Steven Kossor

It looks like Jeremy is quoting me saying "This can't be true, because..." but those are actually his words, not mine. My words were: The idea is that confusion, all resolved to the Zfilm as the “official record,” results in the confirmation of the lone nut solution to all mysteries, and that’s the value of the Zfilm to the plotters (and why I believe an official movie of the killing was a planned part of the operation). Even with all of its flaws, the Zfilm has been used to "show" what happened in Dallas, even to this day. At first the authorities only used frames from the movie (and even presented them out of order to have the intended effect), but even with the release of the motion picture, they apply it to the same purpose (knowing that the vast majority of people will seek comfort untroubled by conscience), ignoring the flaws as if they didn't exist, or were irrelevant.

The idea is that confusion, all resolved to the Zfilm as the “official record,” results in the confirmation of the lone nut solution to all mysteries, and that’s the value of the Zfilm to the plotters (and why I believe an official movie of the killing was a planned part of the operation).

Thanks to David, we know more about what actually happened on 11/22/63 than through any other source, by far, and I am indebted to him for having shared so much of his work with me over the past 10 years or so. Jamey is positively correct in saying that it isn't necessary to make every film alteration an academy award winning special effects triumph in order for the Zfilm to be held out as the definitive truth about "what happened" -- even the Zfilm has its obvious flaws, but the authorities have conscientiously and successfully ignored or dismissed all of them because the vast majority of people at any time in history are content to be comfortable. It is left to the scientists to study things to make sense of them, especially when the laws of physics and the necessity for continuity in a sequence of time slices are violated, and that's the antithesis of being comfortable. I haven't dedicated nearly as much time to the study of the JFK assassination as many of the contributors to this forum (especially Mr. Lifton!) but I am thankful for the opportunity to lay out things as I understand them and receive a substantial amount of support for my understanding. I'll keep trying to get it all right, and "the truth will out" because the scientists among us will keep looking for it.

Lots of people reported that the limo stopped, yet none of the movies show it. Either all of the car stop witnesses are wrong, or all of the films were cut and frames showing the stop were removed from all of them before the film was given to its owners. Both options are improbable but they are mutually exclusive, so only one can be correct. Given the existence of the technology in close proximity of both time and space, the film altering option is not any more improbable than all of the car stop witnesses being mistaken. A photo captures a split second in time so Moorman’s photo cannot possibly be fixed to any time that includes the pivot of JFK’s head, that’s all. The pivot of his head is necessary geometrically to allow Hargis and the driver’s side taillight to be struck with substantial amounts of gore, so the Moorman photo has to have been taken before the head pivoted— milliseconds before, possibly. The Zfilm was used to show Connelly “what happened” in a private screening in his hospital room before he made any public comments. It has terrific value as an indoctrination tool, even with its flaws and obvious deficiencies, because it has been featured prominently as the “time clock” of the killing, by which all other accounts (including other movies) are to be compared. It wasn’t necessary to create a flawless false memory on film, just enough to support the fiction that the shots all came from above and behind, which really doesn’t require much time or Academy Award winning expertise with the right equipment that was close at hand. Once the decision was made to cut frames from the Zfilm, other films showing the same content had to be cut too, as improbable as it might be for that to have happened. At least that’s how I’ve stacked up the odds for the various options so far.

I'll check my sources asap.

We cannot be sure of whatever else may have happened to JFK's head in that last second in Dallas, except that it was struck by at least two bullets, that the 2nd strike happened while he was facing toward the Knoll, and that it caused a blow-out of the right rear of his skull that exhausted material back and to the left of his position in the limo. Brain tissue went elsewhere too, of course, but much more went out toward the left rear than went forward or toward the right rear. Don't forget, Mr. Kellerman was referred to as "Mr. Killerman" by JFK's secretary, suggesting that some people close to JFK thought he was complicit in JFK's murder. I wouldn't put much stock in anything he says. Either Kellerman or another SS man testified that JFK exclaimed "I'm hit" (even though his throat wound made verbalization impossible), right? Kellerman was described as "pushing buttons" in the front seat during the killing (the control panel to raise JFK's seat up as much as 10 inches to make him a better target was on the dashboard in front of him) and some witnesses said JFK "jumped up" during the killing. Maybe the throat shot was intended to be a head shot before JFK's seat lurched upward. There is definitely more to the JFK killing than meets the eye, given the provenance of the visual images that have come down to us.

Interesting thought but any testing would necessarily require altering the garment so I'm guessing it wouldn't be of interest to the family. Maybe someone on the Forum will have a way to approach the family that would not seem perverse.

