First, he says I should identify someone in the doorway who identified Oswald as Doorman, and I provided two: Lee Oswald and Billy Lovelady. Oswald did it when he told Captain Fritz that he was "out with Bill Shelley in front" and Lovelady did it when he drew an arrow to another figure in the Altgens photo to indicate himself. As I explained, this was an either/or situation. So, if he was Black Hole Man, then that left only Oswald to be Doorman.
Then, in response to my saying that only 3 out of 75 employees identified Doorman as Lovelady, bpunk makes the wild assertion that some were blocks away eating lunch or across town shopping.
It was a work day, wasn't it? And they got off work at 11:45 precisely so that they could be done with lunch by 12:30 so that they could watch the motorcade. But, it doesn't even matter. The identification of Doorman did not depend on the employee being in the doorway or even being in Dealey Plaza. It only depended on knowing Oswald and what he looked like and knowing Lovelady and what he looked like. I never met John Kennedy or Richard Nixon, but if you showed me a picture of a man who had to be one or the other, I'm pretty sure I could tell you who it was.
So, they could have asked most any employee of the TSBD, regardless of what that person was doing at 12:30 or where the person was located. They just had to know both Oswald and Lovelady to render an opinion.
But, it's important to realize that the testimonies regarding the identification of Doorman were pre-screened. They asked people whom they knew what they were going to say before they said it, and it's because they knew what they were going to say that they were selected to testify at all.
However, there was one exception: Billy Lovelady. I don't think Joseph Ball knew what Lovelady was going to say. In fact, I think Ball had a bad feeling about what Lovelady was going to say, and that's why he never asked him directly, "Who is this guy in the doorway?" Ball was afraid to do that. So, he cleverly just asked Lovelady to draw an arrow to himself- a non-verbal act. It was Ball's way of telling Lovelady: "Just tell me what you think. Don't say it out loud."
Mr. BALL - I have got a picture here, Commission Exhibit 369. Are you on that picture?
Mr. LOVELADY - Yes, sir.
Mr. BALL - Take a pen or pencil and mark an arrow where you are.
Mr. LOVELADY - Where I thought the shots are?
Mr. BALL - No; you in the picture.
Mr. LOVELADY - Oh, here (indicating).
Mr. BALL - Draw an arrow down to that; do it in the dark. You got an arrow in the dark and one in the white pointing toward you.
Was it the same figure to whom the arrow in the dark and the one in the white were pointed? The bloodied will say that that is implied, but in a case like this, with so much at stake, why not be direct? The physical evidence shows that each arrow points to a different figure.
But, when Ball got to Danny Arce, he was direct. He pointed to Doorman and asked Danny, "Who is this guy?"
Mr. BALL. Just 1 minute, I want to show you a picture. I show you Commission Exhibit No. 369. I show you this picture. See this man in this picture?
Mr. ARCE. Yeah.
Mr. BALL. Recognize him?
Mr. ARCE. Yes, that's Billy Lovelady.
Mr. BALL. Just to identify it clearly, the man on the steps---well, you see the man on the steps, do you not?
Mr. ARCE. Yes, sir.
Mr. BALL. He is a white man, isn't he?
Mr. ARCE. Yes, sir.
Mr. BALL. And you see his picture just above the picture of two colored people, is that correct; would you describe it like that?
Mr. ARCE. Yes, sir.
Mr. BALL. I am not going to mark this purposely because other witnesses have to see it.
Mr. ARCE. Yes.
Mr. BALL. Did you say that is Billy Lovelady?
Mr. ARCE. Yes, that is Billy Lovelady.
Mr. BALL. Now, there is only one face that is clearly shown within the entrance-way of the Texas School Book Depository Building, isn't there?
Mr. ARCE. Yes, sir.
Mr. BALL. And only one face of a person who is standing on the steps of the Depository Building entrance?
Mr. ARCE. Yeah.
Mr. BALL. And that one man you see there---
Mr. ARCE. Yes, that's Billy Lovelady.
So, why the hell didn't Ball do the exact same thing with Lovelady? Why'd he mess around with an arrow? And get this: IT WAS THE SAME FUCKING DAY, ABOUT AN HOUR APART!
Why did Ball treat these two guys so differently???????????????
It's because he knew what Arce was going to say, but he didn't know what Lovelady was going to say.
The bottom line is that carefully orchestrated testimonies at a show trial mean nothing. The fact is that they were not going to allow anyone to say that it was Oswald in the doorway, and that is plain as day. Anyone who says otherwise is both stupid and naive.
Then bpunk, being a big fan of the FBI, puts up FBI statements, which were not Lovelady talking but FBI agents making assertions about what Lovelady said. Big difference.
Then bpunk repeats his ridiculous contention that the arrows were piled on top of each other, and that what appears to be Frazier's arrow in the white is actually both Frazier's and Lovelady's arrows.
I will simply say that nobody, no researcher on either side of the debate, has ever made this claim besides bpunk. bpunk is a club of one. No researcher has ever come forward and endorsed bpunk's claim after he made it. Has Vincent Bugliosi? Has Gerald Posner? Has Max Holland? Has John McAdams? No. Nobody has. And obviously no researcher who espouses Oswald's innocence has. Yet, many OIC members have endorsed my claim of finding Lovelady's arrow, including our chairman, Jim Fetzer, including the great attorney Vincent Salandria, who sent me a congratulatory note about it.
And there is another difference too: bpunk's claim has no plausibility, zero. Why would someone pile his arrow on top of someone else's? Isn't the whole idea to distinguish the arrows? Wasn't the whole purpose of the activity to illuminate and not confuse?
bpunk's problem can be summed up in one word: blood- the blood of John Kennedy in which he is soaked and which is clouding his ability to think.
Then, bpunk repeats his nonsense about Bill Shelley being outside when Oswald left for home when the record clearly states that Shelley left the doorway immediately with Lovelady, went to the railroad tracks, looked around, and then returned to the back of the building and re-entered there. They were immediately assigned by Roy Truly to guard the freight elevator, and then they had to give the cops a tour of the 6th floor. So, there is NO CHANCE that Shelley was out in front when Oswald left for home.
And Shelley said so himself. He said that he saw Oswald inside about 11:50 and then he didn't see him again until they were both at the police station.
It's a very small entranceway. If Shelley had been milling around in front of it when Oswald came out, they both would have seen each other- for sure.
But, the bottom line is that bpunk just pulled the same crap from out his ass that he did years ago. I refuted it all then, but he plopped it down again. Why? Because he's got nothing else. He certainly doesn't have anything new. It was just a walk down Memory Lane, and unfortunately for him, he got the shit kicked out of him on the walk.
bpunk, you are bloodied. You are filthy, dirty, soaking bloodied. And, the JFK truth movement is barreling over you like a monster truck over an ant hill. Your stupid arguments are working no better in 2014 than they did in 2012. And, the sad thing for you is that not even your cronies endorse your stupid theory about the two arrows being piled together.
But then again, you don't really believe it yourself, do you. If you did, wouldn't it be a very big discovery? Wouldn't you write it up formally and send it around to important people? Wouldn't you try to get it recognized as evidence in the case? But, you haven't done that. You don't really believe it. Who would? Who would actually believe that Lovelady would obscure his arrow- hide it- amidst Frazier's? It would be embarrassing to propose such a ridiculous idea.
You're pathetic, Man. The only thing you succeed at doing is getting me to spend some of my valuable time refuting you. But, since a lot of people read this blog besides you, I don't consider it a waste. I write for them, not you. You can go to hell.
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