Book-It 'o9! Book #38
Sep. 21st, 2009 07:27 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
alivemagdoleneMore of the Fifty Books Challenge! This was a library request.
Title: Suburban Legends: True Tales of Murder, Mayhem, and Minivans by Sam Stall
Details: Copyright 2006, Quirk Books
Synopsis (By Way of Front Flap): "IT'S A TERRIBLE DAY IN THE NEIGHBORHOOD. They told you the suburbs were a great places to live. They said nothing bad could ever happen here.
But they were wrong.
This collection of terrifying true stories exposes the dark side of life in the 'burbs--from corpses buried in backyards and ghosts lurking in fast food restaurants to UFOs, vanishing persons, bizarre apparitions, and worse. Consider:
*THE SOCCER MOM'S SECRET. Meet Melinda Raisch of Columbus, Ohio. She's the wife of a dentist. A mother of three. A PTA member. And she has enough murderous secrets to fill a minivan.
*NOISE POLLUTION. more than 100 residents of Kokomo Indiana, claim their small town is under attack by a low-pitched humming sound that eordes health and sanity. Too bad they're the only ones who can hear it.
*DEATH TAKES A HOLIDAY INN. There's nothing more reassuring than a big chain hotel in a quaint small town-- unless it's the HOliday Inn of Grand Island, New York, where you'll spend the night with the spirit of a mischievous little girl.
So lock your doors, dim the lights, and prepare to stay up all night with this creepy collection of true tales. We promise you'll never look at white picket fences the same way again!"
Why I Wanted to Read It: This is another one from Atomic Books's catalog and I'm a fan of firmly yanking at the underpinnings of suburbia as much as the next misfit who was raised in the suburbs.
How I Liked It: Good stuff! The styling was really well-done, and what the Michael Farquhar books I read months ago desperately needed. Unfortunately, the substance was at times a little light. I'm aware of the nature of the book, but a little more probing into these cases would've been enjoyable. The tone is amusing (even at times hilarious), the prose appropriately snarky and cynical enough to debunk the BS (one infamous case of a "UFO" that terrified a Pensacola suburb turned out to be a rather known flying object: a rather crummy model less than a foot tall made of foam picnic plates, blue plastic film, "and couple other [household] doodads"(pg 233)) but cohesive enough for the falsehoods to be presented as just further evidence of the "unsavory" quality the suburbs claim to offer refuge from.
The book is both enjoyable as the sort of iconoclast wackiness offered by David Lynch and the master, John Waters (indeed, a chapter is even titled "SERIAL MOM") and as a bit of cultural evolution and social history of the ethos of suburbia and its (usually unspoken) superiority complex.
Notable: While Stall does a fair job debunking myths, he appears to have missed one, although in fairness, it is open to debate (albeit a weak one). He tells the story of one Rita Swift, a suburban mom from Placentia, California (just south of Los Angeles) who discovered in 1997 some undeveloped film in her attic labeled "taken in our backyard sept. 69" that she'd apparently taken almost thirty years prior. Curious, she took it to a camera shop to see if any of the prints could still be salvaged. The roll produced nineteen prints, the first sixteen of which contained conventional backyard scenes including the family cat, the new swingset, and her then five-year-old daughter.
"But photos seventeen through nineteen were anything but conventional. The first image, for some reason, showed what appeared to be three Native Americans dancing in a row, all dressed in traditional costumes. The next two were even creepier. They revealed what looked like a large group of Native Americans in ceremonial dress, gathered around a row of bodies that were seemingly being prepared for cremation." (pg 20)
Stall goes on,
"Incredibly, there's a bit of hard evidence to back up her belief. In 1962, while planting a tree in the yard, the Swifts unearthed the partly cremated bones of a Native American female. The remains, according to experts at California State College in Long Beach, were roughly seven thousand years old. A few years later, the family built a living room extension over the spot where the body was found. Now the cremation site rests indoors, more or less under the family piano.
"Which might explain why Swift's daughter, back when she took piano lessons, would complain about an ethereal flute that seemed to accompany her when she practiced." (pg 20)
Now let's think rationally. Seven thousand years old? Okay, we didn't see the Swift's yard. Southern California was and is still springing up and just past the mid-twentieth century there remains a decent chance that digging a hole for a tree (depending on the depth, the angle of the land, et cetera) might yield you some bones. But seven thousand year old bones?
