The above photo has been sitting here on my computer for maybe two years. It comes from the days when I was deceiving myself into thinking that twins were all about us. But it still bugs me. It is said to be Taylor Swift with her parents. The problem is that Swift looks like a mannequin. Below the fold is another photo of Swift.
I grabbed that one because her left hand is visible. In addition to the waxy quality of her face and unusual positioning of the left arm (as if in a store window), the fingers on that hand look unusually long. You can judge for yourself, but looking just at the length of the upper phalanx on the ring finger, the one from the mannequin shot above looks grotesquely long. In the photo to the left it looks normal.
There are other photos of Swift with these two people, said to be her parents, that look more real. But set that aside. Why the need for an elaborate fake?
The above photo is said to be of Barack Obama with his
mother grandparents. I call it the “floating hand” photo, as the hand on Obama’s right shoulder cannot be connected to the man on his right unless he, like Swift, has an unusually long appendages.
This blog post is not about the people above. It is about two other matters, the potential for self-deception, and the wonderment about us as we find that so many famous people have fake photos in their background.
Self-deception: I have written one more installment of the Eva Perón series, the final one. I am holding off publishing it as Richard has more work to do and wants to do the writing himself. Dealing with two-dimensional images, poring over them, resizing them and straightening them and then superimposing them on one another is hard work. I don’t do a lot of that anymore as I had such a grand time with twins, and so much of it turned out to be self-fulfilling. That both disheartened and scared me. I am constantly aware of that trap. That does not mean I won’t fall into it again. It does mean that there has to be other evidence beyond photos, otherwise there is no case to be made.
Critics of the Perón work instantly jumped on the photos, not seeing what Richard and I saw and quickly assuming I was delusional. I have to entertain that possibility. After all, It’s happened before. Consequently, I asked every critic to address the whole body of evidence. None did. They only wanted to discuss the photos.
The other evidence was as follows:
- Eva Perón‘s death was suspicious. She supposedly had a fake birth certificate and tried to make herself three years older. The result was her being 33 instead of 30. We all know about that number. We were told that she had a miracle worker for an undertaker, a doctor who filled her body with glycerine, making her lifelike in death. We discovered there were wax images of her. Her body disappeared for 17 years, rediscovered in a grave in Italy, and said to have had a lobotomy. Hmmm.
- Madonna, the singer, has one of those voices that cannot sell without considerable enhancement. She had some nice tunes to her credit (or written for her), but without studio enhancement and production values, she was not much. Yet she rose to international fame on those attributes. That can be no accident. People of real talent are waiting tables. Why does one so mediocre become so famous?
- The image and music of Madonna was part of a much larger project in which women’s morals were loosened, and sex became an object in itself. Madonna appeared nude in a photo book in Penthouse fashion. Speaking of Penthouse, its counterpart, Playboy, was used to introduce pornography into mainstream culture*. Madonna, one of many, was used in this larger project to get women to have more sex with more partners, to openly cohabitate, and forsake long-term commitment. If there were a name for this project, it would be this: “Have more sex and fewer children!”**
- There proved to be no real photos of the Ciccone family. There were two mothers shown. Silvio Ciccone’s face consisted of one photograph pasted in several places. The kids were moved in from other photos in grand paste-ups that looked absurd on close examination. The photos shown are from the late 1950s and early 60s, a time when cameras and film were in use in just about every home. There was even a home movie of Madonna Fortin Ciccone, but we were given only a two-second glimpse in 2010. Only a few photos of the “Ciccone’s” exist.
- Speaking of 2010, Madonna chose that year to commemorate her mother in a short and self-adulatory video, even as her mother had supposedly died 47 years earlier.
- Eva Perón was made the subject of a Broadway production by Andrew Lloyd Weber and Tim Rice, complete with delightful tunes so typical of Weber, sweet and unforgettable to the point of annoyance. He used Patty LaPone, a truly gifted singer, to carry the Broadway role, but when Evita was made into a movie, he inexplicably chose Madonna and her weak voice. She even had to take singing lessons, we are told, to carry the part. With so much real talent available, the choice of Madonna made no sense. In addition to her weak voice, the woman cannot act.
With all of that to bolster our case, Richard and I asserted that Eva Perón bore a very strong resemblance to Madonna Fortin Ciccone. We did not pick this woman out of a phone book. It was photographic evidence that was supported by everything above. Richard, in seeing the resemblance, had found but a small part of a much larger story.
Of course I am capable of self-deception. I am aware of it too. I am embarrassed when it happens. The mind is a complex tool. But in the matter of Eva Perón, the photo journey started with other evidence. I was finished with the work when I wrote the first post demonstrating that her death had been faked. I had no idea who she was, for real, and imagined I would never find out.
Why the fake photos? They tell a much bigger story, and this might well be a part of why people instantly reject them, or honestly cannot see things that are so obvious to me. I asked Richard what spurred him to connect Eva Perón with Madonna, the singer. He said something profound, in my view: “There’s that thing I think I’ve mentioned before, about associative coherence and the need to have a non-self-contradictory world view: The boundaries have been redrawn, yet again.”
That’s a good way to put it – to have a “non-self-contradictory world view,” that is, to avoid just passively accepting everything we see and hear as natural and real. I strive to have a coherent world view, and to do so requires that I discount every public figure and event until I see evidence that they are real.
That in mind, I started above with a photo of Taylor Swift, and then of Barack Obama. The photos are fake. What does it tell us? It says that Swift and Obama are fake. If they were real, they would not need fake photos scattered about on the Internet to tell their story. They can be discounted, she, like Madonna, of little talent and both of fake origins.
Fake photos are all around us. Who is doing this work? It is a huge project, and there are many technicians involved. It goes far back in time – while the first photo ever taken was real, I would bet the second one was fake. The photos are not meant to be exposed as fake. However, those who do the work know that at best, they will get a cursory glance, so that sloppiness does not matter. That is why those of us with non-self-contradictory world views so easily spot them.
To us, people like Richard and I, they jump out at us and scream in our ears … fake, fake, fake!
* I suspect, without evidence and only based on vibes, that Hugh Hefner was gay.
** I am concerned about overpopulation and the effects of there being so many of us on our planet. Every day 300,000+ are born against 190,000 dying. It cannot go on forever. I have mixed feelings about the project, which also includes advancement of homosexuality into mainstream acceptance, and now gender confusion. Is there a more honest and straightforward way, short of genocide, to go about achieving the goal of population control without subversive programming of the population?