Jerome Corsi

Chris, this is the argument Tosh Plumlee makes. I'm inclined to agree.

The book needs a description key to download Thanks Jerome Corsi jeromecorsi6554@gmail.com

Robin Unger, Good suggestion. Max is not a member of this forum. If anyone has contact information, I would appreciate sharing. My real point of interest is to find "doorman" pre-shooting and Lovelady "post-shooting" in one color film -- your work, Robin, confirms the GIF close-up cropped view of the TSBD pre-shooting is from the Hughes film. This permits us to use the TSBD as a common element to "standardize" colors between the two sequence and adjust all other colors in the frame accordingly -- more scientific form of colorization -- that would give us a color comparison based on spectrographic analysis of whether the color of "doorman's" shirt in the pre-shooting sequence is the same color as Lovelady's in the post-shooting sequence. As to the open shirt question. Again, having pre-shooting "doorman" and "post-shooting" Lovelady in one film should allow us to get a more precise handle on the time interval between when we see "Doorman" in the Hughes film pre-shooting and when we see Lovelady in the "post-shooting" in front of the TSBD. There are enough pictures of "Doorman" to estimate fairly accurately how open the shirt was. Then there are enough photos of Lovelady post-shooting to get different angles and views on how open the Lovelady shirt was post-shooting. With that information in hand we can ask why Lovelady buttoned his shirt in the "x-minute" interval, especially with the post-excitement on the bottom of the TSBS post-shooting. If the time interval were hours, then there could be many reasons to button the shirt. If the time interval were a few minutes and those few minutes encompassed the post-shooting, why would anyone worry about buttoning a shirt? Jerome Corsi

Robin Unger I have read many of your disagreements with Cinque, including the one you reference above. My comments are not directed at where Lovelady said he was standing. I'm still working on the colors. What I want to stay focused upon is this: If we could determine, for instance, that the color of the brick in the TSBD in the frames showing "doorman" prior to the shooting, were not statistically different (as determined by a spectrographic analysis) from the color of the brick in the TSBD from the frames in the Hughes film showing Lovelady after the shooting, could we assume sufficient color consistency to compare the spectrographic analysis of "doorman's" shirt to the spectrographic analysis of Lovelady's shirt at the end of the Hughes film to see if there is a statistically significant difference between the two shirts? Jerome Corsi

Robin Unger: My point on the color consistency is explained more precisely in the following paragraph, limiting the discussion to the Hughes film only. If we could determine, for instance, that the color of the brick in the TSBD in the frames showing "doorman" prior to the shooting, were not statistically different (as determined by a spectrographic analysis) from the color of the brick in the TSBD from the frames in the Hughes film showing Lovelady after the shooting, could we assume sufficient color consistency to compare the spectrographic analysis of "doorman's" shirt to the spectrographic analysis of Lovelady's shirt at the end of the Hughes film to see if there is a statistically significant difference between the two shirts? My other point, is this: Can we get a time estimate of how many minutes passed between the two segments. If it was only a few minutes, then we can task this: Why in the few minutes between the pre-shooting and post-shooting footage in the Hughes film, amidst the post-shooting excitement obviously occurring at the front of the TSBD, did Lovelady take the time to button his shirt? In the three frames above, that you posted at 10:15 pm today, if that is Lovelady seen again in the Hughes film, it is arguable he took a very wide open shirt to partially button it in this three-frame sequence, before buttoning it to the collar in the post-shooting footage of the Hughes film. Again, why would he do that? Jerry Corsi

