NY Times Story Fraud: Writers & Creators of the 911 "Victims Sketches"

**do2read** · 6 Jun 2010 , 16:27 PM

NY Times Story Fraud? Writers & Creators of the 911 "Victims Sketches" by; Larry McWilliams

In the course of researching the "passengers" I have read many of the passenger profiles. Usually there is one, word for word, biography that is printed and re-printed, in many different publications.

In most cases, the only credit or by-line is to refer to the date it was published in the NY Times.

Often, the original story in the Times carries no by-line at all. This is VERY unusual. I have searched around quite a bit, but have been unable to find any articles in the Times without the standard by-line credit.

Often in addition to the writers by-line, a news article will have a blurb in italic at the end, saying something like; "Jim Smith is a Staff Writer for the Times City Desk" or some explanation of the writer's background.

In a few cases, I have found group credits at the end. Here are a couple of examples:

From the David DeMeglio tribute here: http://www.nytimes.com/2001/12/10/na...0?pagewanted=1

Quote:

These sketches were written by Ford Burkhart, Jan Hoffman, Matt Richtel, Jonathan Fuerbringer, Hubert B. Herring, Constance L. Hays, Kenneth N. Gilpin and Dena Kleiman.

From the Paul Friedman tribute here: http://www.nytimes.com/2001/12/02/na...2FRIEDMAN.html

Quote:

These sketches were written by Karen W. Arenson, Dan Barry, Lisa Belkin, Celestine Bohlen, Michael Brick, Glenn Collins, Nichole M. Christian, Alison Leigh Cowan, Barnaby J. Feder, Kenneth N. Gilpin, Elissa Gootman, Jane Gross, Hubert B. Herring, Jan Hoffman, N. R. Kleinfield, Iver Peterson, Barbara Stewart and Mary Williams Walsh.

Sketches?

This leads to SO many questions.

Did it take 18 reporters to write that short Friedman Obituary? Certainly not.

Why would the writer of the Friedman Obituary not put his/her name at the top?

These short articles are OBITUARIES or BIOGRAPHIES. What the hell is a "Sketch"?

This is not a small town paper, this is the NY TIMES!

Does a committee of 8 or 18 create plausible deniability for the real "writers"?

Ford Burkhart- Times Foreign Desk, retired in '07

Jan Hoffman- Times Staff Writer

Matt Richtel- Times Technology Reporter

Jonathan Fuerbringer- Times Business Writer

Hubert B. Herring- Times Business Writer

Constance L. Hays- Times Food and Beverage Writer left in 2005

Kenneth N. Gilpin- Times Business Writer

Dena Kleiman- Times Reporter

Karen W. Arenson- Times Deputy Business Editor, retired in '08

Dan Barry- Times City Bureau Chief

Lisa Belkin- Times "Life Work" Columnist

Celestine Bohlen- Times International Economics Reporter

Michael Brick- Recently covered Ft. hood and Joe Stack for the Times

Glenn Collins- Times Food and Beverage Writer

Nichole M. Christian- Times Metropolitan Writer

Alison Leigh Cowan- Times City desk, recently covered the Times Square non-bombing

Barnaby J. Feder- Times Staff Writer

Elissa Gootman- Times Public Schools Reporter

Jane Gross- Times Reporter, took buy out in '08

N. R. Kleinfield- Times Reporter

Iver Peterson- Times Politics Reporter

Barbara Stewart- Times Human Interest Writer

Mary Williams Walsh- Times Business/Financial Writer

These are not "pool" reporters, many were published authors, and had been with the Times for many years, and would insist on their by-line accompanying their work.

Did these people really write these stories? If so, why wouldn't they put their names on them like all of their other stories?

Like everything else related to these 911 Memorials, this is very, very, fishy.

Quote:

Journalistic Fraud: How The New York Times Distorts the News and Why It Can No Longer Be Trusted (Hardcover) By Bob Kohn

ATTENTION: With an advertising budget of zero dollars we ask everyone who has websites and blogs to copy and paste these links into them as a directory, to help spread the word! Thanks!

