Notorious neocon Machiavelli [heh. —ed.] David Frum has some thoughts on Counterfeit News.

Perhaps you saw the images in your newspaper or on television:

“A Lebanese man counts U.S dollar bills received from Hizbollah members in a school in Bourj el-Barajneh, a southern suburb of Beirut, August 19, 2006. Hizbollah handed out bundles of cash on Friday to people whose homes were wrecked by Israeli bombing, consolidating the Iranian-backed group’s support among Lebanon’s Shiites and embarrassing the Beirut government. REUTERS/Eric Gaillard (LEBANON)”

This scene and dozens more like it flashed around the planet. Only one thing was missing—the thin wire security strip that runs from top to bottom of a genuine US$100 bill. The money Hezbollah was passing was counterfeit, as should have been evident to anybody who studied the photographs with due care.

Care was due because of Hezbollah’s history of counterfeiting: In June, 2004, the U.S. Department of the Treasury publicly cited Hezbollah as one of the planet’s leading forgers of U.S. currency.

But this knowledge was disregarded by the news organizations who queued up to publicize Hezbollah’s pseudo-philanthropy. The passing of counterfeit bills was detected not by the reporters and photographers on the spot, but by bloggers thousands of miles away: SnappedShots.com, MyPetJawa and Charles Johnson’s Little Green Footballs. These sites magnified photographs and showed them to currency experts and detected irregularity after irregularity in the bills. (Links to all the sites mentioned here can be found at frum.nationalreview.com)

Maybe it’s too much to expect journalists to be currency experts. But one does expect them to be able to detect a manipulated photograph, especially a crudely manipulated one. Yet it was again Charles Johnson—who is a professional musician by the way—and not a news editor, who caught Reuters distributing faked photographs by its now infamous Lebanese staff photographer, Adnan Hajj.

Hajj used Photoshop software to make fires in Lebanese cities look larger than they were and to transform photos of Israeli signal flares into apparent images of missiles in full flight. For this and other faked pictures, Hajj was fired and Reuters removed almost a thousand of his photographs from its archive.

But the scandal of Lebanese war coverage only begins with Hajj; it does not end there—nowhere close.