Just stumbling around the other day I came across the following photos:
They are of Karen Carpenter, and are, in my humble opinion, fake. They are selling the idea that she was emaciated prior to her death.
On the left the caption says she is at 83 pounds. The problem is that her head does not show signs of anorexia, as supposedly seen on the right. She looks like a bobblehead. It is a good photo, but I suspect fake, as her skin tone and color is different between head and body. She is posing for an award of some kind, probably having to do with athletics, as her attire looks oddly like a sports jersey. That would explain the cardboard “1,” as the owner of that body obviously placed first in a sporting event. It sure looks like track and field, where women are often thinned down by grueling training. Notice also that the woman presenting the trophy is looking past her, as if Karen is not there, which may be the case.
The second photo has been stretched out and compressed, the object to give her a gaunt and wasted look about the mouth. The eyes are sunken like a corpse. That is easily shown to be fake by putting it next to the real living Karen Carpenter to the left here. Pupil distance is the same on both sides of that photo. They obviously monkeyed with her image, stretching it out like a plastic sheet.
There are a few other photos like that on the Internet, but on the whole, of the hundreds available, they show a healthy young woman. Karen’s death was probably fake, like so many others. However, she has not, to my knowledge, reappeared in any form. She might have been told to go off and live on royalties from her body of work. She had a beautiful voice, and she and her brother were a throwback to older, more melodic and harmonic tunes.
Karen Carpenter is not terribly important in the big picture. This blog has been devoted these past weeks to exposure of “Zombies,” or walking dead. These are prominent people who fake their death and reappear as another person. There is purpose to such reassignment, most often having to do with placement of talent to manage opinion and culture. For instance, Bobby Fuller became Bill O’Reilly, Brandon DeWilde Thom Hartmann. Each has a vital, even if small, role to play.
The music business is too influential to be left to chance talent taking it places where our leaders do not want us to go. Music is a gateway to the brain and soul. Churches use it to keep the congregations in line, and nation-states have songs that bring people instantly to their feet, hats off. A subversive song might incite people to doubt the necessity of a war or reality of a fake event. So music is under control of Intelligence. This explains in part the Laurel Canyon scene of the 60s and 70s, where so many mediocre musicians, children of military and intelligence families, invaded, formed groups that achieved instant unearned fame. They then died off, many reappearing in news and opinion culture.
Karen Carpenter never threatened any state or religion. She merely sang, beautifully, about love and loss of love mostly. But she was moved out of the business, and I can only speculate that it was done because our cultural commissars had other ideas for the direction music was to take. We saw it with heavy metal, rap and hip-hop. Girl singers these days all sound alike to me, and sing about nothing. One song I heard that became a big hit was merely about the bass line. Adele had a huge hit with Hello. Hello? Music is devoid of substance now. Rappers, who can indeed speak to their followers in an incendiary manner, routinely die off. That might be real, but who can tell?
This has been the direction that Intelligence obviously wants to take us with music. In the 1960s they invaded the art world and gutted it, replacing real talent with people like Andy Warhol (Stu Stucliffe) and Jackson Pollack. Art is no longer a vehicle for expression of true beauty or ideas. Like our music, it is shallow and pointless.
The revolution, if it ever goes forward, will have to do so without anthems*.
Anyway, if Karen Carpenter is still alive, she is 66. I wish her well, and still enjoy her music. She was removed from the scene at age 33, that number often an indicator of monkey business, as are her fake photos above.
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*The only supposed anti-war anthem to come out of the 60s, For What It’s Worth, written by Stephen Stills and performed by (the Wrecking Crew and) Buffalo Springfield, was about closure of a popular nightclub, and not about the Vietnam war or protests of the day. Stills claimed to be an ex-Green Beret. His cohorts claimed that was a drug-induced fantasy. I tend to think not.
There is, to my knowledge, only one photo of Gary Hinman in existence, but it is a good one. All too often when doing facial comparisons, I find different poses among candidates, so that comparisons are fraught with difficulties. But something else sometimes occurs – people tend to strike the same poses for cameras throughout their lives. In my own case, I had a photo from 1982 or so, and another from 2014, and I marveled at how my expression was identical in the two. (Check it out 
So too with Hinman, now known as Maury Povich. I didn’t even have to earn my pay on this one. Same angle, same crooked smile, same droopy and dark eyes. Also notice the line from his left ear to his chin, identical on both.
In other photos, as in the one to the left, taken before McVeigh’s fake execution, he has a small Cupid’s Bowed upper lip, just as does Wysopal. However, the skull size on the two men is different, and without running the faces side-by-side, it is easy to see that Wysopal’s ears are at least an inch higher than McVeigh’s. Too bad, as Wysopal is appropriately advanced in age to be McVeigh. But no cigar.
Everything I have learned this past year or more about public mythology and fake deaths has helped me realize that another man was a fake, an intelligence asset. Gore Vidal was allowed to interview Timothy McVeigh prior to the staged execution, and 
Pamela Courson, in case you don’t know, was Jim Morrison’s beard. She was hired to appear with him in public as his girlfriend. Later, when he was removed from view and sent to Paris, she also appeared in public with Morrison’s body double, the man seen to the right here. That is part of the job of a beard – to ease transitions. (Jane Asher was used in this manner, appearing in public with both McCartney twins.)
One final note: The photo to the left caught my eye. It is said to be of Walters when she worked for NBC during the period 1961 to 1974. But it is Pamela. The microphone is a prop. This photo got me thinking that Courson might have transitioned right into Walters as early as 1976. Generally fake deaths are followed by a period of absence of maybe a decade or so. (Heath Ledger should be re-emerging in the next couple of years.) However, the Barbara Walters who worked for ABC in the 70s was the original. It is safe to say the switch was in the mid-90s, prior to all of her fake awards.
