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Feb. 17, 2023 - Jim Fetzer
01:09:09
The New JFK Show Special! The original Altgens 6 Negative Found!
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All right welcome to the new JFK Show number 281.
We have David Knight which we had uh quite a few years ago and that was actually one of our best shows.
We got a lot a lot of views on that.
So welcome to the show.
We got Larry Rivera, Jim Fetzer and myself Gary King and we're loaded for bear as far as I can understand.
Larry has a presentation for us and David Knight does as well.
You are now host, Larry.
Thank you.
Well, this is, I think, the most important day ever for research on the Alton Six photograph, Jim.
It's a big statement.
Yeah, and as I wrote in my book, you know, in fact, you know, I start the book, the first two pages are precisely, you know, about the Alton Six, And what we knew at the time.
However, at that time and until now, we had never actually seen the negative of the Alton 6.
And we're going to show it tonight.
And also some special overlays that I have prepared.
And just to give our audience a little feel about the Alton 6 photograph, which came out
The weekend of the assassination, all right, and was published in many newspapers the afternoon, the late afternoon of the assassination, especially on the East Coast, and in the early editions on the West Coast, as, you know, the time areas, you know, define.
So everybody that has always Shown, or opposed, the concept of Lee Oswald in the doorway have always, you know, referred to what happens in The Alternate Six as supposedly having gone out at 1 o'clock or 105 the afternoon of the assassination, Friday the 22nd of November 1963.
And the Dallas, you know, Morning News was very much involved in this.
But right now, I would like to welcome David to this group here, this conversation that we're going to have, and to tell us a little bit about that negative that surfaced this past November at the conference in Dallas.
And then from there, I'll start a presentation, and we can take it further from there.
All right.
Thank you, Larry.
I appreciate the introduction.
And again, I'm David Knight with Project JFK CSI Dallas.
And I want to come on the show here with Larry and Jim and Gary.
And explain how we came into a possession of a scan of the Alkan 6 photograph of the negative.
We had a conference down in Dallas.
It was the JFK Historical Group in association with Project JFK and JFK Conferences LLC.
And around dinner time, Gary Fannin, a fellow researcher, had came in and he was extremely excited about something that he had with him.
He pulls out an envelope with two little pieces of cardboard sandwiched together.
The negative is inside, and when he first shows it, of course, you know, I mean, it's a negative.
It's pretty small.
He's probably about six feet away from me, and I don't really see exactly what it is, but once he brings it closer and I put it up to the light, I knew exactly what he had.
It was the Alken 6 negative.
He had made a trade with a fellow researcher that owned the negative.
And he was bringing it down to show me, and I had my equipment there.
I was doing the audiovisual for the conference, and I said, hey, this is a perfect opportunity.
You're here, the negative's here, and my equipment's here.
And he goes, well, what would you like to do?
I said, I want to scan it in.
And he thought maybe just taking a photograph, you know, a photograph or, or just a flatbed scanner copy of it, which we're going to show tonight.
Uh, we, I, I took it as just the negative.
So you can see the sprocket holes and the numbers that are on the side of the negative.
And then my Epson scanner that I have actually scans negatives and it will autocorrect and it has ice technology built in.
So it really makes the negative.
In superb quality.
I mean, you can go into, I believe it's as high as 4,200 dpi.
Yeah, I was going to say, what about resolution there?
Yeah, 4,200 dpi, and we can run up to 32-bit of color, but this is a black and white photograph, so it runs in a 16-bit of color.
But once I had scanned it quite a few times, we have the best version of that negative that Larry's going to show tonight.
Oh, it's impressive.
It's impressive.
Yeah, go ahead.
Yeah, it's a piece of history that we now have where we can show, and I want to give out the credit to Gary Fannin for bringing this into the conference and into me directly, so that way we could have this to show.
And Gary, like I say, Gary's a great guy.
He's always got something that you least expect, and he's always got a lot of stuff in his archives.
I've seen quite a few artifacts over the years that just really makes you go, this guy, he keeps track of what he has and what he receives.
He's published a book.
He's published a book.
Yeah, and he's got a book and a video, and I think he's working on another book, or he already has the book out.
I'm kind of foggy on that, but yeah, if you haven't checked out Gary Fannin's book or his video, I will see if I can pull it up here, so that way we just give the guy credit for, you know, doing work that a lot of researchers work on, but sometimes they never get that book or that video out, so.
We are so indebted to Gary that we're able to present You know, something that in my mind has never been presented or streamed or anything, you know, even close to.
And the analysis that I'm going to show you guys is unprecedented because what we're doing here is we are marrying the overlay technology that we have already done on the man in the doorway and the backyard man and everything that is described in my book, The JFK Horseman.
And transferring that over to this that we're going to show you tonight, which is, you know, I'm so excited about this, you know.
So why don't I just take a hold of this?
Jim, you got anything to say or Gary?
Oh, I'm blown away.
I mean, you're going to have a scan that's even better than the original.
It's amazing.
I'm ecstatic.
Everyone needs to understand this is the single most important photograph related to the assassination of JFK in history.
This is it.
This is the holy grail, isn't it?
And what we're going to show, this is not a cropped version like what we've seen so many times in reproduction.
You can actually see the hand sticking out of, I believe it's Charles Brim there on the right side.
Exactly.
And the curvature of Elm Street.
So this is the uncropped version that you are going to see tonight.
Yeah.
So are we good here in film photography?
There you go.
You're good.
Okay, Jim, go ahead and do the introduction.
In film photography, contact sheets allow a photographer to view all the frames from a roll of film in print.
Contact sheets get their name from the way they're made, by placing negative strips directly onto a piece of photographic paper and making a print.
$64,000 question.
Was the negative that you will shortly see the same one that was used to make this contact print?