9/11 LINKS INDEX - Victim Fraud, Media Fraud

Radio Shows - Jim Fetzer. Deanna Spingola, Debbie Lewis:

*** IMPORTANT: Please use this link below for visual aids while listening to the interviews;

The WTC Towers - Visual Aids - Radio Interviews:

The 9/11 FraudulentTruth Movement: A Conspiracy 30+ Years in the Making

Fraudulent Hero's of 9/11

9/11 World Trade Center Props

World Trade Center Publicity Stunts:

What does Phillipe Petit know about the hollow WTC towers?

Exif/IPTC Metadata:

EXIF Data Similarities - VERY REVEALING INFORMATION

Video: Fraudulence on 9/11

Death Certificate #0001:

Social Security Death Payments & Other SSDI Related Evidence

Social Security Death Payments for 9/11 Victims

The Hollow Towers & Pre-Demolition of WTC:

The World Trade Center Lighting & Picture History:

The Elevators at WTC on 9/11 and the Trapped People:

Revisiting the World Trade Center Phone Calls:

Revisiting the WTC 911 calls

Fireman Actors on 9/11:

New York City Fire Department 9/11 Fraudulent Victims

Stand In Actors on 9/11:

Flight 11 Frauds:

Flight 175 Frauds:

Triplets Separated at Birth - Edward H. Luckett, Carlton Bartels, Michael Tarrou

Flight 77 Frauds:

Flight 93 Frauds:

The 911 Jumper Frauds:

North Tower Frauds:

Pentagon Stage Props - Pentagon TV Fakery:

Pentagon Fraudulent Victims on 9/11:

Media Complicity and Fraud:

Media 9/11 Memorial Frauds:

The 9/11 Memorial Wall:

The 9/11 Victims Memorial Wall in New York City - Was it a Ruse?

9/11 & WTC Corporate Fraud:

Gatekeepers of the Alternate Media:

Jason Burmas On Fake 9/11 Victims (gatekeeper)!

Pending Research Requests from Lets Roll Members:

MISC: Great Research Links on this Material above:

Former Stickies for the Hussled Masses:

Pictures of Extra Equipment on Look-A-Like Flight 175 (109,720 Views)
911 For Dummies Thread. Video, Picture Archive of 911 (7,513,922 Views)
Targeting Laser Light Spot at the World Trade Center! (121,515 Views)
"Flight 175" WAS a Cargo/FUEL TANKER (159,126 Views)
New Photo of 767 Showing 2nd Piece of Equip / Port Engine (233,137 Views)
9/11 LINKS INDEX - Victim Fraud, Media Fraud, WTC Fraud

9/11 Related Murders:

New 9/11 Murder? Was John P. (Jack) Wheeler III About to Blow a Whistle?

Directory of Organized Crime Links & 9/11 Ties

Osama Bin Laden Forum directory:

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**Ethan Hunt** · 6 Jun 2010 , 16:37 PM

It just means all those "reporters" worked on all the bio's called sketches of the victims lives. The question is where they got the biographical information from. From family members or if a victim is a fake person from an agent working posing as a family member.

Iscribe2 · 6 Jun 2010 , 16:54 PM

well, I agree w/ Do2read. I think that is very strange.

**do2read** · 6 Jun 2010 , 17:35 PM

Ethan, nowhere else could I find an article in the NY Times credited this way. Perhaps you can.

Every instance where more than one reporter works on a story, it lists each name in the by-line. This is basic newspaper stuff. The by-line says where and by whom. Find me ONE instance of a story credited this way and I'll buy it.

If I researched the Friedman "sketch", my name would be at the top.

No-one put their name at the top, because it was material printed just as it was provided. Listing a bunch of names insures the deniability for each. If I called the family members or other sources, then it would be my investigation, my story, and my name would be at the top.

**do2read** · 6 Jun 2010 , 17:43 PM

Here's one with no credit at all.

http://nytimes.com/2001/12/31/nation...OG-31FYFE.html

Where is the "pool" on this one?

If they were all done by a pool, the pool would be listed on all of them.

**do2read** · 7 Jun 2010 , 10:54 AM

Here is a suspicious explanation I found:

http://www.nytimes.com/2001/12/31/na...ts/31PORT.html

Quote:

Closing a Scrapbook Full of Life and Sorrow

Quote:

By JANNY SCOTT

Published: December 31, 2001

It began as an imperfect answer to a journalistic problem, the absence of a definitive list of the dead in the days after the World Trade Center was attacked. But it evolved improbably in the weeks and months after Sept. 11 into a sort of national shrine.