With the well documented history of film and movie alteration, I don't think it's productive to base conclusions on those media. Witness testimony is notoriously unreliable, whether intentional or otherwise, so it can't be used in place of the principles of physics, including fluid dynamics, to understand what happened. The existing film/movie record is incomplete, so it makes more sense to me to use the physical evidence that has existed in the record as the basis for concluding what probably happened in DP. Hargis said he was struck with such force that he thought he himself had been wounded; it would not have appeared this way to him if the material had been falling from overhead under its own weight. The spray of brain tissue "out of the back seat" of the limo was described as a "wave" as it sparkled in the mid-day sun. The tiny pieces of Mercury (the means for the "exploding" round to disintegrate inside the skull) inside the wave undoubtedly enhanced its reflective features as it went backward. The gold bezel on JFK's missing watch would have Mercury particles on it, which is the explanation given for its disappearance from the evidence collection. Dino Brugioni describes a "halo" of reflective white mist rising above and around JFK's head in the version of the Zfilm he used to create CIA briefing boards on 11/22/63, but he doesn't report seeing the "wave" coming out from the back of the head that others described, so I suspect he viewed a film that had already been altered (probably at the Jamison plant in Dallas). The "Harper fragment" was purportedly found far in front of the limo's position at the time of the head shot, but it didn't fit in well with the other pieces of skull that were brought to Bethesda (including some reportedly recovered from the limo itself), and it accordingly vanished from the "historical" record as it was being constructed. There is a news camera footage of someone covering the driver's side taillight of the limo with a jacket as it sits in the ambulance bay at Parkland. That evidence supports the existence of "something that needed to be hidden" on that part of the limo and, given Hargis' proximity to that area when he reports being struck by material, it's most probably brain tissue from JFK's head that was localized in that area, since the jacket is placed squarely over the driver's side taillight area. My approach to understanding what happened in DP involves slicing time into thin slices, observing each slice separately and seeing how the picture evolves through the course of examining the slices. There should be a continuous, noncontradictory flow of information from beginning to end of the time period under study, so it becomes relatively easy to spot "missing slices" and/or misreported events through this process. It was called "Critical Incident Debriefing" when I was taught how to do it a few decades ago as part of a 3 day training program I participated in to learn how to approach the forensic analysis of child abuse incidents. I've found the process to be really helpful in lots of ways over the years.

I believe I've explained my understanding of the sequence of events in that "last second in Dallas" by now so I won't repeat myself; it's spelled out in previous posts on this thread and doesn't have anything to do with witnesses or reports. Witness accounts and reports can be wrong for nefarious or innocent reasons, but physics and fluid dynamics don't mislead. If there was a bullet lodged behind JFK's right ear, that part of his skull was pretty well mutilated before his official autopsy at Bethesda began at 8:00 pm on 11/22/63. The exploded appearance of JFK's head in the leaked autopsy photos suggests that some pretty frantic "smashing and bashing" of his head (and tearing open his trachea/esophagus as well) occurred between 1:30 pm CST in Dallas and 8:00 pm EST at Bethesda, and that any bullet, or substantial fragments of a bullet, that might have been lodged behind his right ear (or anywhere else in his head, or at the apex of his bruised right lung) had been manually removed by the time the leaked autopsy photos were taken. I'm not sure who deserves credit for taking and hiding the head or chest bullet evidence; it may be the same people who did the smashing and bashing, or the military doctors who "finished the job" of preparing JFK's body for autopsy between 6:30 pm and 8:00 pm, and then created the autopsy report and other necessary historical records and testimony about Kennedy's death.

We’ll see how well it stands up to scrutiny. Thanks for your encouragement!

Hickey appears to be reporting a "near miss" that only made the hair on the right side fly forward. I guess it's one more bullet sent flying toward Kennedy's head within that "last second in Dallas" in addition to the two (or three) that hit their target. Thompson appears to believe that there was a "late shot" into the back of the skull but there isn't a corresponding exit wound on JFK's face. I believe the evidence is strong to support two head wounds (one from the front that disintegrated inside JFK's head and didn't exit and one that allowed the super-pressurization of JFK's skull to be relieved before the scalp tore apart by knocking out a hole in the right rear through which the pressure exhausted). With the official call for citizens to turn in their photo and movie film immediately after the killing, and the limited number of cameras operating in DP that weren't confiscated on-site immediately (and film destroyed on-site), the amount of film tampering necessary to create the "official photographic/movie record" of the event was well within the capability of the Jamison company which was advertising itself as "The Hollywood of the Midwest" because they had all of the sophisticated film editing equipment necessary on-site at the time that they produced copies of the Z film in their Dallas office. Abe's gesture on camera in the Dallas TV station that night depicted JFK's head injury more like it looked in Bethesda than it looked at Parkland. His occupying that pedestal and taking that movie couldn't have been more fortuitous (especially after he got a $16M payout from the citizens of the USA before donating it to the 6th floor museum that has efficiently blocked access to it ever since).