Now, this is from my book, okay, and before we look at the contact prints and the other images here,
Uh, and this is so important because it has to do with the timing, you know, the time frame, timeline that is required to get that, uh, you know, from camera, okay, to getting it out of the camera, fixing it, washing solution, then producing the negative, another 10 minutes, in order for you to begin to do contact prints.
So, Here, in this timeline, we're already talking about at least half an hour, okay?
And this is from the book.
I just thought it was interesting to bring it in here.
And these are the actual contact prints of Ike Alton's camera.
I mean, Paltry 7.
If this was a 12 Even, you know, a roll of only 12 images, we're still missing five.
Am I correct?
Yeah, sure.
Sure.
And seven is suspect as a fraud, by the way.
Well, just look at the upper corner there, Jim.
You know, it's completely chopped off here.
Right.
And as, you know, in the book, you know, the close-up of the front pilot car, you know, where Jesse Curry and Decker and the others were riding, you know, where you can see Decker turning around and looking at the assassination, all right?
Right.
And right here at the middle, right here, up here, is, which is known as Alton Sixth.
But it went from two, three, okay, okay, let me get back, two, three, four, five, six, And then you get eight, and this is seven.
Do we know why one is missing, Gary?
Like I said, and that's one of the anomalies that authors and people who have researched this have always questioned.
How come there's one missing, but I'm saying, okay, there's five missing.
This, of course, is not the original because it doesn't have the sprocket holes and all that.
You're asking us, is this contact you're showing there the same or derivative from the negative we're about to see?
And here it is.
Okay, this is what survives in the I've got better prints in the presentations I give than this one, Larry.
Well, this is the contact print, okay?
This is not the actual image.
This is the contact print, and what they do is, once the negative is out and they process the negative, they put it on On photographic paper, you know, with the glossy side up, and then they shoot light through it so that they can create strips of what's in the film, in the roll, without having to process all of them, you know, as they normally do.
And this is a way, I mean, contact prints are done all the time.
And the thing about this is that it would have taken time And what we need to do here is compare this with the negative that you're going to see here in a second.
And here it is.
This is the negative that David scanned in Dallas.
Now, we couldn't turn around and make a print out of this, couldn't we, David?
Well, you're going to see it in a second.
David, are you muted?
I can, yeah.
Yeah, this is the negative.
This is what Gary Fannin had given to me to scan.
And we're going to show here in a minute that the scan has been made into... This would be a negative, but we're going to make this into a positive print.
Right, right.
And we're going to look at how this whole process unfolded, okay?
And because the reason I need to bring this up first is This is a contact print that supposedly was original out of the camera.
They made the contact print there at the Dallas Morning News, and this is what supposedly went out on the wire.
I got real suspicions about this, Larry, right off the bat.
It just doesn't look right to me.
Well, you're gonna see in a second how all this, you know, combines.
Now, This is a 50% overlay that I did from the negative, okay, that David has provided with the contact print, okay, of the Alchon 6.
If you look how everything lines up here, the Arrow 6 at the top, Tri-X Pan Film, okay, this is 50-50, and this lines up perfectly.
It doesn't get any better than this.
And this is the animation of the overlay, all right?
Now, it gets better.
I'm sorry?
Are you telling me then that that was a contact print made from this negative?
Exactly.
And I am confirming that 100% right here at this moment.
Okay.
Very good.
Between the quality that Larry's showing on the contact compared to what we have is like night and day.
Right, right.
And they did it on purpose.
Thank you.
Exactly.
Yeah, to obfuscate details.
No, you see the anomalies, you know, they're not.
But, you know, the condition of the negative that we got our hands on in Dallas, I mean, we're talking about How many decades?
You know, almost six decades.
So, the condition of the negative that you're going to see now is, I would say, C or C-minus, David?
I would say probably a C. A solid C on the quality of the negative now, 60 years from when it was taken.
Okay.
So, the purpose of what I'm doing here is to authenticate the negative Okay, in relation to the contact print that has been out there.
And the reason that we're doing all this exercise is because the anomalies that we see in the Alton Six photograph come directly from this, you know?
You can match up the dog here in the bottom left corner.
Everything.
Perfect.
Exactly.
No, and the only thing that happened here, everybody see at the bottom here, the negative that we got our hands off, Actually, a little chunk here has been broken off.
Correct?
Here?
Yes.
Yeah.
So, but when you look at the points that I have used, okay, on the overlay, okay, as you can see down here, the arrow on the six, and up here, Tri-X Pan Film, when those were overlaid and
Confirmed and matched then the whole thing just fell into place without me having to do anything else Wonderful.
All right, so This is the negative.
Okay.
This is the Holy Grail of this whole thing You got that and when I do an invert Okay from this is David's uh, I mean Gary Gary Fanon's negative and I'm inverting it here Okay, so and as you can see
The width of the photograph, especially with Charles Brehm's hands extended here, and over here on the left, the anomalies that we're going to see now, which are so very important in confirming that it was altered.
And this is, for the first time, David, presenting the scan that you did from that negative.
Now, the first thing that came to mind were these scratches.
You want to tell us anything about that, Dave?
Well, yeah.
I mean, I do photographic restorations.
I also do handling of photographs and documents.
And this photograph, or this negative, Uh, this is the positive from the negative.
Exactly.
But this negative wasn't really, I mean, it was kept in plastic, but was it, was it handled correctly with, you know, archival gloves over the years?
That's right.
Obviously not because we see the, we see the imperfections in the negative that, you know, the emulsion has been, uh, either scratched or chipped away where we kind of see, I know Larry's got the, the deal, but if you look in front of the motorcycles and you see all those specks on the, on the high, on the street there, And also in front of the presidential limousine.
Those are basically pieces of the emulsion that has been chipped away over the years just because it wasn't properly stored.
