Cry me a river

Urban legends often have nebulous origins.  As author Jan Harold Brunvand describes in his wonderful book The Choking Doberman and Other Urban Legends, "Urban legends are kissing cousins of myths, fairy tales and rumors.  Legends differ from rumors because the legends are stories, with a plot.  And unlike myths and fairy tales, they are supposed to be current and true, events rooted in everyday reality that at least could happen...  Urban legends reflect modern-day societal concerns, hopes and fears...  They are weird whoppers we tell one another, believing them to be factual.  They maintain a persistent hold on the imagination because they have an element of suspense or humor, they are plausible, and they have a moral."

It's not that there's anything wrong with urban legends per se.  A lot of the time, we're well aware that they're just "campfire stories" that are meant to scare, amuse, or otherwise entertain, and (absent of any further evidence) are just as likely to be false as true.  After all, humans have been storytellers for a very long time, and -- as a fiction writer -- I'd be out of a job if we didn't have an appetite for tall tales.

When it becomes problematic is when someone has a financial interest in getting folks to believe that some odd claim or another is true.  Then you have unethical people making money off others' credulity -- and often along the way obscuring or covering up outright any evidence to the contrary.  And it's worse still when the guilty party is part of the news media.

Which brings us to The Sun and the legend of the "Crying Boy."

Back in 1985 the British tabloid newspaper The Sun reported that a firefighter in Essex had more than once found undamaged copies of a painting of a crying child in houses that had otherwise been reduced to rubble by fires.  Upon investigation, they said, they found that the painting was by Italian painter Giovanni Bragolin.

If that wasn't weird enough, The Sun claimed they'd found out that Bragolin was an assumed name, and that the painter was a mysterious recluse named Franchot Seville.  Seville, they said, had found the little boy -- whose name was Don Bonillo -- after an unexplained fire had killed both of his parents.  The boy was adopted by a priest, but fires seemed to follow in his wake wherever he went, to the extent that he was nicknamed "El Diablo."  In 1970, the engine of a car the boy was riding in exploded, killing him along with the painter and the priest.

But, The Sun asked, did the curse follow even the paintings of the boy's tragic, weeping face?

It's not a headline, but we can invoke Betteridge's Law, wherein we learn that anything like that phrased as a question can be answered "No."  Further inquiries by less biased investigators found that the story had enough holes to put a Swiss cheese to shame.  There was no Don Bonillo; the model for the little boy was just some random kid.  Yes, Bragolin went by the pseudonym Franchot Seville, but Bragolin was itself an assumed name; the painter's real name was Bruno Amadio, and he was still alive and well and painting children with big sad eyes until his death from natural causes in 1981 at age seventy.

As far as the survival of the painting, that turned out not to be much of a mystery, either.  Bragolin/Seville/Amadio cranked out at least sixty different crying child paintings, from which literally tens of thousands of prints were made and then shipped out to department stores all across southern England.  They sold like hotcakes for some reason.  (I can't imagine why anyone would want a painting of a weepy toddler on their wall, but hey, you do you.)  The prints were made on a heavy compressed cardboard, and then coated with fire-retardant varnish.  Investigators Steven Punt and Martin Shipp actually purchased one of the prints and tried to set it alight deliberately, but the thing wouldn't burn.  The surmise was that when the rest of the house went up in flames, the string holding the frame to the wall burned through and the print fell face-down on the floor, protecting it from being damaged.

Of course, a prosaic explanation like that was not in the interest of The Sun, which survives by keeping sensationalized stories alive for as long as possible.  So no mention was made of Punt and Shipp and the probable explanation for the paintings' survival.  Instead, they repeated the claims of a "curse," and told readers that if they owned a copy of The Crying Boy and wanted to get rid of it, The Sun would organize a public bonfire to destroy the prints forever.

How they were going to accomplish this, given that the whole shtick had to do with the fact that the painting couldn't be burned, I have no idea.  But this evidently didn't occur to the readers, because within weeks The Sun had received hundreds of copies.  A fire was held along the banks of the Thames in which the mailed-in prints were supposedly destroyed, an event about which a firefighter who had supervised the burning said, "I think there will be many people who can breathe a little easier now."

This in spite of the fact that the whole thing had been manufactured by The Sun.  There would have been no widespread fear, no need for people to "breathe uneasily," if The Sun hadn't hyped the claim to begin with -- and, more importantly, ignored completely the entirely rational explanation for the few cases where the painting had survived a house fire.

