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Wed, 19 Sep 2007 15:40:29 -0700 |
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Anne Ozorio wrote:
>As the article explains, Hattogate started on the internet where anyone
>can claim to be anything they want. So many different identities were
>involved, many providing authentic sounding, "first person" accounts
>which sounded mightily impressive! Some of those involved (pro and
>contra) seem to have left no trace either before or after....a detail
>that is in itself interesting. How far did it go? In some ways the
>the scam is so elaborate as to be a work of art in itself. Because it
>was constructed to press all the right buttons, lots of real people were
>genuinely taken in, with no discredit to them.
Repetiore too vast, with entirely playing styles, recorded in an
unreasonable time span with a non-existant conductor and non-existant
orchesta. I don't understand why you anyone could not discredit them
"real" people and they revealed themselves as being jerks.
>In the anonymity of the net, it's so easy to invent credentials,
>to form cliques, to claim authoritative associations.
All the collectors and musically informed people, even some professionals
couldn't see through the unreal authoritave phony "associations"?
Unreal! If it weren't for a computer program that revealed the possibility
true identity of one recorded performance, the scam would have continued.
I wonder how long?
"Norman M. Schwartz" <[log in to unmask]>
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