Oswald in the doorway: the blog of the Oswald Innocence Campaign, by Ralph Cinque

I tell you, this is one weird picture. We are supposed to believe that Billy Lovelady was sitting there, waiting to make his statement, when all of a sudden this herd of people came barreling towards him. It must have sounded like Sherman's Army marching across Georgia. 

So, what does he do? Does he get up and out of the way? No, he just sits there- like a lump on a log. Why? Because he's Billy Lovelady, and when Billy Lovelady gets settled, he stays settled. They could have been leading Jesus Christ by- with a cross over his shoulder- and Billy Lovelady would not have gotten up and out of the way. That's because he was Billy Lovelady: warehouse worker. 

Surely, they had to step over him or go around him, and especially Oswald and the big cop in front who were two astride. But hey: the inconvenience of others is not a concern of Billy Lovelady's. 

But, here's what I don't get: Why wasn't he looking at them? This guy he works with- filling orders for Dick and Jane books at the Book Depository- has suddenly become the most famous assassin in the history of assassins for murdering the President of the United States- and Billy Lovelady doesn't want to look at him? He's not interested? His mind is somewhere else? He's preoccupied? Deep in thought, is he? Or maybe he had begun the mourning process for Kennedy. 

And, what could have been producing that patch of black shadow over the right shoulder of the big cop in back, who is closest to us? Notice how it makes a perfect continuous arc with the black uniform of the big cop in front. Now, that's symmetry for you. That's perfection. You'd almost think that somebody did that on purpose. It is so perfect. It is so gentle on the eyes. It is downright soothing to see such geometric perfection. 

But, they did that. It was to create a backdrop for Lovelady's image. Without that patch of shadow there, there wouldn't be enough room for Lovelady. There wouldn't be enough space for him. That shadow is what accommodates him. It frames him. It defines him. It fits him in. But, where is it coming from? What object is casting that shadow? 

And what about the size differential between the men? That cop in back looks huge. He's not that far from Lovelady. He is essentially right there at him. But, Lovelady looks miniature compared to him. How much bigger is that cop in back than Lovelady? 3X bigger? He's more than twice as big; that's for sure.

And why is Lovelady so well illuminated? Where is the light coming from in the midst of all that blackness? Why wasn't he affected by the same shadow being cast on the big cop's arm?

That image of Lovelady is phony. He was dropped in there. He was placed in there. You can just see how they did it. There is no depth there. He is just plastered- two-dimensionally- into the black background. He isn't real. He's like a ghost. He is apart from everything and everyone in that picture. 

And if you dispute that, if you want to defend it, then find another image like it from the whole vast world of photography because I don't think you can. Have you ever seen anyone else who looks as much like he doesn't belong in a picture as this guy does?

 This is a crude and gross photographic forgery. It is crying, screaming out loud that it is fake, fake, fake! 

Stop the nonsense. Stop the mental gymnastics of defending this crap. This kind of crap- this photographic crap- only takes place in the JFK assassination. Nowhere else. And the time has come to stop accepting it; stop forgiving it; and stop making excuses for it. It is complete bull shit. Bull shit born of blood. 

Call a spade a spade. 

I am reminded of a line from Gone with the Wind which I just watched again recently for having read a biography of the beautiful Vivien Leigh. Rhett is talking to Scarlett, and he says:

"We're alike, you and I. We don't mince words. We call a thing what it is; by it's proper name."

Well, the proper word for this thing is: fake.