Now today, obviously we don't have a lot of cameras that do negatives.
We do DSLR cameras or cell phones.
So you could look at a photograph that was taken with a newer camera today in 60 years and it's going to look in better condition because you're not dealing with, you know, an actual piece of A piece of negative, like what we have in the Alken 6 photograph.
Now, I wanted to bring your attention here to this.
And this happened when you were scanning.
And for some reason, it's in the negative right here.
It's like a hair something.
You noticed that, right?
Yeah, and I do want to point out that this was, I basically just air dusted, not with chemical, but just, you know, a camel hair brush just to get any, make it the best scan that I possibly could.
This was not washed or anything.
This was not... Right, oh yeah, it was completely impromptu.
I mean, what happened there, you know, absolutely, absolutely.
Now listen, but we're going to get deeper into that, okay?
Here's a version of the Alton 6, presumably also from that, but if you look here in the area—oops.
The hair's not there.
No, no, no, because this is a different one.
Yeah.
Charles Brehm's hands here, where there is an anomaly here, okay, and another one here in this area of The hardest is motorcycle.
Now, I'm going to go back.
This is our new scan here, and look at here and here.
How much you can see of the body and the hands, yeah.
Right.
But that's not really important in what we're going to talk about here in a second.
But the important thing is here.
This area, and we have been talking about this for a long time, probably years, years, five, six, seven, eight years.
The women from the Dallas Morning News who had cameras who were reporting, taking pictures, alright, and this is the area in question.
You know, either Maggie Brown or Ann Donaldson, one of the two, were handling the camera, and there was another woman here at the left, okay, and we're going to get into that in a second.
Now, this is, let me see, okay, this is Another version of it.
Okay, here's ours.
This is another version of it.
Obviously, before the negative got all scratched and manhandled, you know, so this probably dates back for a while.
This is one that I was telling you that has the anomaly here and here.
Now, let me go on here.
This is Dennis Camino's scan.
When Dennis passed this one around, we couldn't believe, you know, how detailed it was.
And this was, wow, maybe 2013 or something like that, 2012, you know, and it had so much definition, you know, and so I'm just sort of like giving you a history, but again, it's cropped here, you can't see the, both hands of Brehm, and to the left, also you cannot see all the, what's going on there with the women from the Dallas Morning News.
Now, Saturday Evening Post, 14 December 1963.
As you can see, the width of the photograph is correct, all right?
But at the top, it's been chopped off.
I don't know if it was, you know, because of limited space in the magazine.
I mean, that was a centerfold, I believe, you know, for that one.
And here, I believe I believe I have the magazine.
I do.
Yeah.
And this is this was scanned because you know, as you can see, I had to put it together, you know, because it cut right through the middle.
But the most important thing here is the left here, because this is what we're going to focus on here real quick.
As you can see, this area has been airbrushed.
So has this one here.
And And exactly the way I presented it in the book, okay?
These are the outlines of that area.
Now, you see this guy over here.
This is a fist.
He's pumping, you know?
And this is the background here.
This guy, you know, with his hat and everything.
But this woman here has a camera in hand, and it's been blotted out.
And for the same reason for this one over here.
And over the years, you know, I've been thinking about this, and I'm going, why would they do this?
You know, because there were other areas of the Alton Six where you see that just somebody, you know, just got erased.
It's obviously because they had a camera, all right?
And I'll show you a couple of, at least another example.
Anybody want to comment here on anything so far?
Well, I do think it's significant that they blacked out cameras, because then people would have wanted to see those photographs, and those photographs would have been telling.
I mean, Jack's already been shot in the back and shot in the throat, because we got the hole in the windshield, so I think it might have been very revealing about the throat shot, my best guess.
And that's exactly what one would surmise, you know, especially when you look at these women in the Z film, okay?
Those areas that I'm just showing you here that are blacked out here and here, you know, are these women here.
And you can see her, she's got something, you know, to her face.
This one you cannot see, but, you know, why would they erase all of her, you know?
And she's here, so obviously she's got something, you know, and she is recording, okay?
And when you compare both of them, okay?
Let me get this back up here.
When you compare both of them, you know, one, you know, in the same frame as the other, you can see here what's going on.
Now, oops, I wanted to show here.
Z1X1, North Curve Close-Up.
There she is, again.
Now, 161, as opposed to 255, what she's going to do is she's going to pan left until she's got LBJ straight in her sights on Z255, which is the alternate six photograph.
Now, 166.
Now Larry, haven't we presumed The row of spectators was from an earlier, when the pilot car went by, because they're not waving and cheering at Jack and Jackie as everyone else is elsewhere.
That's right.
But this is beyond that.
This is beyond that.
This is already when, you know, we're already into the final sequence there.
And the point here is that this woman here, I'm circling right here, she's got a camera.
And this is the one that has been... Well, if it was Lyndon, then it would show that he was ducking down.
Right, yeah, yeah!
Don't, don't, don't!
Okay, yeah, we're gonna get to that.
Okay, so again, she's here with a camera, okay?
And this is the left panel of that Saturday Evening Post.
Again, here, here, and here, alright?
And this is her line of sight that you were just talking about.
Right?
That red arrow is the line of sight, so she would have had Lyndon Johnson ducking in her sights at the moment of the Alton Six photograph.
Okay, now, I want to move on to this guy.
Let me just make the point that the bullet hole, the black hole at the center has been lightened.
It's been essentially whitened.
Well, we're going to examine that in detail in a minute.
Okay, because I'm going to go after this short presentation, I'm going to go straight to the scan.
Could we pause for a moment?
I've got to get a jacket.
My basement is very cold.
Can we just pause for a moment?
Okay, go ahead.
Okay, I'll pause it.
Yeah, what I was going to say is that this was one of the most photographed murders, in fact, the most photographed murder in history.