Thanks, Robin The care you took to track this down is much appreciated. I am watching the National Geographic DVD now and see the close-up is taken from the Hughes film, as you correctly point out. hugheshouststlostbzoonfuew.gif Yes, the Hughes film is the source of the cropped close-up. Is this the best image available currently of TSBD door from the last frames Hughes took as the JFK limo turned onto Elm Street? Do you know if Max Holland archived anywhere the enhanced frames from his high-resolution copy of the Hughes film that he used in the National Geographic special? I know of no other film recording the JFK assassination that show "doorman" pre-shooting and Lovelady at the base of the stairs post-shooting. This is why I pressed to make sure the cropped close-up was in fact from the Hughes film. The frames at the end of the Hughes film clearly show Lovelady standing at the bottom of the TSBD stairs wearing the red checkered shirt Groden documented with Lovelady in 1976 for the HSCA (as shown in page 269 of Groden's book "JFK: Absolute Proof. Given that Hughes film captures in color the "doorman" before the shooting and Lovelady in his red checkered shirt after the shooting, has anyone compared the color of the two shirts to determine if they are identical? Can we assume color quality is consistent throughout the Hughes film, or is there any reason to suspect color captured in the pre-shooting footage would differ from color captured in the post-shooting footage? Finally, the undershirt of "doorman" is clearly visible and his shirt unbuttoned compared to Lovelady's buttoned shirt as seen in the post-shooting frames of the Hughes film. Can we get a precise estimate of the time lapse between the Hughes footage shooing "doorman" pre-shooting and Hughes footing showing Lovelady post-shooting. The interval has to have been reasonably short such that measured and reported in minutes (as opposed to quarter-hour, half-hour, or hour intervals, is the most precise. Why would Lovelady have buttoned his shirt after the shooting occurred? Again, I appreciate your patience and care in responding, as you did before. Jerry Corsi

Robert Mady I apologize the links did not work. The clip I want to identify can be seen in the post above that Robin Unger posted at 11:29 am today -- the first of the posts. It appeared here as well: in the Pat Speer post on 19 March 2013 at 12:12 AM I do not see that exact clip in the Hughes video online. Above, Robin Unger says Gerda Dunckel created the clip, but she is not currently listed as a member to this forum and I don't know how to reach her. Thanks Jerry Corsi

Robert Mady I apologize for the links not working. The video clip I'm interested in identifying is here http://educationforum.ipbhost.com/index.php?showtopic=20041&page=3 Also seen above as the first of the clips Robin Unger posted at 11:29 AM today. From what Robin posted, it looks like the clip I want to identify was created by Gerda Dunckel. I will send her a message and ask if she can identify the source of that clip. Thanks Jerry Corsi

Robin Unger Thanks for your response. I am a reporter and I'm not taking sides -- please don't assume I accept uncritically the Oswald Innocence project information. Please understand I am asking a technical question. The clip you show of the TSBD door as the limo passes in front of it, as seen here: http://www.jfkassassinationgallery.com/albums/userpics/10001/hugheshouststlostbzoonfuew.gif is not in the Hughes film, or more precisely, it is in no version of the Hughes film I can find posted on the Internet. The "complete" Hughes film postings stop just as the JFK limo is turning the corner onto Elm, as here: What you posted above from the Hughes film is similar to what you have as the enhanced Hughes GIF on your blog http://quaneeri2.blogspot.com.au/ That too stops before the JFK limo has turned the corner. Also, I am well aware of the sequence at the end of the Hughes film that shows Lovelady in the red checkered shirt standing at the bottom of the TSBD stairs after the shooting. I want to know where this clip came from: http://www.jfkassassinationgallery.com/albums/userpics/10001/hugheshouststlostbzoonfuew.gif That is my question. Thank you, Jerome Corsi

Robert The GIF Robin Unger posted of the Hughes film (I agree it is a fantastic gif) stops short of showing the JFK limo after the turn onto Elm, passing in front of the TSBD as seen here: http://www.jfkassassinationgallery.com/albums/userpics/10001/hugheshouststlostbzoonfuew.gif The sequence obviously exists, but I don't see it in the Hughes film. Thanks Jerry Corsi

Kathy Beckett -- thank you. It is helpful to read the second thread as well. I'm trying to find a copy of the Hughes film -- with this one claiming to be "complete" -- that shows the sequence supposedly from the Hughes film that was shown in the National Geographic DVD, "JFK: The Lost Bullet" I ordered the DVD and I will examine it. If someone has a Internet-posted copy of the Hughes film that shows Oswald/Lovelady in the TSBD doorway as the JFK limo turned onto Elm Street, I would appreciate the link to it. thanks Jerry Corsi