I was unable to find anything about the purported bones found. But I was curious to see the photos, and I managed to find them along with Swift's own description:
"In July 1997, I went to the guest bedroom to search for some 8mm film I had stored in an antique cedar chest. I was wanting to put our family pictures on a VHS tape when I noticed an old Kodak box with a roll of b/w undeveloped film on a self in the cedar chest. I had written "taken in our backyard Sept. 1969". Little did I know, the photos that should have been developed, were stored for 28 years! What a mystery these photos would become in my life. Considering what had developed in the circle of the lens that would normally be impossible for a $10.00 Kodak Brownie Hawkeye using 620 film. When I took the film to Main Photo in Yorba Linda, they told me not to expect success in developing because of age. But, what a surprise when 19 of the 20 developed successfully! That evening, my daughter Lisa started looking though the photos, saying they were typical photos of her at 5 years old, her dog, cat, swing set, just a normal backyard, with great clarity!
PHOTO 16
When we looked at PHOTO 16, it was of Lisa standing by the sliding glass door, just outside the living room. Nothing unusual other than she seemed to be surrounded by Ectoplasmic mist. Ghoststudy notes however that this could just be the reflection from the glass.
PHOTO 17
PHOTO 17, was a total surprise! There are three Native Americans dancing in a row past my camera, only developed in the camera lens with the most unusual bright light on them. They appear to be Shamans preparing for a ritual. The third Native American is strangely in total shadow or silhouette, but there are bright feathers behind his head and in front of the second dancer. There is an extremely bright area, perhaps a pool of water, in the distant background. The circle of the lens is very profound, and natural light and shadow seem not of this world. The first Indian appears to be in a crouched position, wearing a dried half of a gourd on his head. I remember finding similar gourd plants growing in the sage brush on my grandparents ranch at the foot of Mount Baldy in San Bernardino County, here in California.
PHOTO 18
PHOTO 18, becomes a greater mystery! There appears to be a ritual with an oxen at a lower level in the foreground. Possibly, there is a body tied to the back of the oxen. In the center there are two Shamans, on their knees, the one in the rear can be seen, but is transparent, both holding a long pole with a paddle on the end touching the back of the oxen. To the right there is an individual with a flute wearing a feathered skirt. There is a transparent figure right behind the flute player possibly holding a pole. This is where the mystery becomes stranger, there appears to be a Victorian woman, blonde hair, wearing a fur collared opera coat just to the right of the flute player, head tilted up, looking to the background. She seems to be sitting between more poles pointed in the direction of the oxen. The background seems distorted, with large areas of ectoplasm. To the left side of the Native Americans in the center, there is another feathered ghostly individual. To the right side of this individual, behind the oxen there is a female on her knees facing the oxen. She is transparent, but her long black hair is touching the ground. She is reaching for a pole structure behind and above her. Some have told me there appears to be an evil face in the foreground, over the oxen's back? The lens circle is still visible, but for some reason, fading. Shadow and light are unnatural, exhibiting an eerie scene.
PHOTO 19
PHOTO 19, continues the ritual with a different view of the spirit village. Eyes go to the direct foreground where it appears to be a number of bodies being cremated, bathed in extremely bright light. The lens circle is fading, but still visible. To the left, one can see a captive in the complete darkness, nude with arms crossed and tied. There is a group of Shamans with poles to the right of the captive, walking toward the cremation scene. In the center, walking at an angle to the right blocked by a pole, is a Victorian man dressed in a tall Lincoln type hat wearing an opera coat. He is walking at a fast pace, oblivious to his surroundings. Some feel he is walking toward the Victorian woman in the previous photo. Instead of a Victorian setting, they are in an Indian village. Why are they there? Do they have some connection with my property too? Was there a rancho or Victorian home here after the Indians were banished? Why they are in the photos is a mystery to all that have studied the photographs at length. Behind him, appears to be individuals resting around an unusually bright pool of water, some brightly lit, others in shadow. There is a ghostly hut behind them with eerie orbs and ectoplasm floating above them. Going back to the right front, there is a ghostly pig sniffing a body that appears to be in the process of being cremated. To the right rear of the pig, there is a group huddled together with a small child to the far left of the group. Behind them are areas of ectoplasm with two bright balls of light above their heads. These balls are similar to the balls of light, coming out of the sliding glass door in the first photo, on the right side of Lisa. The negative of PHOTO 20, went totally black, possibly receiving a blast of bright light when the camera snapped the picture.