So I think they had a lot of cameras to obfuscate in this.
Well, that's why they had FBI agents at all the photo processing labs in Dallas for two weeks and they took any photographs related to Dealey Plaza and left a little card which you can see in Richard Trask's pictures of the pain.
Yeah, and well, I want to throw out something here real quick, too.
1963 was different than what we have today.
If you were, you know, a God-fearing American back in the 60s and they asked you, you know, we need your film or your photographs so that way we can get to the bottom of what happened to the president, they gave the stuff over willingly without any regard to the questions of if they were going to get it back.
If you did that today, You need a subpoena to come take my, you know, my photographs.
That's the difference between the innocence we had in 1963 to what we have today in 2023.
Yeah.
Orville Nix, the same thing.
Absolutely.
Absolutely.
He's probably at the top of the list, Gary.
Yeah.
He said there's a film or two missing when they brought it back, you know.
The camera was destroyed.
Yeah.
Larry, I'm looking at this and that face as though it was in the back.
Oh, that's gonna be Connolly.
No, no, no.
That's our friend Emory Roberts.
What the hell face is that?
That's so peculiar.
That's Emory Roberts.
Emory Roberts.
From the Queen Mary?
We can see another one behind him by the mirror.
The Archon 6 photograph.
Okay, the same Emery Roberts who removed Henry Dixtra from, you know... He was the black bastard!
He was the emergency on-site controller!
Not only that, Vince Palomaro has confirmed that at Parkland, he said to hell with Jeff Kaye, I'm going with LBJ because I'm now part of his clan, and from there he raised, you know, and he was promoted to LBJ's, I mean, David, you know, what do you know about this?
Well, I mean, what obviously I've learned in the history books, such as what other researchers have written, I think you've summed it up perfect.
I mean, you know, he... Go ahead, Larry.
No, no, no.
I mean, this is the guy that, you know, takes over at Parkland, you know, and you get this and the Alton Six Photo.
Yeah, Larry, can I ask you something real quick?
Yeah.
Behind the mirror, there's a big head.
It just looks almost, like, unnatural.
Oh, yeah, yeah, that's, uh... That's what we're talking about.
No, no, no, that's Dave Powers.
No, we're talking about this guy right here.
Yeah, I know, but I'm just wondering... That's Kellerman.
No, that's Dave... No, no, this is the Queen Mary, okay?
Oh, yes, okay, right, that's what... That's Dave Powers.
Right, right, very good, thank you.
We're explaining that he's the one...
He's the one that removed, you know, the Secret Service agent at Love Field, okay?
Dijkstra.
And then, you see the video of him, you know, raising his arms, saying, you know, what the hell's going on here?
Right?
There were two of them, actually, two of them.
You see Dykstra in the one, but the other guy was there, too, and upset equally.
And Ed Parkland, he completely abandoned the JFK detail and went straight with Johnson, with LBJ.
And from there, he was promoted to his, you know, head of the detail of Johnson there, you know, in the Secret Service.
Now, I want to draw your attention to this here.
This is on Main Street.
And you have exactly the same shadows, okay, because it is exactly the same angle that you see in the Alton Six in Daly Plaza, okay?
You see the shadows and everything.
And look at the windshield in the area here of Kellerman and Greer.
William Greer, the big traitor, and Kellerman.
You can see very clearly their faces.
Right, but we can't in the Yalchins, so why the hell not?
You tell me.
Okay, and behind is right here, the Queen Mary, and this guy is Henry Roberts.
And I'm gonna close, you know, give you a little close-up there.
Here he is.
And then you have this, which you just, you know, observe.
Yalchins, and I mean, What else would that be?
Okay.
He had a mic up to his face, I think, in the audience.
Well, that's the point of all this whole thing.
And here is an overlay that shows you exactly this whole thing here.
There you go.
Ann Marie Roberts.
Okay.
So let's move on to the audience five.
Okay.
And I want to draw your attention to the upper left corner here.
This gentleman.
Yeah.
Forget about what's going on over here.
And there he is.
And he's got the best seat in the house, Jim, Gary and Dave.
I don't know what or where you could better see the assassination of a president than from here.
Anybody want to comment on that?
Yeah, that's good.
The car's even allowed up there.
Above the window to the broom closet to the uranium mining company.
It's a great aerial view spot where he's, you know, If he had to figure out, I'm going to pick out a spot to watch the parade coming down the motorcade, he picked a perfect spot for it.
And you know something?
This guy, his attire and everything says to me that this guy was probably a janitor in the Dow Tech building.
I agree, and that's how he knew he could get out there.
Exactly!
And he obviously is African-American, okay?
But I want you to look at here.
I'm circling here my mouse here, okay?
And you can see somebody peering out of the window.
Right.
Right here.
Do you guys agree here?
It might be Nestor and Skater, or it might be George H.W.
Bush.
One of those guys!
Well, okay, so...
This is what…now, but that's not the reason that I'm presenting it here.
The reason I'm presenting it here is so you can see the obfuscation in the Authentics Photograph in this area of the fire escape, okay?
And this is what I'm talking about right here.
You guys see this?
Thanks to our good friend Dennis Camino.
First noticed it.
Down here is what Richard Hook, you know, Right.
And this is where he places the Bush peep.
But besides that, this is what's going on up here.
And at this moment, like Dennis said, and Weisberg even wrote about this, it seems like this guy has been Shocked or disturbed in some kind of manner here, where he's, you know, reacting to maybe, you know, gunshots.
Holding on, sitting down.
Yeah, yeah, okay.
So, but the point of all this is right here, okay?
That does not exist, gentlemen, except here, all right?
And when you raise the brightness a little bit, you can see even more You know, that that is artificial.
Now, this is a Cutler map, okay, that we have used, you know, for, you know, our blender, you know, and everything, you know.