Three days after the attacks, reporters at The New York Times , armed with stacks of the homemade missing-persons fliers that were papering the city, began dialing the numbers on the fliers, interviewing friends and relatives of the missing and writing brief portraits, or sketches, of their lives.

In the weeks that followed, amid nonstop news coverage of the disaster and the war, reading "Portraits of Grief" became a ritual for people nationwide. In hundreds of e-mail messages and letters to The Times, readers said they read them religiously, rarely missing a day. For some, it was a way of paying homage. Others said it was a means of connecting, a source of consolation.

"One felt, looking at those pages every day, that real lives were jumping out at you," Paul Auster, the novelist, said in an interview about the profiles, which conclude today as a daily feature in The Times. "We weren't mourning an anonymous mass of people, we were mourning thousands of individuals. And the more we knew about them, the more we could wrestle with our own grief."

There was Myrna Yaskulka, the Staten Island grandmother remembered for her pink rhinestone-studded sunglasses, metallic gold raincoat and leopard-skin pants; Kevin Dowdell, the oft-decorated firefighter who sanded floors on his days off to support his family; Diane Urban, who spoke her mind so often that one relative suggested at her memorial service that everyone get T-shirts saying "Diane Urban Told Me Off."
There was Nancy Morgenstern, the bicycle racer and Orthodox Jew, who, faced with the seemingly conflicting requirements of her two passions, embraced both of them completely rather than take the easy way out and give one up. She so impressed a client with her ability as a travel agent that he hired her as his administrative assistant at Cantor Fitzgerald.

There were the traders, firefighters, window washers, chefs and managing directors; the new parents, pairs of siblings, fathers of 10; the avid shoppers, rugby team captains, lovers, fanatical golfers, part-time bouncers and the rare few whose mothers lovingly conceded that they were definitely not saints.
Over time, the profiles helped shed light on the striking number of men and of young people among those who died, the wide geographical range of the neighborhoods affected, and the degree to which the victims made up a telling cross section of the New York region.

It became hard not to notice, too, how many were Irish- and Italian-Americans, the children and grandchildren of immigrants, whom Roman Catholic schools and Wall Street had propelled out of working-class neighborhoods into firms like Cantor Fitzgerald and suburban towns like Basking Ridge, N.J.
Through today's issue, The Times has published more than 1,800 sketches. The official count of those dead and missing in the trade center attacks stands at 2,937. Reporters have contacted, or tried to contact, relatives or friends of nearly every victim the paper was able to locate. Some have declined to give interviews; others said they were not ready to talk. (As more names become known and more families agree to interviews, the editors intend to publish additional profile pages from time to time.)

The portraits were never meant to be obituaries in any traditional sense. They were brief, informal and impressionistic, often centered on a single story or idiosyncratic detail. They were not intended to recount a person's résumé, but rather to give a snapshot of each victim's personality, of a life lived. And they were democratic; executive vice presidents and battalion chiefs appeared alongside food handlers and janitors. Each profile was roughly 200 words.

"The peculiar genius of it was to put a human face on numbers that are unimaginable to most of us," said Kenneth T. Jackson, a professor of history at Columbia and director of the New-York Historical Society. He said the society hoped to borrow from the concept in developing a major exhibition on the disaster.
"As you read those individual portraits about love affairs or kissing children goodbye or coaching soccer and buying a dream home," he said, "it's so obvious that every one of them was a person who deserved to live a full and successful and happy life. You see what was lost."

Television and radio stations around the world broadcast reports on the project. A psychologist at the University of Michigan assigned the profiles as required reading for students and therapy groups. Readers approached The Times to offer the families everything from college scholarships to $300,000 in cash.
One reader, a lawyer in Manhattan, called reading the profiles "my act of Kaddish." Some said they found the stories uplifting, a guide to how to live a better life. Susan Sontag, the writer, said in an e-mail message, "I read the `Portraits of Grief,' every last word, every single day. I was tremendously moved. I had tears in my eyes every morning."

Not everyone was happy. A small number of family members complained, saying certain profiles had failed to capture the people they knew.

