For instance, Rachel Uchitel was identified early on in reports as a devastated survivor.
Her later newsworthiness as Tiger Wood's mistress required her once-intended father-in-law to publicly repudiate her, in a messy bit of scandal, as having "changed."
In what now looks like wanton public disclosure, an organizer of one of the public memorials in New York City, composed of those supposedly spontaneously arising public displays of missing-persons fliers and other assorted mementos, which served a purpose of validating the so-called victims, is identified at work outside Bellevue Hospital as being Edward Halley, in the same way that Jordan Schuster, a NYU student, was identified in the New York Times as undertaking the similar task in Union Square park.
One group of three images share a common feature. They all name the personal identification within the caption itself, while simultaneously concealing the picture's actual visual identification---in a practice done, I should think, for coded, occult, or accounts-receivable purposes, since when seen in the dry context of the 9/11 record, such high-style, gratuitous disclosure could not be pointless.
(With a backup shot taken by Kevin Coombs of Reuters0
Such messaged signals would seem appropriate given they coincided with the reopening of the Stock Exchange a week afterward. But for one Long Island fireman to be exposed as an exhausted volunteer on the Thursday following the attacks, signifies he held a special status.
Another category of images implicates persons having some personal religious or moral justification for an involvement in the plot---in addition to the political, or aspirational motivations that might have inspired other, less God-fearing men.
In the case of two men, who spent part of the first two weeks at ground zero providing chaplaincy services, such privledged early access given to out-of-towners almost guarantees they were foreknowledged participants, if only to the same degree as given Scientology.
In other cases, not enough information is provided to directly accuse those featured of some nefarious involvement in the undertaking of a crime. Since New York City was flooded in the weeks and months following 9/11 by retired military personnel and law-enforcement and firematics professionals from out-of-town, who welcomed any opportunity to participate, at whatever level they were invited in to do so, this vast class must, for the most part, be regarded as patsies who filled the roles of funeral attendance, and other memorial duties.
The family members of the so-called victims played a major media role in forming public opinion within the local markets---those small-to-medium outlets where the possibility for emotional transference, and identification with the consumer, could hold sway over logic and understanding.
I have only my personal views in these matters to express, but in my many media encounters with the group, they invariably give themselves away through the errant details of their inconsistent narratives. Bad acting would be a step up from the inherent fraudulence they have to offer. Perhaps I'm just jaded, but as a class, I feel they moved beyond the Biblical injunction against lying, and well into real insanity a long time ago.
I would classify many of the other, little-known images in the captioned Herald-Dispatch collection as simply giving too much information away---facts which would enable us, eventually to make informed decisions for ourselves. That's the sort of overview provided in an image like the following:
But the kind of detail and variety originally intended for our narrative consumption, had to be homogenized over time, through an imperceptible suppression and reorganization of available facts, into the impoverished, pieced-together story of today, which leaves us with no cognitive options to oppose what everybody knows is a scam, but with our indifference and apathy.
A final note on the flat-footed public-relations manipulations, which look so heavy handed when they come back to haunt us. To limit or suppress something only makes it that much more powerful when it is eventually released. That is the effect I experienced with the following image, in full flower of the intention to paint Arabs, or Muslims, or the Palestinian people as scapegoats who carry blame for 9/11. What politics could be behind this do you think?
That story line just doesn't work any more. You need only look at poor Rudy [or maybe Rudi] Dekkers' airplane to see what works, and what doesn't.