And what the reason I'm bringing it up here is because Algen's, when he started taking his pictures, okay, Algen's 2, 3, and 4 are taken from here.
This corner, all right?
He's got one here, he's got one here, okay?
And then he walks all the way across to this position, okay?
Meanwhile, the motorcade is going around, slowly but surely, and all chance when he takes his photograph, he's right in the middle of the street, all right?
And we have confirmed that, you know, by 3D models and by just going there.
I went there and took a picture right there in the lane and from my phone and it lined up perfectly with what you see here.
Yeah, there's no way he could have took this photograph if he was standing on the curb in the grass.
He had to be actually standing in the street with the vehicle coming at him.
He looks like he's standing in the street.
That's right.
Agreed.
That's right.
So this, what you're seeing here, is the very first time that anybody has published or shown this in any type of venue or program or streaming or whatever that you're going to see later on on YouTube.
And this is what we're talking about here.
And I'm not even going to go into the windshield and the doorway, because that's a lot.
We can talk three hours about that.
I'm just going with, you know, the most obvious ones, okay?
Now, the Vice Presidential Secret Service funneled car, okay?
If you look here in the office six, right here in this area,
That door is open this guy if you look and I'm gonna show you you know the close-up because uh David scans are just really impressive when you go deep deep into that area you know where he's got it see it appears like he's got a gun and he's stepping out of the car and these guys are LBJ's follow-up car all right so and one of them opened the door the other one number five which was uh John Johns he stayed in DB Plaza this guy got out and then went back in
Okay.
Here is another version.
Okay.
And again, here, here, you see this here?
Right here, you see this anomaly here that you don't see in our brand new negative.
Okay.
And how about this?
The photo that we showed of the limo on Main Street that shows Kellerman and Greer in full view in sunshine, with the same angle of the sun, yet in Ultron 6, alright?
He's in complete darkness here, and so is Greer.
And I'm going to show you how the reason for this obfuscation is because Greer is turned around completely, looking at the President.
Okay, and I want to credit Roy Schaefer for pointing this one out to me because the envelope, they have these Secret Service envelopes that they, for identification, that they would have here on their lapel here, and that's exactly what you see here, and I'm gonna, when we examine the scan, the high-definition scan, I'm gonna point that out to you guys.
Roy is an unsung hero of JFK Research.
Oh, absolutely, absolutely.
He went there, and it's the same kind of camera, the first guy that went down in there and took We have a show about that.
So that's it there.
with the same bell and how and I still say that anybody really wants to study the Z film look at his blink rate study it doesn't go any further than that you know we have a show about that so that's it there and I want to go here hold on
All right.
This is what we wanted.
Screenshare.
Oh, baby.
All right.
You guys see this?
Yeah.
Matt, you have never, and David, This is impressive.
David, how did you get this type of definition here?
How did you get this?
Why don't you tell us a little bit about that?
Well, I tell you what, the number one thing of how you get good definition on something this old is have the proper equipment.
Sometimes the proper equipment costs hundreds of dollars, thousands of dollars.
I only, not sound like Hallmark, I only invest in the best.
Uh, but when, when I was scanning this, I, I scanned at a low resolution just to see, you know, would that be enough?
And then when I bumped this up into the highest resolution that I could scan in without altering, this is, there's no alterations to this.
I, I can go in and I can, I can color correct or, uh, uh, I can correct the, the scratches.
I can, I can, I can correct that, that hair looking piece on, uh, on Hill.
Look at the reaction of these kids here, man.
Look at this.
What do you think this kid has witnessed here, Jim?
Something going wrong.
Probably a bullet passing over his head.
How about this guy?
Beverly Brunson.
Holy smoke.
He's earned more than one shot passing over.
In my opinion, on doing photographic work, this is the best scan that, with the definition that we have, this is the best scan, even with the scratches, even with the emulsion scratches and chipped off, this is the best scan that we've got of this.
Absolutely.
How about this guy, Jim and Gary?
You know who this guy is?
Very curious.
That's a very curious, rather haunting image.
This is Arce!
This is Arce.
Daniel Arce.
Remember?
With the walkie-talkie in his face.
Yep.
Yep.
All right?
Richard did a lot of research on this guy.
And then, you know, where is LBJ?
Where was George?
How about this?
Do you want to see this here?
This right here is somebody that was removed who had a camera.
And he was removed and not even in the negative.
Well, that's what we're gonna go into next.
So this negative, while it may be the best scan we have, cannot be the original negative.
Correct.
So I'm not even going here because you guys know.
Oh boy.
But what I do want to point out is look at Billy Landis.
forehead has been lopped off here from the you know, and the obviously the other thing this is my pet project where Wesley Fraser was removed.
All right.
Thank you.
And obviously what we just did.
Okay, look at the look at the how the windshield goes in a straight line here and then all of a sudden.
Now, what else?
Oh, okay, Dennis Camino.
Okay, here, here.
Dennis, notice this.
Here, you see he's got the door open, but the faces of these guys appear to have been obfuscated.
Obfuscated, why?
Alright, now.
What else?
Go over to the left and zoom in on the women.
You want me to zoom in?
Go all the way to the left.
Here?
No, around Maggie Brown.
Oh, yeah, yeah, of course.
Absolutely.
Absolutely.
Yeah, right there.
Right there.
Yeah, yeah, yeah.
Hold it up to camera.
Okay.
There it is.
You can see their teeth.
Okay.
Wow.
Now, again, you know, this is the first time ever that this type of analysis has been conducted on the alternate six photograph and uh you know just a short you know opinion here of you know what what do you guys think about this well it's obvious that a lot of people are not aware of what's happened yet and there's a lot of people that have now now
uh david you know i you know i need you to tell me tell me about this well what i see in this This is what Jim and Gary were saying about I mean, the motorcycle officers and, I mean, Clint Hill had to see that JFK had already been hit.
