Joey Skaggs visited Vienna, Austria, in June. Coincidentally, a surreptitiously filmed video had just been released showing the far-right Freedom Party’s leader and then vice chancellor of the Austrian government, Heinz-Christian Strache, scheming to overthrow the rest of the government.

In the video, Strache, thinking he’s talking to the niece of a wealthy Russian oligarch with connections in high places, offers her a controlling share in a national newspaper and sweetheart construction contracts in return for hefty (and illegal) campaign donations. Turns out she wasn’t who she said she was and the video shows him to be an ambitious, scheming fool.

The video caused a loss of confidence in the entire Austrian government and resulted in its total collapse. In essence, the Austrian government had just been toppled by a prank. What timing. Joey swears he had nothing to do with this!

Joey’s presentation at FH-Wien University in Vienna prompted interviews with FM4, Austria’s national radio network, and NJOY 91.3, the FH-Wien University radio station. It was a great opportunity for him to talk about the power of the political prank, President Trump’s fixation with “fake news”, and the unsettling potential of deepfakes, which he had predicted in a 1986 interview in Pranks! (RE/Search No. 11). Check out page 41.

The FM4 radio interview with Felix Diewald is no longer available, however its web page (in German) is terrific.

The NJOY 91.3 radio interview with Michel Mehle is fun and edifying. It starts out in German and switches to English at 2:11.

John Law, co-editor of Tales of the San Francisco Cacophony Society, is a pioneering adventurer who defies gravity and the status quo. From the Suicide Club to Burning Man to the Billboard Liberation Front to the Cacophony Society and beyond, John is a true inspiration to artists and activists. He’s also a helluva driver. I’m glad to call him a friend. His one-man show “SIGNMAN: John Law” is at the Pro Arts Gallery in Oakland until August 24.

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John Law, iconic Bay Area prankster, now has his own ‘art’ show
by Angela Hill
Mercury News
July 5, 2019

A famed Bay Area prankster and underground artist just got his first exhibit

Here’s the way one of John Law’s longtime cohorts describes an early encounter with the neon artist/prankster/culture jammer/urban adventurer/enigma:

It was 1982 and Mark Pauline got a phone call from Law saying he had a bunch of body parts in the refrigerator at his house and they had to get them out of there before the cops came. “Sure enough, he had a big plastic bag full of human body parts, preserved in formaldehyde,” says Pauline, director of performance art group Survival Research Labs (known for building things that spew fire and blow stuff up).

“John was in the Cacophony Society and those guys would go in abandoned buildings and do adventures,” Pauline says. “They’d gone into an abandoned mortuary college and found all these body parts left in these tubs there, so they took ‘em.”

Frankenstein-style, for another pal to tattoo and display in a big Lexan case which hung around for a while and eventually cracked and rats got in and ate all the skin. But that’s a story for another day.

“That is one of my hundreds of John Law tales,” Pauline says. “At least one we can talk about in public.”

Indeed, if you add up all the pranks and adventures and happenings Law’s been part of over the decades, it becomes a cacophonous calculus, an astronomical amalgamation of mischief in the Bay Area’s underground arts scene.

Now, Law has gone above ground for his first art show, “SIGNMAN: John Law,” a retrospective of his four-plus decades of devilish deeds, on view at Pro Arts Gallery in downtown Oakland through Aug. 24. All this despite the fact that he doesn’t really consider himself an artist and uses air quotes whenever he talks about his “work.”

So who is this man? Culture jammer? Gentleman joker? Prankster with a purpose?

“I’m an unindicted co-conspirator,” he says, a sly smile curling above his silver goatee. “But I guess I’m an artist now, since I have an art show.”

Read more…

r/Place, an incredible 2017 reddit experiment with a simple premise and strict parameters, stands out for the spirit of challenge and community it ignited. It brought the best of collaborative street art into the heart of the digital realm, it earned its place in the annals of internet culture, and it’s worth revisiting and remembering. Here’s how it went down, through the eyes of one very engaged participant.

(If you’re unfamiliar with reddit, here’s a pretty good primer.)

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“The story of r/Place. As told by a foot soldier for r/Mexico.”
By Arturo Gutierrez
ART + Marketing
April 3, 2017

I’m sure other historians can tell you who was the first. Others much more knowledgeable than me who can pinpoint where exactly in the vast Canvas did the cursors of hundreds aimed themselves into a singular area, and willed order out of the chaos. But I’m not the one to tell.