If I recall the sequence correctly, there were two shots in rapid succession around Zfilm frame 313. I believe that the first shot came from the front and was an exploding round that entered JFK's skull in the hairline above the right eye. Mary snapped her picture right after that impact. Almost immediately after she took her picture, JFK's head had to have been spun (by the impact of the frontal shot above the right eye) to face toward the Knoll as a bullet fired from that area entered JFK's skull near his right ear and (with the back of his head now "pointing" toward the driver's side taillight), exited the right rear portion of his skull, exhausting blood and gore onto the driver's side taillight and onto Officer Hargis who was riding near the driver's side taillight at the time of the 2nd shot around Zfilm frame 313. Some frames of the Zfilm have undoubtedly been removed because the film does not show the pivoting of JFK's head that is necessary for the hole in the right rear to exhaust brainmatter in the direction it traveled around the time Zfilm frame 313 was exposed. If I recall correctly, it has been established that the limo was about 4 feet farther down Elm St. at the time of the 2nd headshot, so the removal of Zfilm frames (certainly those that captured the head pivot) can also be documented through that analysis. There is no other way to reconcile the exhausting of material from the right rear of JFK's head toward the driver's side taillight with the existing movie/photographic record.

Good news. I just watched David Mantik's presentation from a few weeks ago at the FoFF and his analysis of three head shots clearly comports with the analyses that have been published here by several others. The head shot sequence of forehead-temple-occiput matches the sequence several of us have discussed, and can accommodate the "head turn" evidence I focused on some time ago (the hole at the back of JFK's head must have been "pointing" toward the driver's side taillight in order for gore to have exited the hold and landed onto the driver's side taillight area and Officer Hargis). The timing of the temple shot had to have occurred after Moorman's photo was snapped (because JFK's head isn't turned toward the Knoll) so Moorman's photo must have occurred after the forehead shot. It appears that the skull bones in JFK's head may have been violently separated by a mercury containing forehead shot which also rapidly pivoted JFK's head to face toward the Knoll, that the enormous pressure inside his head was rapidly relieved almost immediately by the temple shot that blew out a hole in the back of the head (and prevented the rending of JFK's scalp that would certainly have occurred if the pressure inside his head hadn't been relieved so quickly), and that the final occiput shot happened a short time after the first two shots. The final shot (into the occiput) seems to have entered a relatively inert head (doing relatively little additional damage); notice about this third head shot was featured prominently in Thompson's book and Mantik's analysis appears to support at least that part of Thompson's work. I haven't been able to reconcile the appearance of a piece of scalp/hair apparently caught in motion above JFK's right shoulder in the Moorman photo unless JFK's scalp had been torn by the frontal shot, but it seems that such tearing would have been noted at Parkland. It's sobering to realize that a group of thoughtful, intelligent and conscientious thinkers/researchers could put these events together so many years later, and that government commissions and others could have labored so earnestly to prevent that work from progressing toward an honest understanding of what we lost, how we lost it, and who is responsible for it. Perhaps the hardest hit to take in all of this will be finally understanding why it was all taken from us. If the past is the best predictor of the future (it is), then more important revelations and better understanding are on the way, with certainty. Best wishes always!