I contacted the Southwest Museum in Los Angeles and through their information, and books suggested by them, the Native Americans in these photographs, resemble the Chumash, tribes that were not studied at great length. I live in Orange County very close to the Santa Ana River, where a number of villages were located. Canyons are near my area, where the tribes roamed and hunted. They knew where to dig for water from underground streams, therefore had pools of water in their villages. They decorated themselves with feathers from the river birds and wore skirts made of feathers and river reeds. The Chumash inland, cremated their dead in extensive ceremonies, that could last for days. In the late 1700's the Spanish arrived in my area, forcing the Chumash to help build the 21 missions built the length of California. They were renamed Gabrielinos by the Spanish. They rapidly died from abuse and common diseases brought by the Spanish. My area is a prehistoric freeway for the inland route of California. In 1837, Mexico gave Don Pacifico Ontiveros an extensive land grant called Rancho San Juan de Santa Ana. My home is on this former land grant. When California became a state in 1848, as stated before, the Chumash were exterminated by violence, disease or even had bounties put on their heads like coyotes, if they did not leave. I date these photos in the late 1700's into the 1800's because the Chumash were not aware of farm animals until the Spanish soldiers arrived. In 1962, we were planting a tree in our backyard, when we discovered partly cremated bones including a jaw bone with some teeth in the soil. They were taken to California State College at Long Beach. We were told they were of a Mongol type female approximately 7,000 years old. What a surprise this was to us, a newly married young couple with our first new home! I often walked to that area in our yard and wondered what she looked like and how she died. The college kept the bones for further study. Our home sits where there was a large citrus grove, planted in the early 1900's. In 1972, we built a large living room that covered three-forths of our backyard. There is a baby grand piano sitting where we found the bones. When Lisa was small and taking piano lessons, she used to hear a flute playing next to her when she practiced. She used to scream at me saying, "The flutes paying again. Can I quit practicing?" I believe they are still here, their entry point is in the center of the house. Often we smell a sweet burning wood that follows us from room to room and then disappears as quickly as it comes. We hear children giggling where there are no children and observe life size "shadow people" that appear behind us only to dart away at a great speed, but not fast enough so we can see them. Recently we bought a new computer, and the screen saver has a grotto scene with moving colorful reef fish moving back and forth. The audio sounds like water gushing and bubbling. There is also sounds of a tropical storm. On several occasions, we have found many tiny finger prints on the screen, like someone was trying to follow the moving fish. Lisa and I are the only ones living here and using the computer. There is often the wood smell near us when we are working on the computer. Many friends have smelled the wood burning, wasting time, sniffing the air, walking through our home and outside, only to have it disappear in a second, leaving them standing there feeling foolish.
I recently drove through Carbon Canyon, a beautiful wild place just north of my home. I stopped to look at what remains of the virgin hills and valleys. There are places there in the canyon where time has stood still. The trees and vegetation have not changed since the time that the Indian villages were there. The experience with the photographs made me realize that I was blind to my surroundings. For some reason, I feel the spirits in the photographs wanted me to know that they had a life here and that they want to be remembered; they are doing their best to draw my attention to that fact. The future and the past; what does this mean in time? They were here, as I am now here, and will someday be just a memory as they are now."
The pictures I've put here are the biggest I could find. Whilst looking for bigger, I stumbled into a skeptic's message board which points out what should've been obvious:
"It is eerie how those pictures look exactly like stock footage from a wildlife documentary..." --- posted by jccalhoun
"Looks like she took pictures of her TV back in 1969, too. Probably ran through most of a roll outside and then wasted the rest of it while watching TV -- or maybe her daughter did. With the piss-poor scanning job she did, it's hard to tell what's in the pictures at all. Get someone to scan the negative, post a high-res scan, and then we can set about debunking in earnest." ---posted by SamJooky
"I think SamJooky's got it. You can tell by the curved edges on the corners of the image. Compare that to the shape of some vintage TV sets and I think it's pretty debunked. You can tell by the curved edges on the corners of the image. Compare that to the shape of some vintage TV sets and I think it's pretty debunked." --- posted by shawnj
"It'd be near impossible for a kodak box camera to "porthole" the way the first two pictures do, since the lenses were fixed. I too agree with the SamJooky and Shawnj...it looks more like a circle wipe from a movie or TV show, especially since it gets larger in the second frame." ---posted by zedcaster
Sadly, these entries all date from the summer of 2004, plenty of time for Stall to have realized this was a good story and simply that.