And I know I use this in my presentation, not this particular scan because I didn't have it at the time, but with the pandemonium that's actually going on, you've got so many bystanders.
If you go through and you look at all these faces, A percentage of them knows that something has happened.
They've heard the shot by now.
Obviously, JFK's been hit.
You know, this would be the missed shot, the throat shot.
So you've got the sound of firecrackers is what's been stated.
That's what people are starting to notice.
To your point, exactly.
That's what they're reacting to at the top of Elm Street.
People don't really realize how important that was in the execution, of course, of course.
And we know when a bullet passes through the windshield, it creates the sound of a firecracker.
No, no, and just like to quote JFK, you know, when Pesci ferries in, you know, you get the distraction over here and you get the kill shot over here.
Right, yeah.
You know?
Yeah, there are firecrackers going on elsewhere in the plaza.
Yeah, there's all kind of diversionary Oh, there's at least six witnesses that talked, even Secret Service guys, you know.
How many did they hear?
Well, it started, that's the thing, when they start the commotion there at the beginning, and you got this crowd, you know, everybody hears a different thing.
Well, what's crucial about what we've established so far is that this, which were supposed to be the negative, is in fact the negative that was made out of the revised version of the original, which they had then printed and then created a new negative.
Now, how would they go about doing that?
My thesis on this, and I have expressed it in the book, is Jagger's Charles Stovall, okay, where You know, we know the connections.
We know that, and Gary Shaw talked about this last time when we were with him, you know, about the Reverend Jack Shaw, who was with Roscoe White when he was on his deathbed, you know, and one of his confessions was, and he told him that the hub, you know, the brain trust there of the assassination was there at Jaguar's Chow Stovall, which was within blocks of Dealey Plaza.
You know, and as you can see there on page 492 of Harry Livingston's book, you know, High Trees and Trees.
And is he more specific about who specifically was located there at the time?
No, no, just that, you know, anything, you know, regarding photography and operations would have been done there.
Right.
And that's what, you know, we surmise that happened with the negative, you know, went straight over there and they worked on it, sent it back to the Dallas Morning News in time to send it out Mid-late afternoon, maybe at four o'clock or something like that.
And then after that, Cronkite doesn't even show it until 6.30, you know.
And remember, Ralph did find where they'd created fake editions of newspapers that included the Alton so they could claim that it had appeared right away and therefore couldn't have been altered when in fact they were fake editions they'd made up afterwards.
Yeah, yeah.
Okay, yeah.
And we found that, what was that, in Michigan, some kind of... Yeah, yeah, the Palladium, yeah.
Okay, so, this is so important, you know, when I got my hands on that negative, you know, I just couldn't believe, because it was history.
Here's that anomaly there.
At first I thought it was a wallet chain.
It actually looks like a pubic hair.
Yeah, I know, yeah.
But you know, it's extraordinary that it got done, because if you were to see the circumstances, you know, we're like at the end of everything, you know.
How long had you already been working?
Like 10, 12 hours, David?
Yeah, when I originally saw it, I was probably nine hours in for the day, and then when I finally got a chance to scan it, I was probably a good 14 hours in working.
So, I mean, I didn't want to hold Gary up from being able to go and have some libations at the bar and the hotel, but I tell you what, once I saw it, and then I let you know that I was going to get you a copy of it, when we started picking this apart, That's right.
What they say in JFK, picking that shit out of pepper.
That's what we were doing with this.
And trying to see things that, you know, it's one thing if you take a photograph and do a scan, you're scanning that photograph.
Your resolution is going to be considerably less than going back to the negative and making a scan directly off the negative.
It's just, it's better quality, better resolution and more DPI.
That's right.
And that's why it's so important that we're able to present this here so that researchers or anybody who's interested, you know, in truth about the alternate six photograph.
And so it leads us to the, at least to open up the hypothesis that this was taken to Jagger's Charles Stovall.
It was enlarged, okay, it was worked on, or even an optical printer, okay, which would have been also helpful, you know, Well, Eric, I don't think there's anything really contractual.
I mean, it had to have been done that way.
It was the fastest, most effective way to do it, and they couldn't fart around.
They had to get this out, done right away.
Can you imagine the, I mean, anyway, I wanted to, you know, if I can, am I still sharing?
I am, right?
Yes, sure.
Yeah, okay.
Okay, so this is what I wanted to show you guys.
Okay, because it's been hotly debated recently.
Right?
And I thought I'd... There you go.
You know, that Grodin and Thompson want to insist that both the Zee film and the Alton's are authentic is just astounding to me.
That's boring.
Okay.
So, meanwhile, we're the ones doing the significant stuff.
Okay, I want to show you guys David's position here.
We've got the camera.
You're still on the Alkins scan, Larry.
You haven't shared anything else.
Thank you.
How about that?
There you go.
All right.
Let's check out Weldon.
This is Weldon.
Okay.
Weldon's position.
All right.
Let me go ahead and render this quickly.
Nope.
Just get this.
And, meanwhile, I want to talk about the weapon that we have talked about before in that show, a couple of years ago.
What was it?
Two years ago, at least, two or three years ago, on your presentation at ONLY, you know, on the weapon that we've almost... Uh-oh.
We got here a little bit of a problem.
Okay.
Yeah, I think that show that was on this show here was, I believe it was 237, so we're at 280-something now, so there's been 50-some shows since then.
Uh-huh, right.
So, we gotta open this with our other... Sorry, real quick, hold on.
Okay, I'm gonna stop the share.
Yeah.
So, What we're getting at here is that some people disbelieve.
And I'll just take it over here to the website.
Okay.
This is what I wanted to get to.
Okay, now I can share it now.
Right.
OK, you guys see this?
Yeah.