Thanks so much John. I haven't written a book about the JFK assassination, but I've been studying it for 40 years and have read just about everyone else's books, and have had wonderful opportunities to converse with Doug Horne (I gave him the concept of "dissociation" and explained how it may account for Humes' "oral utterance" about the "surgery of the head area" during the autopsy and he credited me for this in his published presentation for the Future of Freedom Foundation in 2014, so that was appreciated). I digitized the audio cassettes that Doug retained from the ARRB testimony sessions (cleaned up the audio and made .mp3 recordings from them) and uploaded them to the JFK Lancer site. I created some slides for him to use in his presentations about the "Clifton tapes" from AF1 that documented mechanical editing artifacts to show that the recording was edited (as every other recording -- both audio and audio-visual -- in the JFK case has been, to a greater or lesser extent). Up until about 2015, Doug and I corresponded regularly about his observations and thoughts regarding the case. Doug was introduced to the case by David Lifton's writing and they corresponded regularly throughout the term of Doug's involvement with the ARRB and thereafter. Not sure why Doug has significantly curtailed his correspondence since 2015 but he expressed to me and others at that time, that there are things that will never be known about the JFK assassination, so he shifted his formidable research skills onto Pearl Harbor and the Space Race. His most recent presentation at the FoFF is based on his 2014 presentation, but the credit he gave then for my giving him the "dissociation" concept to explain Humes "oral utterance" was omitted for reasons that remain obscure. I've been talking regularly with David Lifton for the past 11 years to help him complete his sequel to Best Evidence. With 35 years of accumulated notes and documentation of evidence that has been "laying around in plain sight," he has acquired an exquisitely detailed understanding of "what was planned" for JFK in Dallas that I believe will help to clarify much of the water that has been muddied by partial investigative practices and deliberately deceptive practices that have been perpetrated for the past 50 years. If Lifton had disclosed his discoveries about body alteration between 1966 and 1981 to any of the "early researchers" the probability of his receiving all of the commendations from national publications for his scholarship in ferreting out the facts and presenting them in Best Evidence would drop to zero, so he kept his cards close to his chest until Best Evidence was published, and that certainly soured his relationship with the early research community. As both Doug and David have been fond of saying "the truth will out" and I add "as long as you don't stop looking for it." David has never stopped and I am hopeful that he finishes his work on the sequel to Best Evidence very soon. He's over 80 now, after all, and has acquired many potent detractors over the years, but many admirers too. The way I look at it, Lifton exposed some critical incontrovertible facts in Best Evidence (1981) about "what happened" on 11/22/63 and "did the best he could with what he had at the time" to connect the many dots that he uncovered in a conscientiously scientific way. Now, after 35 years spent continuing to uncover dots, I've been impressed by his willingness to amend his original understanding so that the new dots can be incorporated into a more thorough understanding of "what happened" that is probably closer to the truth, but more importantly, so he can summarize his evidence-backed understanding and describe "what was supposed to have happened, but didn't" in his sequel to Best Evidence, called Final Charade. To his credit, he hasn't "rushed into publication" with his updated information (which includes remarkable discoveries about "who Lee Oswald was, and what he was trying to do with his life" before it was hijacked by Allen Dulles and his friends). David has sought corroboration and confirmation of his findings and analysis to the extent he has been able to, and has conscientiously averted the "confirmation bias" that Gary Aguilar and others have identified as a potent barrier to understanding in this, or any other, scientific endeavor.

The JFK assassination wasn't "an accident of history" as it's been portrayed so conscientiously by the MSM to have been. It was a planned "regime change" that advanced the financial and political interests of those who followed in its wake. I think we can all agree on that much. It follows then, that the plan for JFK's assassination would be meticulously created. That it went off the rails and came within a hair's breadth of exposure is well documented in the seemingly incongruous details of the historical record, but the plan itself was certainly not so chaotic and disorganized. It would undoubtedly have included the most modern means of falsifying history that were available at the time, so the levers of power could be operated as efficiently as possible, and that would certainly include a movie marketed as an indisputable "time clock" that would persuade any personal memory to conform to the official story about "what happened." During the autopsy, the doctors were straining to create a public statement about "what happened" and defended it until they died. They served their purpose in putting the plan for JFK's murder back on the rails so the levers of regime change could continue moving. If you haven't read about "the Indonesia connection" via Poulgrain's books, go there soon for important insights. There was far too much at stake for the Rockefeller, Dulles and other interests to let JFK continue to interfere with their plans (not just in Viet Nam), and the ready accessibility of sophisticated movie editing equipment within a couple miles of the killing site made Dallas the best possible place to turn the Kennedy switch off and manufacture a false history of how it was done. At least that's how I've been putting the pieces together, thanks in large part to the insights that have been published in this forum over the past 10 years or so.

I stood on the pedestal a few years ago and shot video myself. It was plainly obvious that, as a skilled cameraman, Zapruder was capable of tracking the limo in the center of the frame (panning down while panning to the right) and that the motion captured in the Z film shows no such panning (it actually looks alot like the camera was mounted on a tripod and just panned left-to-right without any downward motion), but that's an artifact of film editing. Don't forget, the Jamison installation in Dallas where the Zfilm was printed was advertising itself as "The Hollywood of the Midwest" or something along those lines in 1963, so all of the necessary equipment for professional film "special effects" editing was readily accessible to the plotters right there in Dallas. I don't doubt that there was some chicanery going on at NPIC as well, but the film didn't need to go to Hawkeye Works in Rochester to achieve all of the special effects needed to manufacture the official history of what happened in DP on 11/22/63.