In Portland, editors of The Oregonian obtained the profiles from The Times and began printing them on Page A2 in mid- September. In October, the paper published a column in which its ombudsman, Dan Hortsch, raised the question of when The Oregonian should stop. When he checked his voice mail that afternoon, he found 68 messages. Hundreds followed. The gist, he said, was: Don't stop.

This makes it even more suspicious. If reporters were interviewing relatives and writing these stories, why didn't they put their names on them?

If they started with the "lost dog" missing posters, an oddity among themselves, how were the airline passengers included? Did some relatives expect airplane survivors to be walking around NYC lost?

911 was a psy-op. These stories were designed (by admission in this article) to build an EMOTIONAL connection to 911. The readers who cried each morning reading the "sketches" were reminded that the victims of terror were regular people, just like them.

I will have to agree with one thing. They are for the most part at least, "sketches", drawn quickly.

If many of these memorial photos were taken from the "missing" posters, then why has CNN taken them down recently?

**do2read** · 7 Jun 2010 , 11:25 AM

This story says 170 reporters in all worked on these stories for the Times.

Many top level reporters and editors, who directly investigated and interviewed friends and family members, and didn't attach their name to the story.

original link: http://www.loc.gov/loc/lcib/0211/911-victims.html

Quote:

New York Times Panel Describes Powerful Series

Jeremy Adamson, chief of the Library's Prints and Photographs Division, New York Times assistant Metro editor Christine Kay, Metro editor Jonathan Landman, and New York Times reporters Janny Scott, Anthony DePalma, and Jan Hoffman discuss the New York Times series, "Portraits of Grief." - Yusef El-Amin

By DONNA URSCHEL

Thanks to television footage and digital photographs, America and the world knew immediately what happened to the buildings at the World Trade Center on September 11, 2001. What we did not know, what the images could not tell us, was who those people were inside the Twin Towers.

"You can take a picture of a plane hitting a building, you can take a picture of a building falling down, but you can't take a picture of a person's dream, of potential that was lost. And that was something we, as writers, could do with words," said New York Times reporter Anthony DePalma.

DePalma and other Times reporters created a powerful and unforgettable series of short articles illuminating the lives of men and women who died at the World Trade Center. The widely acclaimed series, "Portraits of Grief," appeared daily during the early months after the attack and continues to run occasionally.
As of Sept. 18, 2002, the Times had profiled 2,280 of the 2,801 victims. Of these, 1,910 profiles have been compiled in a new 558-page hardcover book titled "Portraits 9/11" that is available for $30 in bookstores nationwide and in the Library's Sales Shop.

DePalma joined New York Times Metro editor Jonathan Landman, assistant Metro editor Christine Kay, and reporters Janny Scott and Jan Hoffman in a panel discussion of the series at the Library on Sept. 18. They revealed how the series came about, how it was written, and how it affected the country and the reporters themselves. Jeremy Adamson, chief of the Prints and Photographs Division, moderated the panel.
Landman attributed the success of the series to the skill of the reporters and their ability to interview family members and write poignantly, but not sentimentally, about the victims. In the past year, 170 different reporters contributed to "Portraits of Grief." During the first few months, 15 to 20 reporters worked on the series at any given time.

"The craft is everything here," said Landman. "Without doing these well, they would not have been as effective."

The series grew out of an unsolvable problem: the inability of the Times to obtain an official list of the dead from the New York Police Department or the mayor's office (in fact, an official list of names was not released for almost a year). Because Times reporter Janny Scott could not write the story she was assigned every day to do about the victims, she wrote another story about the missing-person flyers posted around the city by those seeking information about people who had not shown up after the bombing. Some flyers listed a name to call; some had only a phone number.

"I went to the Metro desk and blurted out that we should take the flyers and start writing about them, one by one—'If we can't call them dead, then we can call them missing,'" Scott recalled.

Quickly, her suggestion was adopted, but it was assistant Metro editor Christine Kay's idea to focus on a single detail in the victim's life that would be emblematic of the way the person lived. She had been in charge of an earlier series of unconventional profiles called "Public Lives." "The strongest moments in those profiles occurred when the reporter could distill a passion, an eccentricity, or a quirkiness in the character of the person. I thought if we could do that with the missing people, it would make them less abstract," Kay explained.

