Abishai100
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- Oct 21, 2014
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This is a vigilante-fable I couldn't resist writing before retiring, and it's inspired by one of my favorite comics-adapted dystopian movies, The Crow (LINK).
Thanks so much for reading (signing off!),
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Ajay Satan moved from Algeria to America in the 1980s and began work at a modeling agency as a photographer after graduating from Dartmouth College with a degree in photography. He liked to wear special ornamental plastic masks while taking photos of the female models for Vogue and Vanity Fair. He was told one day that the modeling agency was secretly going to be paid to supply celebrity party guests with model-escorts. Ajay discovered these models were being abused and exploited at the celebrity parties and decided to put on one of his iconic plastic masks and go to work (underground!) as a vigilante named 'The Crow' (inspired by a series of comics about an urban mystical angel of justice!).
The 1980s saw a miraculous profligation of mobile handheld phones ('cell-phones') with handy-dandy built-in cameras. Ajay Satan ('The Crow') decided to carry a special T-Mobile cell-phone and use it to take photos and mementos of some of the beautiful models at his agency who'd be sent to the decadent celebrity parties as 'trophies' of sin! The Crow would use these mobile photos to scare indulgent celebrities into thinking these endangered party-models were society symbols of exploited magazine imagination! He distributed photos of one model named Alexandra to members of the US Senate in D.C.
The Crow then took his Polaroid instant-camera in a hot air balloon and used the handy-dandy camera to take instant-photos of the endangered party-models (stored in his equally handy-dandy cell-phone). The Crow dropped thousands of these Polaroid photos of the models all over Manhattan on Valentine's Day! He then sent the New York Post newspaper an editorial describing his special 'hot air balloon' sentimental deed as a 'heroic act' of modern-day anti-consumerism evangelism. The Crow was being called a modern-day Thomas Nast!
However, an insidious actor-celebrity connected to the real-life 'Crow' media/comics franchise retaliated against Ajay Satan, since this celebrity was one of the indulgent 'power-merchants' benefiting from the exploitation of the models sent to the celebrity-parties in cities such as D.C. and Manhattan! This subversive celebrity accused the idealistic Ajay Satan of being nothing more than an anti-capitalism punk, and he dared Ajay to produce substantive media/entertainment activities that could glorify American daydreams. This real-life 'Devil's Advocate' became a deflating thorn in Ajay's anti-glamour crusade!
The Crow (Ajay Satan) met the new challenge by making terrific paintings of Polaroid cameras on small Hallmark greeting-cards and placing these cards on the footsteps of churches all over NYC. When the Crow sent an editorial to the Post describing this new evangelical deed, claiming it illuminated an important principle regarding American merchandising, people started calling the Crow a 'cool messenger' of urban psychiatry. The Crow had refuted the ugly claim that modern-day anti-exploitation 'art' couldn't be a real thing of social dance. He turned glamour into a conversation about human materials!
The Crow (Ajay Satan) single-handedly resurrected the popularity of the comic book franchise presenting vigilante characters with super-heroic optimism! In fact, some of these comic books now featured stories about everyday people working to confront urban moral paranoia! The Crow was thrilled this trend might translate into tangible values-driven experimental merchandising. After all, the comic book marketplace represented real American dials, and consumers were becoming more conscious of modern piracy!
The Crow (Ajay Satan) decided to then distribute artistic images of leviathan-like red snakes to various MTV music-video producers, in the hope they'd make rock-band videos with some kind of snake imagery! These broadcast images of snakes on TV would represent an 'American awakening' towards justified media vigilance. Snakes, after all, symbolized social imagination towards life-vitality caution, and the Crow sought to promote Christian ideas about urban lifestyle dollars. Was he a DJ?
Years later, the Post featured a piece about 'The Crow' (Ajay Satan) as a modern world urban 'fiddler' of commercial sanity fears. They described him as someone who just might make American consumers more thoughtful towards the lifestyle amenities that remind everyone of First World dances. After all, it's the 'toys' that make real life seem more...democratic (and dioramic).