It's probably unnecessary for me to say that this kind of thing really pisses me off.  Humans are credulous enough; natural conditions like confirmation bias, dart-thrower's bias, and the argument from ignorance already make it hard enough for us to sort fact from fiction.  Okay, The Sun is a pretty unreliable source to start with, but the fact remains that thousands of people read it -- and, presumably, a decent fraction of those take its reporting seriously.

The fact that it would deliberately mislead is infuriating.

The result is that the legend still persists today.  There are online sites for discussing curses, and The Crying Boy comes up all too frequently, often with comments like "I would never have that in my house!"  (Well, to be fair, neither would I, but for entirely different reasons.)  As Brunvand points out in The Choking Doberman, one characteristic of urban legends is that they take on a life of their own.  Word of mouth is a potent force for spreading rumor, and once these sorts of tales get launched, they are as impossible to eradicate as crabgrass.

But what's certain is that we do not need irresponsible tabloids like The Sun making matters worse.

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Rain Woman

I was asked a curious question by a loyal reader of Skeptophilia, one that intrigued me enough I thought it was worth devoting an entire post to.

Here's the relevant bit of the email (reproduced here with permission):

I know you're not superstitious, and you've written more than once about the necessity of looking for scientific (or at least logical) explanations for things that might seem paranormal.  What I'm more curious about, though, is how you actually feel.  You've probably heard about objects that are haunted or cursed or bring devastating bad luck to their owners.  Sure, your rational brain might be certain that the idea of a cursed object is stupid, but would your emotions agree? 

Let me put it this way; let's say there was something that had a wide reputation for carrying a dangerous curse with it.  Multiple people had reported scary stuff associated with it.  Would you be willing to have it in your house?  Late at night, when you were alone in the house, wouldn't you experience at least a little bit of doubt that maybe you'd put yourself in danger?

So put my money where my mouth is, eh?  No armchair skepticism allowed.  Head into the attic of the haunted house at night and see if I can still talk so blithely about rationalism.

It's an interesting question, because all my life I've felt like I had two brains -- an emotional one and a logical one -- and they are not on speaking terms.  I've sometimes wondered if I went into science as a way of dealing with the fact that my emotions are constantly picking me up by the tail and swinging me around.  And I'll admit he has a point.  All the rational skepticism in the world doesn't make it any less scary when you're in the house alone and you hear what sounds like the creak of a footstep upstairs.

I asked him if he had any particular cursed object in mind -- that it sounded like he was thinking of something specific.  He admitted that this was spot-on.  "Have you heard of Rain Woman?" he asked.

I hadn't, so he told me the story, which I checked out, and it appears to be true -- at least the non-paranormal bits.

As far as the paranormal bits, I'll leave you to decide.

In 1996, a Ukrainian painter named Svetlana Telets was sitting in front of a blank canvas, and an image appeared in her mind of a pale-faced woman wearing a broad-brimmed dark hat, eyes closed, standing in the rain.  Telets found the image strangely compelling, and she began to sketch it out -- later telling a friend, "I felt like someone was controlling my hand as I drew."  She spent the next month refining and adding color, and the result was Rain Woman.

Telets displayed the piece in a local gallery, and it attracted a lot of (positive) attention, garnering several offers of purchase.  She sold the painting to the highest bidder -- only to have the purchaser request a return and refund shortly afterward.  It had triggered waking nightmares, they said, of a figure following them around, always a little out of view, and far enough away that details weren't easily visible.  The figure, they said, never let itself get close.

Immediately put me in mind of the mysterious old woman who follows Ruby Sunday around, in one of the best and most atmospheric Doctor Who episodes ever -- the shiver-inducing "73 Yards."

Telets bought the painting back, and sold it again -- only to have the same thing happen.  It went through multiple purchasers over the next few years, always with the same result.  One terrified temporary owner even offered to pay Telets an additional half of the purchase price to take it back, saying that ever since buying the painting he'd seen white eyes suddenly opening in ordinary objects, eyes that watched his every move.

Eyes no one else was able to see.

In 2008 the painting was purchased by musician Sergei Skachkov, and he kept it, although he reported that his wife made him put the piece into storage after repeatedly seeing a ghostly figure walking around their house at night.

The Russian Orthodox priest Father Vitaly Goloskevich, who knows Telets and several of the temporary owners of the painting, said he is in no doubt that there's something supernatural going on here.  "A person has a spirit and a soul," Father Goloskevich said.  "There are truly spiritual works of art, and there are soulful ones.  And the painting you are talking about represents just such soulful art.  And it doesn't come from God...  The artist puts into the work the mood in which he was at the time of his creation.  And it is not known who led Svetlana Telets at the moment she created Rain Woman."