Instead, what I saw as a bystander that April 1st was the emergence of life, color, and memes of all sizes and kinds growing almost by magic. And as the hours passed, as I laid a pixel here, waited, and laid another pixel there, the whole Canvas evolved and grew between each of my visits. It was an amazing sight to behold. An inspiring feat of human ingenuity, humor, and improvised politics in slow motion.

Yes, that’s right. For even in these early hours, even before the dedicated subreddits, the forums, Discord channels and massive bot armies of the later days, a silent, wordless body of politics was being established right before our eyes. Read more.

See more photos here.

Watch the video:

From Jesse Brown, host of Canadaland Podcast:

The greatest media prankster alive talks to Jesse for our April Fools episode.

Before April Fools’ Day 2019 even began, the tech giant Microsoft announced that it would not be indulging in any branded foolishness this year. And that sort of set the tone for the day.

From the rise of the internet and social media through the election of Donald Trump, distinguishing truth from fiction in the online landscape has become less about comedy and more about horror. Even the cutest and cleverest April Fools’ publicity stunts are not as well received as they may have been in the past. The overall online mood is darker, more skittish, and more reflective. Still, there’s still some levity to be found in the chaos and desperation.

A few editorials addressed the cynicism and fatigue around April Fools’ Day from high-level perspectives.

• Vox published a history of branded pranks in the internet age.
• GQ examined how distrust of the media has sapped some of the fun from April Fools’.

Of the branded pranks that did go down, the most interesting had satirical or meta-comedic elements.

• The LA Times took a catty swipe at its cross-country rival and New York’s self-important foodie scene.
• The Nectar BumbleBed mocked the eccentric fads of the underregulated “health and wellness” industry.
• The language-learning app Duolingo poked fun at its own infamously pushy mascot and UX in a cleverly disturbing way.
• USA Today challenged its readers to differentiate real fakes from fake fakes.

Others were just plain, dumb, silly, marginally self-aware fun. Here are the best of the rest:

• From the science-and-tech world
• From gaming
• From reddit
• From a British angle
• From the desks of Time, The Verge, and The Guardian

And there was even some good news!

• Burger King’s meatless Whopper is not a joke!
• Pranksters and comedians are not being displaced by AI!
• April Fools’ news gags can help fight malicious fake news!

As with any holiday, the best way to spend April Fools’ Day is probably not on the internet, but engaged in revelry and camaraderie IRL, fighting the forces of oppression and no-fun-ness in the company of loved ones and loved ones you haven’t met yet. So naturally the best news of the day was the annual April Fools’ Day Parade – see the highlights [HERE].

Large tech companies aren’t popular right now, and their branded April Fools’ Day stunts haven’t been well received in awhile. So Microsoft has banned all 4/1 hijinks, shenanigans, and monkeyshines, company-wide. Or – sigh – maybe it’s a setup.

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“Microsoft exec bans company from pulling any dumb April Fools’ pranks”
By Peter Bright
Ars Technica
March 27, 2019

April 1 has long been a spectacularly annoying day to be alive, with brands falling over themselves to be “funny” and usually revealing themselves to be anything but. This was almost tolerable in the days when we were talking simply fake advertisements in print media, but it has taken on a new dimension online, as companies have actually modified the services that we rely on daily in an attempt to be “funny.”

This was particularly striking in Google’s 2016 mic drop feature on Gmail, where clicking the “mic drop” button sent a recipient a gif of a Despicable Me minion—a vile affront to humanity in and of itself—and then muted and archived the conversation, thus hiding any responses to it. Cue widespread complaints from users who clicked the button by accident, denying themselves jobs and offending their bosses.

Microsoft, for one, wants no part of this. In a move that can only be welcomed, Microsoft’s Chief Marketing Officer Chris Capossela sent a company-wide e-mail (leaked to the Verge) imploring staff to refrain from creating any public-facing April Fools’ Day stunts. Capossela writes that according to the company’s data, the stunts have “limited positive impact” and can result in “unwanted news cycles.” Read more.

Payphone performance artist/activist drops a dime on himself…

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My Summer of Softee Prank
by Mark Thomas.

In this year of 2019, I use payphones regularly. As such, I feel fortunate to live in New York City, where thousands of old-fashioned landline payphones still line the streets.

A few years ago, when news came that the City decided to replace every single outdoor payphone with LinkNYC Internet kiosks, preëmptively pronouncing this unproven replacement the “payphone of the future”, I felt a bit of an affront. How could a decision reaching so deeply into the social fabric of New York be made? Was public input ever solicited regarding this decision that all payphones must be replaced by an unproven, unneeded alternative?

