Sunday, May 21, 2017

This 1964 Bossa Nova song by Brazilian composer Marcos Valle is perhaps the second most widely recognized Bossa Nova tune after The Girl from Ipanema. Paul Popa did such an excellent job here accompanying me on guitar, the way he blended and harmonized. I tell you, he's a pro, and I'm just a hack. But, here it is: our version of an absolutely great song that makes you want to sing or dance or sway or do something. You gotta move.  It is, indeed, So Nice.   

https://www.youtube.com/watch?v=8m5M0yJfTX4&feature=youtu.be




The stupid bpunkster. Of all the arrests that police have made, he finds it necessary to refer to another political assassination in order to come up with one in which the suspect was not handcuffed, that of Arthur Bremer, the alleged shooter of George Wallace. 

First, note that there is widespread discussion about Bremer being another Manchurian candidate, MK-ULTRA assassin, like Sirhan Sirhan and Mark David Chapman. So again, we're not talking about something that falls within the normal course of police work, are we. Here's a page from American USSR which discusses Bremer from that perspective.

http://www.americanussr.com/american-ussr-george-wallace.htm

You know, people get subdued by police every day. On a yearly basis, who knows how many tens of thousands it is. So, why does the Punk need to resort to another political assassination? What does that prove? It's the opposite of what this jerk thinks it does. 

But, let's go ahead and make a comparison between the arrest of Arthur Bremer and that of "Jack Ruby". I'm all for it. We'll start with this image.



  First, note that the quality of the footage is EXTREMELY bad, even by 1972 standards. But look above and you'll see something you never see in the Dallas Police Garage: a frontal view of the shooter's face. In Dallas, they were very careful not to show that. The Garage Shooter very conveniently wore a hat, and he wore it low. Then we got back views and side views but absolutely no front views and not even any partially front views. Even though there were cameras shooting from every possible angle, nobody caught his face. So, that's the first thing. Then, notice how low Bremer is. He's on the ground there. He is not on his feet. He is either sitting or kneeling on the ground. He is off his feet. And that's a position that the Garage Shooter was NEVER put in. He remained on his feet all the time in that garage. He was scurried away on his feet. He was never put down on the ground like Arthur Bremer. 


Alright, so he's down on the ground, and the cops are really restraining him. From here, they put him in a police car. But, do you really think that they stood him and did that without cuffing him first? As I said, the film is of such poor quality that you can't visualize it, and there's little that you can visualize. But, it would be very strange if they stood him up from here without cuffing him.

Here's a cop with a choke-hold around Bremer. Do you really think that after that they released him to put him in a police car without cuffing him?


Hey, Punk! I know you're stupid, but try to get it into your head that it does you no good to refer to another orchestrated State shooting. If you get pulled over for smoking too much peyote, and you don't pass the sobriety test, even if you're perfectly docile and cooperative, if they arrest you, they are going to put you in cuffs. And if you pull a gun, getting handcuffed will be the least of your worries. I'm talking about the real world, not the world of political assassinations. Which is not to say that the assassinations aren't real, but the stories they tell of them are not. And frankly, I don't know of any exceptions to that: JFK, MLK, RFK, George Wallace (though he survived, permanently impaired) John Lennon, Ronald Reagan (though he survived and recovered fully). I should add Vince Foster to the list. I think I will. I just did. Consider it done. 

At least we got to see Arthur Bremer's face, which is more than we can say of Jack Ruby during his so-called commission of murder. And it's more than we can say of James Bookhout for the entire JFK assassination and for the rest of his long life. The only images we have of him are from school yearbooks- and they were all altered, every single one.   