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Thanks so much for reading (signing off!),
====
Ajay Satan moved from Algeria to America in the 1980s and began work at a modeling agency as a photographer after graduating from Dartmouth College with a degree in photography. He liked to wear special ornamental plastic masks while taking photos of the female models for Vogue and Vanity Fair. He was told one day that the modeling agency was secretly going to be paid to supply celebrity party guests with model-escorts. Ajay discovered these models were being abused and exploited at the celebrity parties and decided to put on one of his iconic plastic masks and go to work (underground!) as a vigilante named 'The Crow' (inspired by a series of comics about an urban mystical angel of justice!).
The 1980s saw a miraculous profligation of mobile handheld phones ('cell-phones') with handy-dandy built-in cameras. Ajay Satan ('The Crow') decided to carry a special T-Mobile cell-phone and use it to take photos and mementos of some of the beautiful models at his agency who'd be sent to the decadent celebrity parties as 'trophies' of sin! The Crow would use these mobile photos to scare indulgent celebrities into thinking these endangered party-models were society symbols of exploited magazine imagination! He distributed photos of one model named Alexandra to members of the US Senate in D.C.
The Crow then took his Polaroid instant-camera in a hot air balloon and used the handy-dandy camera to take instant-photos of the endangered party-models (stored in his equally handy-dandy cell-phone). The Crow dropped thousands of these Polaroid photos of the models all over Manhattan on Valentine's Day! He then sent the New York Post newspaper an editorial describing his special 'hot air balloon' sentimental deed as a 'heroic act' of modern-day anti-consumerism evangelism. The Crow was being called a modern-day Thomas Nast!
However, an insidious actor-celebrity connected to the real-life 'Crow' media/comics franchise retaliated against Ajay Satan, since this celebrity was one of the indulgent 'power-merchants' benefiting from the exploitation of the models sent to the celebrity-parties in cities such as D.C. and Manhattan! This subversive celebrity accused the idealistic Ajay Satan of being nothing more than an anti-capitalism punk, and he dared Ajay to produce substantive media/entertainment activities that could glorify American daydreams. This real-life 'Devil's Advocate' became a deflating thorn in Ajay's anti-glamour crusade!
The Crow (Ajay Satan) met the new challenge by making terrific paintings of Polaroid cameras on small Hallmark greeting-cards and placing these cards on the footsteps of churches all over NYC. When the Crow sent an editorial to the Post describing this new evangelical deed, claiming it illuminated an important principle regarding American merchandising, people started calling the Crow a 'cool messenger' of urban psychiatry. The Crow had refuted the ugly claim that modern-day anti-exploitation 'art' couldn't be a real thing of social dance. He turned glamour into a conversation about human materials!
The Crow (Ajay Satan) single-handedly resurrected the popularity of the comic book franchise presenting vigilante characters with super-heroic optimism! In fact, some of these comic books now featured stories about everyday people working to confront urban moral paranoia! The Crow was thrilled this trend might translate into tangible values-driven experimental merchandising. After all, the comic book marketplace represented real American dials, and consumers were becoming more conscious of modern piracy!
The Crow (Ajay Satan) decided to then distribute artistic images of leviathan-like red snakes to various MTV music-video producers, in the hope they'd make rock-band videos with some kind of snake imagery! These broadcast images of snakes on TV would represent an 'American awakening' towards justified media vigilance. Snakes, after all, symbolized social imagination towards life-vitality caution, and the Crow sought to promote Christian ideas about urban lifestyle dollars. Was he a DJ?
Years later, the Post featured a piece about 'The Crow' (Ajay Satan) as a modern world urban 'fiddler' of commercial sanity fears. They described him as someone who just might make American consumers more thoughtful towards the lifestyle amenities that remind everyone of First World dances. After all, it's the 'toys' that make real life seem more...democratic (and dioramic).
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