"These were never supposed to be obituaries," she added. "These weren't bio stats or about people's professional accomplishments. These weren't people, the majority of them, whom you would write an obituary about in the New York Times."

They were the dishwasher, the executive, and the firefighter, who were all treated in the same way, on an equal playing field, she said.

The Times staff compiled an unofficial list of victims from the flyers, and reporters, researchers and all available hands were assigned to trace survivors who knew the missing. Reporter Jan Hoffman said, "Typically what you would get was a name and a phone number. I wouldn't know who was going to answer the phone, if it was going to be a mother, a son … So you just reach out into the darkness and try not to be egregious, particularly in the early weeks when people were disbelieving, traumatized and undone by grief, and overwhelmed at the prospect of stitching together a life that's been shattered. It was, at best, a delicate business."

On one occasion, the person answering her call screamed back, "I'm not dead!"
Finding a source sometimes required persistence and detective work, as in the case of Igor Zukelman, whose name DePalma had picked from the list of victims. "There was no phone, no address, and no one knew who he worked for. … But as a reporter, you know there aren't that many Zukelmans in the area," he said.

DePalma found three, and with the help of a Russian community center, he was able to track down the correct Zukelman family. DePalma read the Dec. 15, 2001, profile he produced, "Igor Zukelman: Ugly Car, Beautiful Dream," an unforgettable portrait of a hopeful young immigrant who had saved money to buy his first car: "Nobody but a scrap yard scout would give it a second look, but to Igor Zukelman, the rather tired eight-year-old Toyota Cressida was a steel chariot, a three-dimensional symbol of his cherished dream of becoming an American."

Zukelman became a citizen, enrolled in computer school, married, had a son, and got a job with Fiduciary Trust Company. "He was proud that he worked on the 97th floor where he could see the whole city," Zukelman's brother-in-law Alexander Shetman told DePalma.

Some reporters preferred the telephone for the delicate job of interviewing victims' families and friends. "There is something incredibly odd and intimate about the phone in that situation," Scott said. "It felt like being in a darkened room, where you can't see the face of the person you're speaking to, yet you're asking them to work themselves into a position where they feel comfortable to give you, not just run-of-the-mill stuff, but true and authentic kinds of information."

The reporters took care to tell their sources they were calling from the New York Times, why they were calling, and what they were doing. Hoffman said she explained the purpose of the profiles and the manner in which she would conduct the interview. "I really wanted people not to be frightened," she said. "I wanted them to feel that they were a participant and that we had a common goal. … And I would say to them 'When we hang up, you can always call me back.' Then I learned to say, 'If you like what you read, you take the credit, because it comes from you. If you don't like it, blame it on me, 'cause I'm a lousy writer.'"
Hoffman and DePalma did not press their subjects if they did not feel like talking. "Because of the nature of the loss, I didn't want to nag. Sometimes I would call back and say, 'Is this the time? Are you ready?'" Hoffman said.

Before calling surviving relatives directly, DePalma would "start in the outer circle." He would first talk to a friend, a co-worker or a relative of the immediate family members and ask them to approach the family with the idea of an interview. He, too, would ask people to think over his request and tell them he would call back the next day or whenever they were ready.

Hoffman and Scott asked just enough questions to start the memories flowing. "One of the great lessons I learned as a reporter was when the rambling began not to intervene and not to steer it too much. It took time. It might take an hour or an hour and a half, yet at some point you'd feel them edge into the territory you were after," Hoffman said.

"The most important task was to put them at ease," DePalma said.

Although some families rejected an interview request, most people wanted to talk about their loved ones. "I was struck by the emotional generosity of these victims' survivors," said Hoffman. "I found it actually very heartbreaking work," she continued. "For me, I fell in love with an awful lot of people through the voices of their survivors. I wept with them."

Some reporters, like Scott, who started the series, wrote "Profiles" for a few weeks and then returned to other assignments. It was Times policy to assign reporters to the series in two-week stints. But others, like Hoffman, could stay on the assignment continuously.

"I really felt it was an obligation," said Hoffman. "And I never forgot that the person on the other end of the phone had it harder, worse than I did. I never forgot that. I really felt this was work I had to do, and my comfort level was not the issue."

