on flooding Europe with Africans.

The Guardian:

The British street artist Banksy has financed a boat to rescue refugees attempting to reach Europe from north Africa, the Guardian can reveal.

The vessel, named Louise Michel after a French feminist anarchist, set off in secrecy on 18 August from the Spanish seaport of Burriana, near Valencia, and is now in the central Mediterranean where on Thursday it rescued 89 people in distress, including 14 women and four children.

So that would mean it was also 71 grown men. That is, this group of “refugees” was 80% adult males.

Interesting.

It is now looking for a safe seaport to disembark the passengers or to transfer them to a European coastguard vessel.

The crew, made up of European activists with long experience in search and rescue operations, had already assisted in two other rescue operations involving a total of 105 people, who are now onboard the NGO vessel Sea-Watch 4.

Painted in bright pink and featuring Banksy artwork depicting a girl in a life vest holding a heart-shaped safety buoy, the Louise Michel sails under a German flag. The 31-metre motor yacht, formerly owned by French customs authorities, is smaller but considerably faster than other NGO rescue vessels.

Banksy’s involvement in the rescue mission goes back to September 2019 when he sent an email to Pia Klemp, the former captain of several NGO boats that have rescued thousands of people over recent years.

“Hello Pia, I’ve read about your story in the papers. You sound like a badass,” he wrote. “I am an artist from the UK and I’ve made some work about the migrant crisis, obviously I can’t keep the money. Could you use it to buy a new boat or something? Please let me know. Well done. Banksy.”

Klemp, who initially thought it was a joke, believes she was chosen by Banksy due to her political stance. “I don’t see sea rescue as a humanitarian action, but as part of an anti-fascist fight,” she told the Guardian.

She has made clear that Banksy’s involvement in the operations is limited to providing financial support. “Banksy won’t pretend that he knows better than us how to run a ship, and we won’t pretend to be artists.”

This bitch is vile.

You can be a dirty white woman fixated on black dick without being this.

Here’s the thing: making anything “cool” and “trendy” is very easy when you control the culture and create your own fake counterculture.

It’s so exhausting that the matrix of control is so obvious and transparent, but these people think their lives and beliefs are real.

I’ve always disliked graffiti. The notion of heading into the streets at night and defacing public property for self-serving reasons always struck me as niggerish and anti-social. It also irritated me that graffiti artists often regard themselves as cool and rebellious, even though their political messages usually mirrored the government’s own on race, egalitarianism and cosmopolitanism.

Perhaps the most famous contemporary graffiti artist is Banksy. True to his ilk, Banksy – who remains anonymous to this day, and could even be a group of people – fashions himself as a “subversive” who specializes in “hard-hitting” murals. You know, the usual spiel about holding a mirror to society and forcing it to confront its prejudices.

What we’re really looking at when we strip away Banksy’s pretensions, however, are acts of vandalism that serve as visual companions to John Lennon’s Imagine.

Imagine there’s no boundaries, goyim. It’s easy if you try!

Well, after an extended period of quiet, Banksy has struck again. This month, our brave crusader against the Fourth Reich traveled to the brutal white supremacist stronghold of Paris, where he risked life imprisonment to promote shocking pro-immigration and anti-racist messages!

Needless to say, George Soros is furious!

Metro:

Controversial street artist Banksy is believed to be responsible for a series of compelling murals which have popped up across Paris city centre this week.

Art experts believe the works are a criticism of negative attitudes toward migration.

Yes, because there’s nothing more controversial than being pro-migration.

Nothing.

Seven works attributed to the painter have been discovered in recent days, including one near a former centre for migrants at the French capital’s northern edge, according to the art website Artistik Rezo.

Nicolas Laugero Lasserre, the site’s editor, said contacts has informed him that Banksy was planning a trip to the capital.

The first work was found on June 20 – World Refugee Day – and depicts a child spray painting pink flock wallpaper over a black swastika.

There’s a World Refugee Day? When did that become a thing?

Who could possibly support such a ridicul-

The wallpaper stencil was used in a previous Banksy piece called ‘Go Flock Yourself’, which was shown at the 2009 Banksy versus Bristol Museum exposition.

“Go flock yourself” is a play on “go fuck yourself.”

That’s why it’s edgy.

It almost uses a word that causes children to go “ommmmmmmmmmm, you can’t say that.”

He said: ‘It’s an extraordinary chance to have Banksy in Paris. As always his interventions arrive at a key political moment, urging citizens and government to change the paradigm on the migration issue’.

Another image shows a man in a suit waving a bone in front of a dog’s nose, whilst holding a saw behind his back.

The anonymous Bristol-based artist is known for his satirical and subversive public artworks, which often comment on political and social news and trends.

Change what paradigm, exactly?

Banksy already agrees with the French government’s existing paradigm for Paris: to cram as many niggers, Moslems and nigger Moslems into its cobbled aisles, café-lined boulevards, apartment complexes and former opera houses as possible.

So what’s this even about?

A desire to accelerate the process, I guess.

There’s no way this obvious publicity stunt won’t backfire on the left. Promoting mass immigration into a city that’s arguably suffered more in that regard than any other European capital is pretty much the definition of pushing too far.

Banksy’s going to be in for a shock if he thinks the average Frenchman is going to twirl his moustache and declare “c’est magnifique!” at his latest pro-NWO sentiments.