So, my correspondent asked; would I be willing to purchase Rain Woman and hang it on the wall in my house?

My initial reaction was, "Of course!"  First, I think the painting is kind of cool.  Second, having something with such a strange reputation would be a great conversation starter when my wife and I have guests (being diehard introverts, not a frequent occurrence, but still).  I have a nice collection of beautifully-illustrated Tarot decks, an avocation which comes from the same impulse.

But that wasn't what my correspondent asked.  How would I feel about having the painting in my house -- especially if I was alone with it on a stormy night?  Would my breezy rationalism be quite so staunch then?

If I'm being entirely honest, probably not.  It's not that I think anything real and paranormal is going on with Rain Woman; I suspect the odd occurrences reported by purchasers come from a combination of superstitiousness and suggestibility.  Once one person has claimed the painting is haunted, it makes it more likely that others will experience the same sort of thing (or at least, that they'll attribute anything odd to the painting's evil effects).

But honestly, deep down I'm as suggestible as the next guy.  It's part of being human.  Our distant ancestors' brains evolved to interpret anything out of the ordinary as being potentially dangerous; the well-worn example is that if you're a proto-hominid on the African savanna, it's better to freak out over a rustle in the grass when it's only the wind than not to freak out if it turns out to be a hungry lion.

We're all weird amalgams of logic and emotion, aren't we?  I'm reminded of the probably-apocryphal story about the brilliant physicist Niels Bohr.  Bohr was being interviewed by a reporter shortly after he won the Nobel Prize, and the reporter noticed that in Bohr's office, over the door, there was a horseshoe nailed -- with the points upward, of course, to "catch the good luck."  The reporter said, "Professor Bohr, you are not going to tell me that a scientist of your caliber believes that horseshoes bring you good luck."

"Of course not," Bohr deadpanned back.  "But I'm told that horseshoes bring you good luck whether you believe in them or not."

So yeah.  I say I'd be thrilled to own Rain Woman, but truthfully, I'd probably be just as likely to have scary dreams about her as the other owners.  But that's the benefit of having a basically rational mindset, isn't it?  Okay, I'd be scared in the moment, but skepticism is a kind of barrier that stops you from racing too far down that path.

Maybe I'd see ghosts at night just like the other owners did, I dunno.  But what I'm pretty sure of is that the next morning, when the sun was out and the skies were clear, I'd be able to laugh about it -- and leave the painting hanging on the wall.

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Duplicating the crone

A pretty common belief in many different cultures is that inanimate objects can have, or can be imbued with, supernatural powers.

It's not like I haven't dealt with this topic before, here at Skeptophilia.  We've had posts about do-it-yourself voodoo dolls, a haunted wine cabinet, a cellphone that received texts from Satan, and a child's doll named "Robert" which shifts positions by itself, not to mention "giggling maniacally."

And that's just scratching the surface.  If you start asking people you'll find everything from the common and fairly innocuous belief in good luck charms (or in items that bring bad luck), all the way up to belief that there are objects that are cursed and/or inhabited by evil spirits capable of serious damage.

So far, nothing too unusual, although still examples of magical thinking that it'd be nice for the human race to jettison.  But just recently, there's been a technological twist added to all of this medieval superstition.

What if someone used a 3-D printer to make a perfect replica of a cursed object?

Of course, it opens up the question of "why would you want to?", but as we've seen over and over, asking that is not sufficient to dissuade people from doing something.

Brent Swancer, over at Mysterious Universe, tells us about some people who decided to copy a cursed object that's been nicknamed "the Crone of the Catskills." Here's how Swancer describes the object:

[The Crone is] a strange hand-carved statue supposedly found by some hikers stashed away and abandoned, quite possibly hidden, in a dim cave somewhere in the Catskill Mountains of New York.  The doll is creepy to say the least, with a length of filthy cord wrapped around its neck and rusty nails driven into its eyes, and it seems like the sort of thing most people would cringe at and leave lying where it was, but in this case the hikers took it home with them.

According to Swancer, the unnamed hikers lived to regret bringing it back with them, as immediately bad stuff began to happen, like bumps, thuds, and bangs, a feeling of being watched, and worst of all, "odd smells such as that of stagnant water or decay."

If you're thinking "what kind of idiot would find something like that and then bring it home?" it bears mention that I did something kind of similar a few years back.  My wife and I were hiking in the Finger Lakes National Forest not too far away from our home, and were a good ways off the beaten path, when I stepped over a log, and noticed that on the end of the log was...

... a Mardi Gras mask.