Yep.
OK.
Now, this is when Dave did the presentation on the AR-5, and all the specifications That brought this weapon to the top of those which would have been the ones that could have created the hole in the windshield and from there, you know, the front shot in JFK.
Alright, so some people think that this weapon would not have been able To reach or to have enough power to do that.
What do you say about that?
Well, I know I've heard several researchers and just general public say a .22 is not going to be able to reach the windshield, cause that type of damage, and go through a windshield and not ricochet off and end up in the throat of JFK.
And in a presentation that I gave on this, I basically did like a 3.0 version.
This would have been in Olney, Illinois.
I had done another presentation of it, and I had showed video of a 22 going through a windshield, going through the headrest, and causing a perfect hole, just like what took place in what was probably being shot through the windshield of the presidential limousine.
A mere 22!
A mere 22!
Yeah, and what they were showing was just strictly a standard .22 long rifle, which is what's on the left here that Larry's showing, but you've got the round that goes in the AR-5, which is a lot more powerful bullet, ballistic tip.
It's going to be able to do it even better than what a .22 long rifle, but both of them can do it.
And this whole thing comes from the The evidence that the windshield, the hole in the windshield was only a certain diameter, isn't that right?
Yeah, it was big enough just to put a number two pencil through and that was it.
Right, so anything, any bore, even 6.5 or anything over that would not have been a candidate, correct?
That is correct.
And are you suggesting the actual bullet that hit him in the neck was exploding tip?
No, not necessarily.
Not necessarily, but I will say that if you look in this photograph, do you see that little plastic ballistic tip on the top of the bullet on the right?
Right.
Yeah.
That can be removed, and I showed this to Larry in person.
As a matter of fact, I think I gave him one with the plastic removed.
That's the one!
Well, this one here has the plastic in the tip, but if you pull that little plug out, it's probably... I have my caliper here, I don't have the measurement exactly in front of me, but you could actually mercury tip that bullet if you wanted to make an exploding round.
Now, let me ask you this, David.
There's been a considerable debate.
Bob Livingston, world authority on the human brain, told me he believed that shot had fragmented, part had gone down in the right lung, part upward to rupture this very tough membrane over the cerebellum.
Now, there was cerebellar tissue observed by all the physicians at Parkland.
I mean, 10 of them give this report.
He said that would not have been possible as an effect of even Multiple near-simultaneous shots to the head, unless the Tentorium had already been ruptured.
In your opinion, is it possible that he could be right?
Do I think it's right?
Let me make sure I have this question correct.
Do I think that it's right that it was an exploding bullet, or that this round could have done that?
Do you think it's right that the bullet that hit Jack in the neck could have fragmented, part gone upward and part gone downward?
Yes, I do, and I'll tell you the reason why for that.
The AR-7 fires a .22 long rifle, and the AR-5 fires the cartridge that you see here on the right, the .22 Hornet.
Both of those cartridges can and usually do fragment.
If you want to talk about the most deadly round that you could get shot with that causes the most damage, it's a .22.
Whether it's a .22LR or a .22 Magnum or a .22 Hornet, Very careful.
And what tells me when I look at the autopsy photographs and I see the gaping neck wound, the reason why I feel that's like that, we went from a perfect hole with a cut through it just to put a trach tube in, but when we see the autopsy photo and the neck has been just Yeah, but David, that was done by Humes.
He called Bob Livingston, who's the world authority I'm citing here, and asked him, what would it look like if it had been a wound of accent?
And he altered the wound on this body, which isn't even that of JFK.
It appears to be the major, to make that big, gaping wound.
That was not what was observed at Parkland.
Right, and I agree with that.
What I'm saying, the reason, one theory, this is the theory that I have, one theory that I have of why the wound became larger, like you were just stating, the bullet ricocheting, breaking apart, and going down into the lung, they've got the body on Air Force One.
They've got to make sure before the autopsy they get any pieces of metal that is not accounted for.
And if you come across a fragment that's from a .22 long rifle or a .22 Hornet, it's like going on a fishing expedition down into the body to pull out pieces.
David, there was another stage in this.
They offloaded the body at Andrews in a body bag on the opposite side, put him in a chopper, took it to Walter Reed, where the best forensic pathologists removed those various bullet fragments.
I agree with that, yes.
And also there is a theory of the involvement of John Liggett in this whole thing, you know?
Yes.
With regard to the ear, yeah.
But see, that was from the other shot.
David now thinks there were three shots to the head, and that the one that entered the temple and blew out the harbor fragment in his brain was not the shot that created the distribution of metallic particles, which was a frangible bullet fired from, I believe, a Pergola.
That would have been the Israeli shooter who's You know, I think this is David's present position.
There were three shots to the head.
Yeah, I believe that you've definitely got a shot from the front into the throat.
I think you've got a shot going into the, and I know my camera's messed up, but the temple that blew out the back of the skull.
Right, and the harper fragment.
And the harper fragment, so you could have You could have three shots to the head.
David's got a third and that causes the distribution of metallic fragments you see in the x-ray and the blowout of the skull flap by the ear, which is where ligaments may have come in.
Don't forget that Dr. Mantic has also found evidence of the x-rays being Of course!
I made that point in this argument that it would have been easy to sub an old real JFK x-ray for the one that would have shown this damage from the bullet fragmenting.
And then Alan Solarian, for God's sake, who was a head of the FBI's Dramatic Response Team, he was a top shrink in the FBI, resists the simple suggestion they could have substituted the x-rays.
He says there's no evidence of any damage Are you kidding me?
I'm serious, I'm serious.
This is so embarrassing to me because I'm a huge fan of Alan Solari and I'm looking at a huge painting of Elm Street he did right here in my library.
Is this the guy that's been hanging out with Ralph?
Yeah.
Okay, okay.