Landman said the impact of the series surprised the Times staff. "It was extraordinary. Suddenly, maybe two weeks after we started, there came this barrage of letters and e-mails, written in language I had not seen before: gratitude. Usually people who write newspapers are mad about something," Landman said. "These profiles affected people so deeply."

Scott described readers' response to her Nov. 6, 2001, profile, "Robert J. Mayo: Notes to His Son," which she read: "Robert J. Mayo used to leave notes on the breakfast table for his 11-year-old son, Corbin. He worked an early shift as a deputy fire safety director at the World Trade Center, so he got up about 4 a.m. He would drink coffee, check the sports scores and include them in his note to Corbin. 'I love you,' he might add. 'Good luck on your test. …'"

Readers learned that Mayo, 46, and his son were Giants fans. They could never afford tickets, so, wearing Giants caps and sipping sodas from Giants glasses, they watched the games on television. Mayo's note to Corbin on September 11 included a losing score.

Three days after the profile appeared, 30 readers and the Giants organization itself offered to send Mayo's son and wife to the Giants games. Readers bought tickets and mailed them to the Times.
Scott believes the series resonated with readers because it played an important part in the mourning process. She said readers were grappling with the numbing vision of the traumatic attack and the profiles helped them retrieve the people inside and work through the loss.

Readers realized the victims were similar to themselves. "We began to tap into the distinctions and commonalities among people. … We created some kind of mosaic of the cross section of American life," said Hoffman.

Landman said, "All we did was set out to tell a story, about the loss in our own backyard."
Donna Urschel is a freelance writer.

Like Mr. Hoffman said, CREATED. At least he admits it.

**do2read** · 7 Jun 2010 , 11:34 AM

Here is the Portraits of Grief archive, set up by publishing date, which also lists the reporters who supposedly contributed on that date.

This would be like the front page coming out with no by-lines on the stories and a list of contributing reporters at the bottom of the page.

Anyway, here is the link to the archive: http://www.nytimes.com/library/natio...SING_1115.html

**do2read** · 7 Jun 2010 , 11:47 AM

I have maintained all along that these stories have a common template, and by design each include certain elements, to bring home the EMOTIONAL impact of the story.

In this article Roy Peter Clark, a man who has taught writing for thirty years, apparently agrees.

Mr. Clark deconstructs one of the stories, and if you mouse over the highlighted parts, you get his explanation. See what you think.

NOTE: Unfortunately, you have to go to the link to see the mouse overs and explanatory notes.

original link: http://groups.poynter.org/members/?id=4570188

Quote:

12:00 AM Aug. 16, 2002

Quote:

Portraits of Grief
By Roy Peter Clark (More articles by this author)
Senior Scholar, Poynter Institute

Portraits of Grief continue to amaze us. A sign of their brilliance is that so much has been said and written about these 1,800 feature obits in The New York Times, yet it seems we are still floating on the surface of a profoundly deep well.

My small contribution to the discussion of these stories will be to deconstruct a single day's worth of portraits, a day selected at random. By deconstruct, I mean to engage in a process I call "X-ray reading," to dig beneath the crust of language to unearth the strategic intention of the writers and editors.

Some of these strategies are tried and true, such as quoting friends of the dead, and others are innovative, at least by the standards of the stately Times. Whatever emotions are purged by the reading of these portraits - and many testify to weeping - the works themselves are the product of what Times executive editor Howell Raines describes as a "rational process." It could be observed that the city of New York was in grief after the events of September 11. So it became the newspaper's job to chronicle that grief.

The concept was not invented by the Times. For years, the great Jim Nicholson wrote short feature obituaries for the Philadelphia Daily News. And Newsday defenders testify that their obituary sequence, The Lost, came first, was more varied in its execution, and continues unabated. They have a point. But here's my case on behalf of Portraits of Grief, beyond the fact that it strikes so many as un-Times-like.

I'm tempted to interpret these stories in the plural rather than the singular. By this I mean that Portraits of Grief represent more than a compilation of almost 2,000 short stories. As I've read them, I've been impressed by their unity, as if Portraits were a serial narrative of 2,000 chapters. The constancy of length, photographic image, and design, the decision to withhold some information that would be in traditional obituaries, creates something akin to the Vietnam Memorial. Each name is a story. But all the names constitute a bigger story.