It was in perfect condition, and in fact looked like it had been placed there only moments before.  It was in October, the weather was cool, and we hadn't seen anyone else in the woods during our entire hike, so it's not like this was exactly a well-traveled part of the National Forest. So it was pretty bizarre, to put it mildly.

I said, "Hey, Carol, come take a look at this."

I picked up the mask, and put it over my face.  She regarded me with a raised eyebrow and said, "You do realize that if you were a character in one of your own novels, you'd be about to die right now?"

Undaunted, I brought it home, and hung it on the wall in my office. I did have a bit of a turn the next morning, when I walked into the room and found the mask in the middle of the floor.

Turned out the elastic loop had come loose.  So I reconnected it, and it's remained there quietly ever since.  No bumps, thuds, or bangs, and the only bad smells are when my dog decides to roll in Eau de Dead Squirrel and then comes to take a nap in my office.

Anyhow, all of this is just to say that if I'd found the Crone of the Catskills, I'd probably have taken it home, too.  The hikers who found her donated the Crone to the Traveling Museum of the Paranormal and Occult, and even afterwards it continued to do spooky stuff.  The Museum's owners, Dana Matthews and Greg Newkirk, report that after the Crone was obtained, furniture was found knocked over, there was the "smell of fetid pond water," and more than once they opened the place up in the morning to find small muddy footprints on the floor leading to and from the case the Crone occupied.

The Crone of the Catskills

So far, so good.  But the next thing that happened I have to admit I find a little baffling.  A pair of paranormal researchers, Karl Pfeiffer and Connor Randal, decided that it'd be a good idea to use a 3-D printer to make a replica of the Crone.

Havoc ensued.  The printer malfunctioned and a part of it "melted."  Other equipment broke down, or went missing entirely.  People in the room with the replica reported "a sense of dread" coming from the thing, and a "burning sensation" from touching it.

So apparently, the 3-D printer hadn't just copied the Crone's appearance, it had also copied its ghostly hanger-on.

Now, as a diehard skeptic, it's to be expected that I think this sounds a little silly.  But allow me to ask any true believers in the studio audience: how exactly could this work?

I mean, even if you accept that an object can be imbued with a "force" (whatever that means), isn't the usually accepted explanation that it's tied to the object itself?  If you made a copy of the object, you wouldn't expect a piece of the "force" to get knocked loose and attach itself to the replica.  Or at least, I wouldn't.  I didn't think that 3-D printers could make copies of ghosts, you know?

Which, honestly, is a good thing.  Just think of what would happen if you put a 3-D printer in a haunted house, and the ghosts got a hold of it and started duplicating themselves.  In short order, you'd have what paranormal researchers call "a shitload of ghosts."  It'd be a catastrophe, much like what happened in the Lost in Space episode "The Space Destructors," wherein Dr. Smith created an android who then began to create more androids, which was especially awful because the machine was programmed to make them look like Dr. Smith, or at least a reasonable facsimile thereof.

So it'd be unfortunate if the 3-D printer did make a copy of the evil spirit haunting the Crone of the Catskills.  That being said, if Pfeiffer and Randal have any extra copies of the Crone hanging around, I'd love to have one.  I've got a nice space on the shelf in my office where she could reside.  Also, if all she does is push furniture around and leave muddy footprints on the floor, my dog pretty much has that covered already.

I might even see if I can make a replica of my mysterious Mardi Gras mask, and we can do a swap.  I have to warn you, though, that the mask's antics are even less impressive than the Crone's.  "Falling on the floor once in four years" is really not that much of a superpower.

****************************************

Duplicating the crone

A pretty common belief in many different cultures is that inanimate objects can have, or can be imbued with, supernatural powers.

It's not like I haven't dealt with this topic before, here at Skeptophilia.  We've had posts about do-it-yourself voodoo dolls, a haunted wine cabinet, a cellphone that received texts from Satan, and a child's doll named "Robert" which shifts positions by itself, not to mention "giggling maniacally."

And that's just scratching the surface.  If you start asking people you'll find everything from the common and fairly innocuous belief in good luck charms (or in items that bring bad luck), all the way up to belief that there are objects that are cursed and/or inhabited by evil spirits capable of serious damage.

So far, nothing too unusual, although still examples of magical thinking that it'd be nice for the human race to jettison.  But just recently, there's been a technological twist added to all of this medieval superstition.

What if someone used a 3-D printer to make a perfect replica of a cursed object?

Of course, it opens up the question of "why would you want to?", but as we've seen over and over, asking that is not sufficient to dissuade people from doing something.