So glad to have stimulated thought about "what really happened" in DP on 11/22/63. There is a good deal of evidence that remains "laying in plain sight" that will help clarify things, I'm sure. The idea of a movie being *intentionally* used to replace peoples' memories of events is one of the most startling realizations about the depth of deception that was an integral part of the assassination of JFK. The Z film was screened several times in John Connally's hospital room before he made any public comments about "what happened" and was used by the SS as a training tool as well. The fact that Zapruder's gesture on the night of the assassination as captured on a TV program interview matched the condition of JFK's head at Bethesda more than it matched the condition of his head at Parkland has always made me wonder about the provenance of the Z film and Zapruder's role in the pagent.

After reading a few reviews of Thompson's Last Second in Dallas, and carefully reading the book myaelf, my eternal question will be: “How did blood and gore exhaust from the right rear of JFK’s head onto the left rear (driver’s side) corner of the limo and onto officer Hargis who was riding slightly behind that position, unless the hole in the back of JFK’s head was “pointing” toward the left rear of the limo at the time he was shot in the head from the right front?” A corollary question is “Why doesn’t ANY picture or movie of JFK’s killing show him looking at the Grassy Knoll (“pointing” the right rear of his head toward the left rear of the limo) at the time of a head shot that MUST have come from that direction?” And finally: “If none of the pictures or movies of JFK’s killing contain images of his turned head that MUST have been present on any of the several films exposed that day, why is it considered “scientific” to cite any of those obviously imprecise (doctored, edited, etc) media in the process of explaining what happened? I’ll wait for my answer, but I won’t hold my breath. Steve

After reading a few reviews of Thompson's Last Second in Dallas, and carefully reading the book myself, my eternal question will be: “How did blood and gore exhaust from the right rear of JFK’s head onto the left rear (driver’s side) corner of the limo and onto officer Hargis who was riding slightly behind that position, unless the hole in the back of JFK’s head was “pointing” toward the left rear of the limo at the time he was shot in the head from the right front?” A corollary question is “Why doesn’t ANY picture or movie of JFK’s killing show him looking at the Grassy Knoll (“pointing” the right rear of his head toward the left rear of the limo) at the time of a head shot that MUST have come from that direction?” And finally: “If none of the pictures or movies of JFK’s killing contain images of his head turned toward the Knoll that MUST have been present on any of the several films exposed that day, why is it considered “scientific” to cite any of those obviously imprecise (doctored, edited, etc) media in the process of explaining what happened? I’ll wait for my answer, but I won’t hold my breath. Steve

Looking at something through a tube enhances understanding of the space being examined, but just that. It's a triumph if you're satisfied with that view and a contribution if you're not.

We shouldn't forget that Lifton's observations about body and film alteration predate Horne's by more than 20 years, that Lifton introduced Horne to the alteration evidence before he became associated with the ARRB, and that Lifton conferred regularly with Horne throughout the ARRB proceedings to share information and insights. I've met both men and shared ideas with them over several years, and their contributions are undoubtedly of vital importance in understanding what happened and why, but each deserves credit for his contributions. I am dismayed that the conversation about the orientation of JFK's head (facing toward the knoll) in order to allow the exhausting of blood & brain tissue out of the hole in the right rear of his head has been obscured by praise for Thompson's book, which makes its own vital contributions (especially regarding the ways that the audio evidence was manipulated and suppressed over many years). The Zapruder film doesn't show the necessary orientation (by virtue of the laws of physics and especially fluid dynamics) of JFK's head at the time of the shot from the knoll, so it cannot possibly be an unaltered visual record of the "last seconds in Dallas" as Thompson and others claim it to be. The truth will out only if we don't stop looking for it.