That bigger story, the master narrative, as some might call it, reveals what happens within a community when so many lives and dreams are cut short. One can see the hurt and regret spread out from the center, like the spidery fissures on a broken pane of glass.
Here are some of the writing strategies that can be discerned from the text:
1. For a story of fewer than 300 words, a lead that captures a sense of character. "Paul Beyer wanted a house. A house with a chimney." Or "Steven Paterson was so sure he was going to succeed as a bond trader that he skipped college out of Raritan High School in New Jersey and headed straight for Wall Street."
2. Movement from the general to the specific and sometimes back again. "Charles Lesperance loved the good life, and he loved to learn. He was a pro at cooking salmon, had season tickets to the opera, and could take a computer apart and put it back together again."
3. Specific details that "make it real" and reveal personality. "When Frankie Serrano went shopping for Dino, he spared no expense. 'He totally spoiled Dino,' said Mr. Serrano's girlfriend, Kristen Gasiorowski. 'All the toys he bought him, you can't imagine. It was like it was his child.' In fact, Dino was a dog, a year old Neopolitan mastiff who weighed in at 109 pounds and slept in a king-size dog bed."
4. Quotes from friends and loved ones: "'He was a confident guy,' Firefighter Burmeister said [of Steven Olson]. At fires, 'you always felt comfortable working with him,' he added. 'If you were in trouble, he was coming to get you.'"
5. Events or ideas that foreshadow death: "At 28, Jenine Gonzalez already knew that life could be short. In February, he mother died of pneumonia after a long bout with cancer. Then, in late August, the singer and actress Aaliyah, 22, died in a plane crash. Ms. Gonzalez, who loved music and danacing, looked up to Aaliyah as a role model, even styling her hair - long, black and wavy - the way the singer did."
6. Dreams cut short: "She was on her way." Or "The Saturday after Thanksgiving, Mr. Lesperance, 55, was supposed to marry Renee Alexander, whom his daughter described as 'like the love of his life.'"
7. Dreams ironically fulfilled: "Then she decided to go ahead [and finish building the house]. 'We knew we had to finish the dream,' she said. Scores of firefighters, all friends and colleagues of her husband's from Engine Company 6, are helping her. In the chimney, one of the firemen will carve a Maltese Cross, the symbol for firefighters."
8. Endings that reveal signs of lingering grief: "'You could see the World Trade Center,' Mr. Boski said of the view. 'I still go down there to feel connected to him.'" Or, "Now the girls on the team have his initials on their jerseys." Or, "'My family is in Egypt,' she said. 'But I feel Albert is here. I don't want to leave him.'"
9. Tiny flourishes of style by the writer: "He proposed on bended knee over Peking duck." Or, "If it moved, he was on it. If it was water, he was in it."
10. Circumstances that connect them to the Twin Towers: "The wedding album is full of photographs of friends from Cantor Fitzgerald, many of whom were killed on Sept. 11." Or, "About a year ago, a friend helped him get the job as a grill cook at Windows on the World. He went to work at 6:30 a.m. on Sept. 11, earlier than usual, because there was a special event."

Phil Jayhan · 19 Jun 2010 , 13:47 PM

As this new information settles in, I think it is fairly safe to assume a few things after reviewing all this information regarding the CNN Memorial;

1. They were not working off of any official master list from the government.

2. There is evidence to suggest that CNN actually created the "official victims list" and that others were fashioned from the CNN Memorial.

3. There is such an abundance of unrecognizable photographs that it appears to be intentional.

4. That CNN had some or created some of their "Memorial photo's" on or before 9/11/2001. This would show collusion between the Media and the DOD, something we all take for granted, but never the less needs to be pointed out.

5. That there appears to be no difference between the Department of Defense and CNN and other Media. e.g. They are all owned and operated by the Department of Defense.

6. That many of the Memorial photographs were created from "the Memorial Wall"which went up, oddly, in the first 2 days after 911. And that the Memorial Wall was actually not put up by grieving relatives, it was put up by the very people who pulled off 911 to help create part of their victims list of 3000.

7. That many of the identities of the alleged victims at the world trade center are in question, as to whether they are real at all, fictions created for 911, and/or aliases of some kind.