I gave LinkNYC a chance but soon came to loath not only the program but, in almost all respects, the so-called “Smart City” itself. Born of unearned municipal privilege, the arrogant ineptitude of the LinkNYC rollout at times made me cringe.

To express my sentiments about LinkNYC, I subverted their intended purpose. I regarded these kiosks as unwanted, unneeded irritants and turned the machines themselves into irritants, using them as a broadcast platform, blasting ridiculously loud noises and music out of the kiosks’ loudspeakers.

This became a social media engineering project for me for most of 2018. (more…)

Street theater is flourishing in the era of Trump.

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DC’s many prankster activists turn anger into street theater
by Ashraf Khalil
AP
February 18, 2019

WASHINGTON (AP) — In the nation’s capital, it can be hard for protesters to stand out. A group of 50 people — or even 500 — holding signs and shouting hardly merits a second glance in this city of protests.

That’s why Washington activists have to get creative. There’s an ethos of performative prankster-style protest wired into the District of Columbia’s history, dating back decades.

This confrontational street-theater school is flourishing with the Trump administration as its nemesis. Each month brings new acts of political theater — some confrontational, some deliberately absurdist.

“It can take a serious issue into more of a playful place,” said Robin Bell, who regularly projects disparaging messages onto the outside of the Trump International Hotel. “Oftentimes we visualize the absurdity of the situation.”

In January, a group of activists associated with political pranksters The Yes Men passed out dozens of fake Washington Posts, with detailed articles depicting President Donald Trump resigning and fleeing the White House. For about a month last fall, a Robert Mueller investigation-themed ice cream truck roamed Washington, passing out free scoops with names like IndictMint Chip and Rocky Rod Rosenstein.

While some protests are designed to get attention, others hide in plain sight like Easter eggs for the observant. Within sight of the White House, a realistic-looking street sign declares the street Khashoggi Way, after Jamal Khashoggi, the dissident Saudi journalist killed inside the Saudi Consulate in Istanbul. About 10 of these signs have been scattered around Washington.

Read the rest of this article here.

Note to Jeff Bezos: Take a page from me and screw the National Enquirer!

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In 1994, after The New York Times Magazine published John Tierney’s article, Falling For It, about my Dog Meat Soup hoax, the National Enquirer called and said they were doing a profile about me. They wanted an exclusive photo shoot. Not liking or respecting this publication, I declined. They said they were going to do the story with or without any assistance from me. So, I sent an impostor to two different photo shoots.

They published this story:

Page Six of the New York Post exposed the hoax:

Full details of the National Enquirer hoax are here.

Last autumn, Jered “Threatin” Eames staged the most alienating, least explicable rock tour stunt since the Sex Pistols hit the deep south. He recently broke his silence.

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“The Great Heavy Metal Hoax”
by David Kushner
Rolling Stone
December 14, 2018

In November, managers of rock clubs across the United Kingdom began sharing the same weird tale. A pop-metal performer, Threatin, had rented their clubs for his 10-city European tour. Club owners had never heard of the act when a booking agent approached them promising packed houses. Threatin had fervent followers, effusive likes, rows of adoring comments under his YouTube concert videos, which showed him windmilling before a sea of fans. Websites for the record label, managers and a public-relations company who represented Threatin added to his legitimacy. Threatin’s Facebook page teemed with hundreds of fans who had RSVP’d for his European jaunt, which was supporting his album, Breaking the World.

But despite all the hype, almost no one came to the shows. It was just Threatin and his three-piece band onstage, and his wife, Kelsey, filming him from the empty floor. And yet Threatin didn’t seem to care — he just ripped through a set as if there was a full house. When confronted by confused club owners, Threatin just shrugged, blaming the lack of audience on bad promotion. “It was clear that something weird was happening,” says Jonathan “Minty” Minto, who was bartending the night Threatin played at the Exchange, a Bristol club, “but we didn’t realize how weird.” Intrigued, Minto and his friends started poking around Threatin’s Facebook page, only to find that most of the fans lived in Brazil. “The more we clicked,” says Minto, “the more apparent it became that every single attendee was bogus.”

It all turned out to be fake: The websites, the record label, the PR company, the management company, all traced back to the same GoDaddy account. The throngs of fans in Threatin’s concert videos were stock footage. The promised RSVPs never appeared. When word spread of Threatin’s apparent deception, club owners were perplexed: Why would someone go to such lengths just to play to empty rooms? Read more.

