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

I thought of something else about this image of Toni Glover posing on the pedestal. I mentioned her wide stance, her hands on her hips with her elbows out which widens her and how her feet were well-centered between the street and the pool. No crowding the edge for her. But, there is something else. Do you know what it is? It's staring right out at you. Study it. Take your time. See if you can guess what I'm referring to:

SHE'S LOOKING DOWN! She's looking down at the ground in front of her. That's not what she was doing on 11/22/63. Why is she doing that here? BECAUSE SHE'S SCARED TO BE UP THERE. She's uneasy about it, and she wants to keep her connection to the ground by looking at it, and she wants to know, constantly, where the treacherous edges of that pedestal are. She's worried about falling off, and she'll be relieved when it's over and she can get down. And here's betting that they had someone there to help her- get up and get down.  

Have you ever been to a swimming pool with a diving board where it didn't look too high from the ground looking up but when you got up on the board and looked down at the water, it seemed like quite a drop? Well, that's what this is like. I've been up on that pedestal, and I urge anyone who goes to Dealey Plaza to get up on it. It's pretty damn high. And she is no girl. She's older than her mother was in 1963, and her mother was too old to be up there.

So all that boisterous excitable acting-out that both mother and daughter do in Dorman (and they seem pretty wild) they could not be doing from atop the pedestal. 

They weren't acrobats. They couldn't be doing that unless they were on solid ground. They were.