This is as close as the garage shooter came to being put down on the ground, which is to say: he never was. He remained on his feet always. It is the ONLY time in the entire history of police work in which a violent offender was taken somewhere without first cuffing him. "Ruby" was never put down on the ground. People talk about it like it happened, but it never did. Instead, he remained on his feet, and they danced him out of there. And it is an outrageous thing. Didn't he just fatally shoot a man? Didn't he try to get off another shot and kill someone else? That's what Jim Leavelle claimed, that were it not for LC Graves locking the barrel of the revolver that "Ruby" would have killed him. So, a guy like that you don't put in handcuffs right away? You waltz him somewhere first, do you? You wait until you get him inside to handcuff him, do you? Why does anyone want to make excuses for this? This is utterly indefensible. And there is only one thing that explains it: the shooter wasn't Jack Ruby. 
There are a lot of idiots in the world, and some of them are criminal punks. Case in point:

A certain bpunked individual thinks he can claim to know that the Oswald-like figure, being allowed into the TSBD, was black. What's he going by? The color of his neck? That doesn't look like a natural color for anyone's skin. Look at the color of his hand. Look how different it is from his neck. So, the odds are very great that that charcoal-colored neck is bogus. Compare it to the color of the neck of the Bonnie Ray Williams figure. He was black. Bonnie Ray was black, and so was this other guy masquerading as him. This was supposed to be 15 minutes after the shooting, and Bonnie Ray Williams was definitely NOT out in front at that time. He said in his testimony that he and Jarman and Norman were detained by police when they came down the stairs from the 5th floor, and that "the police wouldn't let anyone go outside." So, that can't be him even though it's supposed to be. And it can't be Lovelady either because Lovelady left immediately with Shelley for the railroad tracks. And after looking around briefly, they returned to re-enter the building through the back door. And then they were in there for a long time, first guarding the freight elevator, by order of Roy Truly, and then taking police on a tour of the 6th floor. There is NO CHANCE that Lovelady was milling around out in front at the time this clip corresponds to. 

I repeat: The purpose of placing the Oswald-like figure into this phony clip was to provide contrast, a solid pattern in contrast to Lovelady's plaid shirt. 

As for Oswald's shirt, it really wasn't solid; it had a fine, grainy pattern. 

The contrast varied a lot among his pictures as to how much it showed. I wouldn't call that plaid because the lines aren't distinct enough. But, there was definitely variation there, and depending on the lighting, it showed a lot or a little. What we are seeing on Doorman's shirt is Oswald's fine pattern plus some light reflection and generalized distortion from the gross enlargement.

That is the same guy. You can see how much the faces resemble each other. You can see the same shirt, worn the same way, over the white t-shirt. That is Lee Harvey Oswald on both sides of the collage. The brasher contrast on Doorman is due to haze, distortion, and light refection. 

So, you lose again, Punk. You've yet to win. I always get the last word. Then, you move on to something else, but you get defeated at that too. You can't win. You can never win. That's because I'm right, and you're wrong. You are defending the indefensible. Lee Harvey Oswald was standing in the doorway when President Kennedy got shot. If you don't like it, you can always go commit some more interstate crime. But, I don't suggest you try it against me again. I really don't. 

Saturday, May 20, 2017

This is the mother of all Bossa Nova songs, the one that started the craze back in the 1960s. Written in 1962 by the incomparable Antonio Jobim from Rio De Janeiro, it is based on a real experience he had sitting in an outdoor cafe' every day and seeing this beautiful young woman walk by on her way to the beach. And the Girl from Ipanema has been identified. She is Helo Pinheiro, and she is still beautiful today at age 71. 
The Girl from Ipanema has become one of the most recorded songs in music history. It has always been a favorite of mine, and here, I sing it in both English (The Girl from Ipanema) and in Portuguese (Garota de Ipanema). Paul Popa does some classy improvising on guitar here, and my thanks to him. 

https://www.youtube.com/watch?v=L3n40bcxvOE&feature=youtu.be





It's been pointed out by a friend that the guy being allowed in at the beginning of this clip looks uncannily like Oswald.