Laura Loomer is a far-right media provocateur known for shambolic publicity stunts. Her toxic racial rhetoric has resulted in her removal from a number of social media platforms, and she hasn’t taken it well. Anxious to stay in the public eye, she was recently tricked into a bizarre caper that oddly also sucked in the Wall Street Journal. This comedy of errors encapsulates much of what is so ridiculous about the current media landscape. See if you can keep up.

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“Did the Wall Street Journal Fall for a Prank Directed at Laura Loomer?”
by Jared Holt
Right Wing Watch
January 15, 2019

EXCERPT FROM THE FULL ARTICLE: “She didn’t verify who I am once. Never did she make an attempt,” Gillen said. “Everything I gave her as ‘info,’ she took as gospel. She hasn’t batted an eye or questioned anything that I said, ever.”

In a recorded phone call Bernard shared with us, Loomer expressed her willingness to leverage all means possible to retaliate against Twitter.

“I’m down with anything, honestly. So if whistle-blowers like yourself just want to come to me—I mean, I’m looking to escalate this as much as I can. I don’t even care. The gloves are off right now. [Twitter CEO Jack Dorsey] is banning people simply because they’re conservative. … He is taking money from all these Muslims and implementing Sharia law,” Loomer told Gillen during a phone call.

Bernard told Right Wing Watch that the goal of their stunt was to see if Loomer would go on-air at Alex Jones’ Infowars and repeat what they had told her, after which they planned to reveal the details of their joke in order to make a point about what they said were Loomer’s and Infowars’ non-existent journalistic standards and confirmation bias.

But something else happened.

“Don’t worry it will be big,” Loomer wrote to the pranksters in a December text message. “I have a big network of journalists I know.”

Read the whole story here.

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This is an amusing, ridiculous, and absurd story. But more importantly, it’s an example of how a story can grow from a snowflake into an avalanche. Particularly when the media is interested in nothing more than creating click-bait to enhance its bottom line.

It started with this tweet:

The next day I was contacted numerous times by Harry Shukman, a London Times journalist, wanting to know if I was responsible for a letter sent to the Kensington and Chelsea borough in the UK purporting that singer songwriter Robbie Williams (the former Take That star) has been mocking Jimmy Page (of Led Zeppelin fame) with ridiculous stunts because Page has been trying for five years to protect his historic mansion from potential damage that could be caused by Williams’ proposed construction of an underground pool next door.

In other words, he wanted to know if the whole thing was a hoax perpetrated by me. (more…)

A huge number of people who dislike Mexicans don’t know they have Mexican DNA. AeroMexico offers “inner discounts” because “there are no borders within us.” Brilliant ad!

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Watch the commercial:

On the topic of our tenuous collective relationship with the concept formerly known as “truth,” this examination of “deep fakes,” high-tech simulated video recordings of people you recognize doing things they’ve never actually done, may be the most frightening and portentous emerging story of 2018. And that’s saying a mouthful.

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“You thought fake news was bad? Deep fakes are where truth goes to die”
by Oscar Schwartz
November 12, 2018
The Guardian

Fake videos can now be created using a machine learning technique called a “generative adversarial network”, or a GAN. A graduate student, Ian Goodfellow, invented GANs in 2014 as a way to algorithmically generate new types of data out of existing data sets. For instance, a GAN can look at thousands of photos of Barack Obama, and then produce a new photo that approximates those photos without being an exact copy of any one of them, as if it has come up with an entirely new portrait of the former president not yet taken. GANs might also be used to generate new audio from existing audio, or new text from existing text – it is a multi-use technology.

The use of this machine learning technique was mostly limited to the AI research community until late 2017, when a Reddit user who went by the moniker “Deepfakes” – a portmanteau of “deep learning” and “fake” – started posting digitally altered pornographic videos. He was building GANs using TensorFlow, Google’s free open source machine learning software, to superimpose celebrities’ faces on the bodies of women in pornographic movies.

A number of media outlets reported on the porn videos, which became known as “deep fakes”. In response, Reddit banned them for violating the site’s content policy against involuntary pornography. By this stage, however, the creator of the videos had released FakeApp, an easy-to-use platform for making forged media. The free software effectively democratized the power of GANs. Suddenly, anyone with access to the internet and pictures of a person’s face could generate their own deep fake. Read more.