Robert Mady I will get the National Geographic DVD. Is there an Internet posted version of the Hughes film that shows that segment clearly? Thanks

Following Oswald Innocence postings on Facebook. Robin Unger posted a video clip here http://educationforum.ipbhost.com/index.php?showtopic=20041&page=3 The video clip appears to have the following URL: http://www.jfkassassinationgallery.com/albums/userpics/10001/hugheshouststlostbzoonfuew.gif This does not appear to be a clip from the Martin film. I have tried to mail a message to Robin Unger -- but so far no answer. I want to identify the original source of this clip to get copies of the Oswald/Lovelady figure in the TSBD doorway. Figure appears to look for the JFK limo turning onto Elm Street, popping in and out of the doorway. This appears to be a color visual recording to determine shirt color (whereas Altgen-6 requires computer colorization) Any info on this video clip would be most appreciated. Jerome Corsi WND.com Senior Staff Reporter - at jcorsi@wnd.com and 973-222-5287 cell phone Will monitor responses here. Thank you.

Dr. Corsi received a Ph.D. from Harvard University in Political Science in 1972. Dr. Corsi is currently a Senior Staff Reporter for World Net Daily, where he works as an investigative reporter. In 2004, Dr. Corsi co-authored the #1 New York Times bestseller, Unfit for Command – Swift Boat Veterans Speak Out Against John Kerry (Regnery Publishing Inc., 2004) with swift boat veteran John O’Neill. The success of Unfit for Command permitted Dr. Corsi to make a career change into full-time writing on politics and economics, two fields in which he has considerable expertise and experience. Since 2004, Dr. Corsi has written 6 New York Times Bestselling non-fiction books, including Unfit for Command. In August 2008, he published The Obama Nation: Leftist Politics and the Cult of Personality (New York: Simon and Schuster Threshold Editions), which was a #1 New York Times Bestseller for a month and remained on the NYT Bestseller list for 10 weeks. In March 2005, Dr. published Atomic Iran. How the Terrorist Regime Bought the Bomb and American Politicians (WND Books, an Imprint of Cumberland House Publishing, 2005). A paperback version of this book was published in 2006. In October 2005, Dr. Corsi published a book dealing with the politics of oil, entitled Black Gold Stranglehold: The Myth of Scarcity and the Politics of Oil (WND Books, an Imprint of Cumberland House Publishing, 2005), with co-author Craig R. Smith, CEO of Swiss America Trading Corporation. In May 2006, Dr. Corsi published Rebuilding America: A Prescription for Creating Strong Families, Building the Wealth of Working People, and Ending Welfare (WND/Cumberland), with co-author J. Kenneth Blackwell, who is running as the Republican gubernatorial candidate in Ohio’s 2006 November election. Since 2004, Dr. Corsi has published 6 New York Times Bestsellers, two of which were #1 on the New York Times Bestseller list. Prior Career Experience in Universities and Financial Services Marketing For 10 years after getting his Ph.D. at Harvard, Dr. Corsi taught in universities, the last being the University of Denver in 1981, and conducted university-based research under federally funded contracts. Dr Corsi is an expert on political violence and terrorism. In 1981, he received a Top Secret clearance from the Agency for International Development, where he assisted in providing anti-terrorism training to embassy personnel. For nearly 25 years beginning in 1981, Dr. Corsi developed worked with banks throughout the United States and around the world to develop financial services marketing companies to assist banks in establishing broker/dealers and insurance subsidiaries to provide financial planning products and services to their retail customers. In his financial services career, Dr. Corsi has developed three different third-party financial services marketing firms that each reached gross sales levels of $1 billion in annuities and equal volume in mutual funds. In 1999, he began developing Internet-based financial marketing firms, also adapted to work in conjunction with banks. In his 25-year financial services career, Dr. Corsi has been a noted financial services speaker and writer, publishing three books and numerous articles in professional financial services journals and magazines.