Enough said, enough said.
You know, to synthesize everything here, the most important thing, obviously, the ALGEN6 photograph.
And, Gary, you have any thoughts here?
You've been so quiet there.
It's a new ballgame on the ALGEN6.
I think it is.
It's incredible how much detail.
I mean, you can see the people smile.
Who is horrified?
LBJ, completely not there.
There's so much to be, you know, A lot of stuff we knew already, but it's really crystal clear now.
Well, I think the whole point of this is that we had never seen this, and why has this been suppressed for so long is my question.
Well, I think the perfect answer to that is, is the more suppression of evidence, the truth is not going to come out.
But you have truth seekers like us, and like what's in the research community, and people that view this show and view shows like what I do, and they are looking for the truth.
We're gonna uncover what they don't want us to uncover, what they don't want us to find out.
This exercise On the Altron 6, you know, overlaying, you know, the negative with the contacts, you know.
This is so easy, you know, and to do and in the process to disprove, you know, the authenticity of the Altron 6 photograph, you know, which so many people say, oh yeah, it's authentic, you know.
And I'm not even getting into the man in the doorway here, you know, mind you guys, you know.
Right.
You don't even want to get in there, you know.
and the windshield, but the other extraneous anomalies that we see here, which are very obviously people who had cameras, and they had to obfuscate them because people would have said, okay, where is the film from that camera?
Where's the film from that one?
And that kind of thing. - And also, high microphones, people in control of the assassination and the Queen Mary.
So what's this guy's name again?
Do we owe all this credit to Oral Roberts?
I'm gonna, no, I'm gonna do a quick, I'm gonna do a quick, uh, actually, can I do a quick screen share here?
Give him a go.
Yeah.
All right, let me see.
Is this Gary what?
Oh, David, I'll give you the, yeah, I'll make you the, uh, the host.
Yeah.
Give me one second.
Very important.
In case you didn't notice, I've been wearing my Gary shirt for this guy the whole night.
Let's see here.
I'm having trouble making you host.
I don't know why.
Again, folks, this has been a historic night.
You have seen something that has never been presented before.
Okay, here we go.
Here we go.
There you go.
You're it.
All right, go ahead.
Okay, yeah, that's Gary.
You made me the host, Jim.
I did?
Oh, did I make it?
You made Gary the host.
My apology.
- It's okay. - That's okay.
All right.
You're the host now.
There you go.
Okay.
All right.
So let me just do a quick screen share here.
Let's see.
Okay.
I do want to say a personal thanks, a big thanks to Gary Fannin.
He has written a book.
Yes, sir.
The Innocence of Oswald, which was brought out in 2015.
50 Plus Years of Lies, Deception, Deceit, and the Murders of President John F. Kennedy, Officer J.D.
Tippett, which is also on a DVD.
And then the book that it looks like it just came out last year, JFK Marked for Death, Who Stood to Lose Had JFK Lived, along with Tim Brennan.
You can visit the website to JFKAssassination.com and find information on this contact for Gary.
But I want to say a big, huge shout out and a big thanks to No, David, and more importantly, for him to allow us, so generously, allow us to analyze.
Give me five minutes with that thing, you know?
you know, the attention here in the, and Larry's attention here in the show.
No, David, and more importantly, for him to allow us so generously, allow us to analyze.
I told him just, give me five minutes with that thing, you know, give me just five minutes.
Let me give you more than five minutes.
And I would like to say, I want to thank you guys for having me on again.
I wish I could have been on sooner.
There's a lot of new things I've been working on.
And I have been, I've started a show since the last time I was on, on YouTube and on Zoom, called the Journey Series, the Spotlight Series.
You guys can check that out on my website, along with Casey Quinlan and Brian Edwards, ProjectJFK.com.
I would like to let your audience know that we're going to have a conference in April.
Now, we're not doing it in Dallas this time.
We're actually going to go to Memphis, and we're going to be covering the topics of JFK, MLK, RFK.
I'm also going to be doing a presentation on Medgar Evers that I've been working on for about 10 years.
Well, it's due.
And this marks the 60th anniversary of his assassination by Beckwith that we're going to be discussing in Memphis.
So you can get the details on...
David, David, we'd love we'd love to feature you to preview or retrospect your presentation on Edgar Medvers.
OK, yeah, I'd be happy to come on.
I'd like to I'd like to present it in Memphis in April and then you guys can have me on.
It may be May and I want to do it.
Yeah, I would love to come on and do that with you guys.
But yeah, you can get the information at thejfkhistorical.com or you can just go to productjfk.com, click on the events tab, and it's going to be not only in person, but we also are going to have it live streamed on Zoom for Thursday.
It's going to be like a two-hour deal Thursday night with a couple speakers.
On Friday we're gonna go from like 9 in the morning until 3 in the afternoon.
We'll stop, go, the people at home won't be able to go with us to, just because of, you know, logistics, we can't, we're gonna go over and do like a 3 hour tour, which I am gonna try to record and then put up on our website after at the Lorraine Hotel, but then we'll be back on for 12 hours on Saturday.
Now, David, Gary's going to take us out, but hang on for just a minute after the show.
Absolutely.
One last thing is that a lot of progress is also, you know, like we have been talking about on the passport, Lee Oswald's passport.
All right.
And try to get that, pry that out, you know, from the hands of the FBI, you know, who we know took possession of it.
And we have the documents proving it, you know, to, you know.
We got, you know, who we're going to look into that and try to get that going.
You're already doing a great job on that one.
All right, Gary, take us out.
All right.
Yeah, fellas, it's been an honor and a privilege to have gentlemen like yourselves who's continuing the investigation of Jim Garrison.
For real?
Yeah.
All right, this has been JFK number 281.
All right, this has been JFK number 281.
We'll see you next week.
Thank you.
Yeah.
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