Title: Suburban Legends: True Tales of Murder, Mayhem, and Minivans by Sam Stall
Details: Copyright 2006, Quirk Books
Synopsis (By Way of Front Flap): "IT'S A TERRIBLE DAY IN THE NEIGHBORHOOD. They told you the suburbs were a great places to live. They said nothing bad could ever happen here.
But they were wrong.
This collection of terrifying true stories exposes the dark side of life in the 'burbs--from corpses buried in backyards and ghosts lurking in fast food restaurants to UFOs, vanishing persons, bizarre apparitions, and worse. Consider:
*THE SOCCER MOM'S SECRET. Meet Melinda Raisch of Columbus, Ohio. She's the wife of a dentist. A mother of three. A PTA member. And she has enough murderous secrets to fill a minivan.
*NOISE POLLUTION. more than 100 residents of Kokomo Indiana, claim their small town is under attack by a low-pitched humming sound that eordes health and sanity. Too bad they're the only ones who can hear it.
*DEATH TAKES A HOLIDAY INN. There's nothing more reassuring than a big chain hotel in a quaint small town-- unless it's the HOliday Inn of Grand Island, New York, where you'll spend the night with the spirit of a mischievous little girl.
So lock your doors, dim the lights, and prepare to stay up all night with this creepy collection of true tales. We promise you'll never look at white picket fences the same way again!"
Why I Wanted to Read It: This is another one from Atomic Books's catalog and I'm a fan of firmly yanking at the underpinnings of suburbia as much as the next misfit who was raised in the suburbs.
How I Liked It: Good stuff! The styling was really well-done, and what the Michael Farquhar books I read months ago desperately needed. Unfortunately, the substance was at times a little light. I'm aware of the nature of the book, but a little more probing into these cases would've been enjoyable. The tone is amusing (even at times hilarious), the prose appropriately snarky and cynical enough to debunk the BS (one infamous case of a "UFO" that terrified a Pensacola suburb turned out to be a rather known flying object: a rather crummy model less than a foot tall made of foam picnic plates, blue plastic film, "and couple other [household] doodads"(pg 233)) but cohesive enough for the falsehoods to be presented as just further evidence of the "unsavory" quality the suburbs claim to offer refuge from.
The book is both enjoyable as the sort of iconoclast wackiness offered by David Lynch and the master, John Waters (indeed, a chapter is even titled "SERIAL MOM") and as a bit of cultural evolution and social history of the ethos of suburbia and its (usually unspoken) superiority complex.
Notable: While Stall does a fair job debunking myths, he appears to have missed one, although in fairness, it is open to debate (albeit a weak one). He tells the story of one Rita Swift, a suburban mom from Placentia, California (just south of Los Angeles) who discovered in 1997 some undeveloped film in her attic labeled "taken in our backyard sept. 69" that she'd apparently taken almost thirty years prior. Curious, she took it to a camera shop to see if any of the prints could still be salvaged. The roll produced nineteen prints, the first sixteen of which contained conventional backyard scenes including the family cat, the new swingset, and her then five-year-old daughter.
"But photos seventeen through nineteen were anything but conventional. The first image, for some reason, showed what appeared to be three Native Americans dancing in a row, all dressed in traditional costumes. The next two were even creepier. They revealed what looked like a large group of Native Americans in ceremonial dress, gathered around a row of bodies that were seemingly being prepared for cremation." (pg 20)
Stall goes on,
"Incredibly, there's a bit of hard evidence to back up her belief. In 1962, while planting a tree in the yard, the Swifts unearthed the partly cremated bones of a Native American female. The remains, according to experts at California State College in Long Beach, were roughly seven thousand years old. A few years later, the family built a living room extension over the spot where the body was found. Now the cremation site rests indoors, more or less under the family piano.
"Which might explain why Swift's daughter, back when she took piano lessons, would complain about an ethereal flute that seemed to accompany her when she practiced." (pg 20)
Now let's think rationally. Seven thousand years old? Okay, we didn't see the Swift's yard. Southern California was and is still springing up and just past the mid-twentieth century there remains a decent chance that digging a hole for a tree (depending on the depth, the angle of the land, et cetera) might yield you some bones. But seven thousand year old bones?