It's turning out that Zapruder's film wasn't the only piece of visual evidence that was altered in a relatively short span of time in this case, right? The call went out through the media at the time, calling all citizens to deliver their movies and other media to the Dallas PD so they could be used for the investigation into JFK's murder and lots of people complied. The Zapruder film itself was processed at "the Hollywood of the Midwest" (Jamison's) in Dallas which had state-of-the-art film production/editing facilities on-site there. In Zapruder's interview on TV on the afternoon/evening of the 22nd, he uses a motion to depict JFK's head injury that matches the appearance of his head in Bethesda (the right side blown open), but not as it appeared at Parkland (a hole at the right rear with the right side seemingly intact), but the Zapruder film we have now also matches the appearance of the head in Bethesda, not Parkland. All that we know now makes it harder to believe that Zapruder mounted that pedestal (and was allowed to remain there with a camera filming the motorcade) by accident. I climbed up there myself a few years ago and recorded cars coming down Elm Street and, unless you pan down while panning to the right, you lose the cars (as Zapruder nearly did), and since he wasn't a bad cameraman in other films he made, it's really hard to believe he almost lost the car at the bottom of the frame while filming. Not showing the wheels would make it much easier to conceal a car stop, after all....

In Last Second in Dallas, Thompson gives a startling history of how the audio recordings currently available as "DPD police radio recordings" were composites created from the original media (that no longer exist), leaving several recordings and transcripts of varying integrity behind. Suffice it to say that there is currently no recording that could be called "the soundtrack of the Zapruder film," although enhanced versions have reportedly been created that align with the apparent gunshot visuals that exist on the extant version of the Zapruder film (which itself may not look exactly as it did in Dallas at 12:40 pm on 11/22/63). The short version for me is that Thompson's attributing the rapid and substantial forward motion of JFK's head in frames around 320 to a gunshot wound from the rear that exited the front of JFK's head is not compatible with the presence of hair/scalp on JFK's right shoulder in the Moorman photograph (which coincides with Z frame 315), and doesn't account for the "pristeen" condition of JFK's face at Parkland, nor does it account for evidence of an inshoot above the right eye near the hairline (which could account for the hair/scalp on JFK's shoulder in the Moorman photo). A shot from the rear would explain the spray of blood/brain onto the front of the limo (as far away as the hood ornament) and the cracked windshield & chrome bezel, but so would a shot striking only John Connally, or an excised series of frames from the Zfilm which appears with ever increasing certainty to have occurred. So maybe there were actually three shots in that "last second" in Dallas - the first as a frangible round from the front right exploding inside JFK's head (followed almost immediately by the exposure of Moorman's polaroid film to the scene), the second from the right side (after JFK's head was turned sufficiently to the right by the first shot in order to point the right rear of his head toward the driver's side tail light & officer Hargis where the pressurized contents of the skull would be expelled by the 2nd shot), and the third shot from the right rear ("above and behind" but not necessarily from the TSBD) to spray the front of the car with blood from John Connally, since there is no evidence for a 3rd head shot to JFK, but there is definitely evidence for two. It's important to account for all of the bits and pieces of evidence in this case and one way to do that (and avoid contamination by the "confirmation bias" that all humans are subject to) is to section the event into very "thin" time slices and examine what happened in each of them, and reconstruct the "whole" event from the slices. The holes in the thin slices are more easily recognizable (when events in the preceding and succeeding slices have information that bear no connection to the middle slice). Hope this helps!

Finished reading Thompson's Last Second in Dallas. Lots of information focused on the DPD recordings and how the recordings available today came into existence (they are composites) and needed to be subjected to extremely rigorous analysis by exceptionally skilled professionals in order to be useful as evidence. Thompson's book provides a wealth of information about those who have used the recordings to reveal the truth -- and documents the apparently intentional, nefarious efforts of some "eminent" authorities to conceal it. But the question looming for me is: where was the microphone that was traveling through DP at about 11 mph that recorded the gunshot sounds on DPD channel 1? Unless the Z film (and other visual records) were altered to conceal it, the only possible microphones tuned to DPD channel 1 that were moving with the motorcade in any existing visual record were those in the Kennedy limo itself, or in the Queen Mary following right behind. The sound of the motorcycle up near the Trade Mart (and other sounds as well) apparently may have been overdubbed when the existing recordings were created, based on hum analysis and other clues. The evidence of film alteration that has become increasingly apparent over the last few years, and evidence of significant fraud in the medical evidence that has been similarly well-documented over the years, was not acknowledged in his final contribution to the body of JFK assassination research.

I just searched for and found the phrase "Check it" in the DPD Channel 1 audio recording but I was not able to detect any sound or apparent fingerprint of a gunshot within 3-4 secords of that phrase in the recording I listened to. According to Thompson's Last Second in Dallas, the first shot occurred about 3 seconds after that phrase appears on the recording. Either my audio equipment isn't as sophisticated as I wish it was, or the fidelity of the audio recording I have of the DPD Channel 1 isn't high enough. In any case, I'll keep looking and listening as this process continues. Best wishes to all!