I realize we are just seeing him from behind, but he seems about the right height, with a slender build, and wearing a shirt that reminds us of Oswald's. Of course, he is not Oswald, and nobody in this clip is who he is supposed to be: it's not Lovelady; it's not Williams; it's not Arce. The whole thing is fake, and they are all actors. The whole clip is an FBI creation. But, it is curious why they would write it this way. Who is that guy supposed to be being let in? So, it's a police checkpoint 15 minutes after the shooting. So, who would they let in? He's obviously not a fellow officer. He's not an FBI agent. They wouldn't be letting a reporter in. The only thing that comes to mind is: an employee. But, if he was an employee, we would know who he is. It's not like there was another employee there who was dressed like Oswald. 

Who he is is: nobody, because the whole thing is fake. So, don't even waste time trying to actually identify him. All we can do is wonder what they were thinking when they made this goofy thing. Why would they put an Oswald lookalike in it?

Well, let's consider: they put a Lovelady lookalike in it, even though Lovelady was definitely not there at the time. They put a Bonnie Ray Williams lookalike in it, even though he could not have been there at the time. And, they put a Danny Arce lookalike in it, and he couldn't be there either. They put an older guy in a fedora hat in it, and I presume in his case, that they were duplicating Fedora Man in the Altgens photo. They put an old woman in a scarf in it, and I don't know what made them do that. 

But, here's what I'm left with: Their purpose in making this was to defend the idea that Lovelady was the Doorway Man in the Altgens photo. So, they put an Oswald-like character into it, basically just to fuck with people's heads.  There is no legitimate story to explain that guy being let in. YOU NOTICE THAT HIS SHIRT LOOKS SOLID BROWN WHICH STANDS OUT IN CONTRAST TO "LOVELADY'S" PLAID. And the plaidness of "Lovelady's" shirt is the whole raison d'etre for making the clip. So, it's really just a way of highlighting Lovelady's plaid by offering something in contrast to it. And by making the guy look like Oswald, it's sending you the message that Oswald and Lovelady were dressed differently, that Lovelady wore plaid and Oswald didn't. 

In reality, Doorman's shirt does not look plaid. Plaid refers to horizontal and vertical lines crossing and forming boxes, and there is not a single box on Doorman's shirt.


The contrast there is not because the shirt is plaid. The light/dark contrast is due to light reflection and to haze and distortion from the gross photographic enlargement that it is. It's not plaid. It's not plaid. It's not plaid.

But, they thought they could get away with calling it plaid, so they set up that clip to send you the subliminal message that Oswald's shirt was not plaid but Lovelady's was. And that's why they put that Oswald lookalike in it.

Again, it is a phony clip. It isn't Lovelady. It isn't Williams. It isn't Arce. These may have been the first crisis actors.


Friday, May 19, 2017

We all know what time Oswald was brought to the Homicide Bureau. It was 2:00. We can even see it on the goofy "clock on a coat hanger" that they installed into the film just to sell us on 2:00.

OK, so we're sold. So, where was Jack Ruby at 2:00?

According to Morley and Windsor, Ruby was at the Carousel Club at 2:00. According to them, there is a phone record that proves that he called his sister Eileen in Chicago at 2:05 from the Carousel Club, and the call lasted for 8 minutes. And according to them, it is "verified." It's in the phone record of the phone company. 

While Ruby was on the phone with his sister, Alice Nichols called on another line, and at 2:15, he returned the call to Alice.

According to Ruby attorney Elmer Gertz, who wrote Moment of Madness, at 2:30, Jack went to Rita's Delicatessen and bought quite a few food items to take to his sister Eve.

At 2:37, Ruby reportedly called his friend Alexander Gruber in Los Angeles from the Carousel Club.

According to Larry Crafard, Ruby left the Carousel Club shortly after 3 and went to his sister Eve's house. According to her, he only stayed there 8 to 10 minutes. 

You can continue to follow his movements that afternoon:

http://www.kenrahn.com/JFK/Issues_and_evidence/Jack_Ruby/Timeline_of_Ruby.html  

But, at no point did he go to the Dallas Police Department that afternoon. Therefore, this must be a bogus image, that of a Ruby impostor.