I was unable to find anything about the purported bones found. But I was curious to see the photos, and I managed to find them along with Swift's own description:
"In July 1997, I went to the guest bedroom to search for some 8mm film I had stored in an antique cedar chest. I was wanting to put our family pictures on a VHS tape when I noticed an old Kodak box with a roll of b/w undeveloped film on a self in the cedar chest. I had written "taken in our backyard Sept. 1969". Little did I know, the photos that should have been developed, were stored for 28 years! What a mystery these photos would become in my life. Considering what had developed in the circle of the lens that would normally be impossible for a $10.00 Kodak Brownie Hawkeye using 620 film. When I took the film to Main Photo in Yorba Linda, they told me not to expect success in developing because of age. But, what a surprise when 19 of the 20 developed successfully! That evening, my daughter Lisa started looking though the photos, saying they were typical photos of her at 5 years old, her dog, cat, swing set, just a normal backyard, with great clarity!
When we looked at PHOTO 16, it was of Lisa standing by the sliding glass door, just outside the living room. Nothing unusual other than she seemed to be surrounded by Ectoplasmic mist. Ghoststudy notes however that this could just be the reflection from the glass.
PHOTO 17, was a total surprise! There are three Native Americans dancing in a row past my camera, only developed in the camera lens with the most unusual bright light on them. They appear to be Shamans preparing for a ritual. The third Native American is strangely in total shadow or silhouette, but there are bright feathers behind his head and in front of the second dancer. There is an extremely bright area, perhaps a pool of water, in the distant background. The circle of the lens is very profound, and natural light and shadow seem not of this world. The first Indian appears to be in a crouched position, wearing a dried half of a gourd on his head. I remember finding similar gourd plants growing in the sage brush on my grandparents ranch at the foot of Mount Baldy in San Bernardino County, here in California.
PHOTO 18, becomes a greater mystery! There appears to be a ritual with an oxen at a lower level in the foreground. Possibly, there is a body tied to the back of the oxen. In the center there are two Shamans, on their knees, the one in the rear can be seen, but is transparent, both holding a long pole with a paddle on the end touching the back of the oxen. To the right there is an individual with a flute wearing a feathered skirt. There is a transparent figure right behind the flute player possibly holding a pole. This is where the mystery becomes stranger, there appears to be a Victorian woman, blonde hair, wearing a fur collared opera coat just to the right of the flute player, head tilted up, looking to the background. She seems to be sitting between more poles pointed in the direction of the oxen. The background seems distorted, with large areas of ectoplasm. To the left side of the Native Americans in the center, there is another feathered ghostly individual. To the right side of this individual, behind the oxen there is a female on her knees facing the oxen. She is transparent, but her long black hair is touching the ground. She is reaching for a pole structure behind and above her. Some have told me there appears to be an evil face in the foreground, over the oxen's back? The lens circle is still visible, but for some reason, fading. Shadow and light are unnatural, exhibiting an eerie scene.
PHOTO 19, continues the ritual with a different view of the spirit village. Eyes go to the direct foreground where it appears to be a number of bodies being cremated, bathed in extremely bright light. The lens circle is fading, but still visible. To the left, one can see a captive in the complete darkness, nude with arms crossed and tied. There is a group of Shamans with poles to the right of the captive, walking toward the cremation scene. In the center, walking at an angle to the right blocked by a pole, is a Victorian man dressed in a tall Lincoln type hat wearing an opera coat. He is walking at a fast pace, oblivious to his surroundings. Some feel he is walking toward the Victorian woman in the previous photo. Instead of a Victorian setting, they are in an Indian village. Why are they there? Do they have some connection with my property too? Was there a rancho or Victorian home here after the Indians were banished? Why they are in the photos is a mystery to all that have studied the photographs at length. Behind him, appears to be individuals resting around an unusually bright pool of water, some brightly lit, others in shadow. There is a ghostly hut behind them with eerie orbs and ectoplasm floating above them. Going back to the right front, there is a ghostly pig sniffing a body that appears to be in the process of being cremated. To the right rear of the pig, there is a group huddled together with a small child to the far left of the group. Behind them are areas of ectoplasm with two bright balls of light above their heads. These balls are similar to the balls of light, coming out of the sliding glass door in the first photo, on the right side of Lisa. The negative of PHOTO 20, went totally black, possibly receiving a blast of bright light when the camera snapped the picture.