Brent Swancer, over at Mysterious Universe, tells us about some people who decided to copy a cursed object that's been nicknamed "the Crone of the Catskills."  Here's how Swancer describes the object:

[The Crone is] a strange hand-carved statue supposedly found by some hikers stashed away and abandoned, quite possibly hidden, in a dim cave somewhere in the Catskill Mountains of New York.  The doll is creepy to say the least, with a length of filthy cord wrapped around its neck and rusty nails driven into its eyes, and it seems like the sort of thing most people would cringe at and leave lying where it was, but in this case the hikers took it home with them.

According to Swancer, the unnamed hikers lived to regret bringing it back with them, as immediately bad stuff began to happen, like bumps, thuds, and bangs, a feeling of being watched, and worst of all, "odd smells such as that of stagnant water or decay."

If you're thinking "why the hell would they have brought it home?" it bears mention that I did something kind of similar a few years back.  My wife and I were hiking in the Finger Lakes National Forest not too far away from our home, and were a good ways off the beaten path, when I stepped over a log, and noticed that on the end of the log was...

... a Mardi Gras mask.

It was in perfect condition, and in fact looked like it had been placed there only moments before.  It was in October, the weather was cool, and we hadn't seen anyone else in the woods during our entire hike, so it's not like this was exactly a well-traveled part of the National Forest.  So it was pretty bizarre, to say the least.

I said, "Hey, Carol, come take a look at this."

I picked up the mask, and put it over my face.  She regarded me with a raised eyebrow and said, "You do realize that if you were a character in one of your own novels, you'd be about to die right now?"

Undaunted, I brought it home, and hung it on the wall in my office.  I did have a bit of a turn the next morning, when I walked into the room and found the mask in the middle of the floor.

Turned out the elastic loop had come loose.  So I reconnected it, and it's remained there quietly ever since.  No bumps, thuds, or bangs, and the only bad smells are when my dog decides to roll in Eau de Dead Squirrel and then comes to take a nap in my office.

Anyhow, all of this is just to say that if I'd found the Crone of the Catskills, I'd probably have taken it home, too.  The hikers who found her donated the Crone to the Traveling Museum of the Paranormal and Occult, and even afterwards it continued to do spooky stuff.  The Museum's owners, Dana Matthews and Greg Newkirk, report that after the Crone was obtained, furniture was found knocked over, there was the "smell of fetid pond water," and more than once they opened the place up in the morning to find small muddy footprints on the floor leading to and from the case the Crone occupied.

The Crone of the Catskills

So far, so good.  But the next thing that happened I have to admit I find a little baffling.  A pair of paranormal researchers, Karl Pfeiffer and Connor Randal, decided that it'd be a good idea to use a 3-D printer to make a replica of the Crone.

Havoc ensued.  The printer malfunctioned and a part of it "melted."  Other equipment broke down, or went missing entirely.  People in the room with the replica reported "a sense of dread" coming from the thing, and a "burning sensation" from touching it.

So apparently, the 3-D printer hadn't just copied the Crone's appearance, it had also copied its ghostly hanger-on.

Now, as a diehard skeptic, it's to be expected that I think this sounds a little silly.  But allow me to ask any true believers in the studio audience: how exactly could this work?

I mean, even if you accept that an object can be imbued with a "force" (whatever that means), isn't the usually accepted explanation that it's tied to the object itself?  If you made a copy of the object, you wouldn't expect a piece of the "force" to get knocked loose and attach itself to the replica.  Or at least, I wouldn't.  I didn't think that 3-D printers could make copies of ghosts, you know?

Which, honestly, is a good thing.  Just think of what would happen if you put a 3-D printer in a haunted house, and the ghosts got a hold of it and started duplicating themselves.  In short order, you'd have what paranormal researchers call "a shitload of ghosts."  It'd be a catastrophe, much like what happened in the Lost in Space episode "The Space Destructors," wherein Dr. Smith created an android who then began to create more androids, which was especially awful because the machine was programmed to make them look like Dr. Smith, or at least a reasonable facsimile thereof.

So it'd be unfortunate if the 3-D printer did make a copy of the evil spirit haunting the Crone of the Catskills.  That being said, if Pfeiffer and Randal have any extra copies of the Crone hanging around, I'd love to have one.  I've got a nice space on the shelf in my office where she could reside.  Also, if all she does is push furniture around and leave muddy footprints on the floor, my dog pretty much has that covered as well.

I might even see if I can make a replica of my mysterious Mardi Gras mask, and we can do a swap.  I have to warn you, though, that the mask's antics are even less impressive than the Crone's.  "Falling on the floor once in four years" is really not that much of a superpower.