And feel free to add any of your own observations to the list and make it grow.

Cheers-
Phil

6 Jun 2010 , 16:37 PM	#2
Ethan Hunt Free Mind Join Date: 2 May 2006 Posts: 1,251 Threads: 201 Thanked 214 Times in 97 Posts	It just means all those "reporters" worked on all the bio's called sketches of the victims lives. The question is where they got the biographical information from. From family members or if a victim is a fake person from an agent working posing as a family member. __________________ Nothing impossible about this mission. 911 is easy to solve if you look at all of the evidence with an open mind and ask yourself who benefits.

6 Jun 2010 , 16:54 PM	#3
Iscribe2 Privileged Join Date: 7 Oct 2007 Posts: 738 Threads: 60 Thanked 799 Times in 372 Posts	well, I agree w/ Do2read. I think that is very strange. __________________ --Isaiah 49:24 & 25

6 Jun 2010 , 17:35 PM	#4
do2read Moderator Join Date: 26 Jan 2005 Posts: 1,912 Threads: 92 Thanked 4,769 Times in 1,315 Posts	Ethan, nowhere else could I find an article in the NY Times credited this way. Perhaps you can. Every instance where more than one reporter works on a story, it lists each name in the by-line. This is basic newspaper stuff. The by-line says where and by whom. Find me ONE instance of a story credited this way and I'll buy it. If I researched the Friedman "sketch", my name would be at the top. No-one put their name at the top, because it was material printed just as it was provided. Listing a bunch of names insures the deniability for each. If I called the family members or other sources, then it would be my investigation, my story, and my name would be at the top. __________________ "Don't worry about it - Americans don't read." Allan Dulles ...

6 Jun 2010 , 17:43 PM	#5
do2read Moderator Join Date: 26 Jan 2005 Posts: 1,912 Threads: 92 Thanked 4,769 Times in 1,315 Posts	Here's one with no credit at all. http://nytimes.com/2001/12/31/nation...OG-31FYFE.html Where is the "pool" on this one? If they were all done by a pool, the pool would be listed on all of them. __________________ "Don't worry about it - Americans don't read." Allan Dulles ...

7 Jun 2010 , 11:34 AM	#8
do2read Moderator Join Date: 26 Jan 2005 Posts: 1,912 Threads: 92 Thanked 4,769 Times in 1,315 Posts	Here is the Portraits of Grief archive, set up by publishing date, which also lists the reporters who supposedly contributed on that date. This would be like the front page coming out with no by-lines on the stories and a list of contributing reporters at the bottom of the page. Anyway, here is the link to the archive: http://www.nytimes.com/library/natio...SING_1115.html __________________ "Don't worry about it - Americans don't read." Allan Dulles ...

19 Jun 2010 , 13:47 PM	#10
Phil Jayhan Admin Join Date: 23 Feb 2004 Location: Middle Earth Posts: 22,824 Threads: 2784 Blog Entries: 28 Thanked 7,881 Times in 2,899 Posts	As this new information settles in, I think it is fairly safe to assume a few things after reviewing all this information regarding the CNN Memorial; 1. They were not working off of any official master list from the government. 2. There is evidence to suggest that CNN actually created the "official victims list" and that others were fashioned from the CNN Memorial. 3. There is such an abundance of unrecognizable photographs that it appears to be intentional. 4. That CNN had some or created some of their "Memorial photo's" on or before 9/11/2001. This would show collusion between the Media and the DOD, something we all take for granted, but never the less needs to be pointed out. 5. That there appears to be no difference between the Department of Defense and CNN and other Media. e.g. They are all owned and operated by the Department of Defense. 6. That many of the Memorial photographs were created from "the Memorial Wall"which went up, oddly, in the first 2 days after 911. And that the Memorial Wall was actually not put up by grieving relatives, it was put up by the very people who pulled off 911 to help create part of their victims list of 3000. 7. That many of the identities of the alleged victims at the world trade center are in question, as to whether they are real at all, fictions created for 911, and/or aliases of some kind. And feel free to add any of your own observations to the list and make it grow. Cheers- Phil __________________ Phil Jayhan 9/11 Blog \| Phil Jayhan.Com Video Host \| Frederick Bastiats Audio of "The Law"