I contacted the Southwest Museum in Los Angeles and through their information, and books suggested by them, the Native Americans in these photographs, resemble the Chumash, tribes that were not studied at great length. I live in Orange County very close to the Santa Ana River, where a number of villages were located. Canyons are near my area, where the tribes roamed and hunted. They knew where to dig for water from underground streams, therefore had pools of water in their villages. They decorated themselves with feathers from the river birds and wore skirts made of feathers and river reeds. The Chumash inland, cremated their dead in extensive ceremonies, that could last for days. In the late 1700's the Spanish arrived in my area, forcing the Chumash to help build the 21 missions built the length of California. They were renamed Gabrielinos by the Spanish. They rapidly died from abuse and common diseases brought by the Spanish. My area is a prehistoric freeway for the inland route of California. In 1837, Mexico gave Don Pacifico Ontiveros an extensive land grant called Rancho San Juan de Santa Ana. My home is on this former land grant. When California became a state in 1848, as stated before, the Chumash were exterminated by violence, disease or even had bounties put on their heads like coyotes, if they did not leave. I date these photos in the late 1700's into the 1800's because the Chumash were not aware of farm animals until the Spanish soldiers arrived. In 1962, we were planting a tree in our backyard, when we discovered partly cremated bones including a jaw bone with some teeth in the soil. They were taken to California State College at Long Beach. We were told they were of a Mongol type female approximately 7,000 years old. What a surprise this was to us, a newly married young couple with our first new home! I often walked to that area in our yard and wondered what she looked like and how she died. The college kept the bones for further study. Our home sits where there was a large citrus grove, planted in the early 1900's. In 1972, we built a large living room that covered three-forths of our backyard. There is a baby grand piano sitting where we found the bones. When Lisa was small and taking piano lessons, she used to hear a flute playing next to her when she practiced. She used to scream at me saying, "The flutes paying again. Can I quit practicing?" I believe they are still here, their entry point is in the center of the house. Often we smell a sweet burning wood that follows us from room to room and then disappears as quickly as it comes. We hear children giggling where there are no children and observe life size "shadow people" that appear behind us only to dart away at a great speed, but not fast enough so we can see them. Recently we bought a new computer, and the screen saver has a grotto scene with moving colorful reef fish moving back and forth. The audio sounds like water gushing and bubbling. There is also sounds of a tropical storm. On several occasions, we have found many tiny finger prints on the screen, like someone was trying to follow the moving fish. Lisa and I are the only ones living here and using the computer. There is often the wood smell near us when we are working on the computer. Many friends have smelled the wood burning, wasting time, sniffing the air, walking through our home and outside, only to have it disappear in a second, leaving them standing there feeling foolish.
I recently drove through Carbon Canyon, a beautiful wild place just north of my home. I stopped to look at what remains of the virgin hills and valleys. There are places there in the canyon where time has stood still. The trees and vegetation have not changed since the time that the Indian villages were there. The experience with the photographs made me realize that I was blind to my surroundings. For some reason, I feel the spirits in the photographs wanted me to know that they had a life here and that they want to be remembered; they are doing their best to draw my attention to that fact. The future and the past; what does this mean in time? They were here, as I am now here, and will someday be just a memory as they are now."
The pictures I've put here are the biggest I could find. Whilst looking for bigger, I stumbled into a skeptic's message board which points out what should've been obvious:
"It is eerie how those pictures look exactly like stock footage from a wildlife documentary..." --- posted by jccalhoun
"Looks like she took pictures of her TV back in 1969, too. Probably ran through most of a roll outside and then wasted the rest of it while watching TV -- or maybe her daughter did. With the piss-poor scanning job she did, it's hard to tell what's in the pictures at all. Get someone to scan the negative, post a high-res scan, and then we can set about debunking in earnest." ---posted by SamJooky
"I think SamJooky's got it. You can tell by the curved edges on the corners of the image. Compare that to the shape of some vintage TV sets and I think it's pretty debunked. You can tell by the curved edges on the corners of the image. Compare that to the shape of some vintage TV sets and I think it's pretty debunked." --- posted by shawnj
"It'd be near impossible for a kodak box camera to "porthole" the way the first two pictures do, since the lenses were fixed. I too agree with the SamJooky and Shawnj...it looks more like a circle wipe from a movie or TV show, especially since it gets larger in the second frame." ---posted by zedcaster
Sadly, these entries all date from the summer of 2004, plenty of time for Stall to have realized this was a good story and simply that.
