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Beverly Oliver


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Hey everyone.

I'll be speaking with Beverly Oliver in a few days. If anyone has any questions they would like me to ask, I'd be more than happy to.

Since this is my first thread, I'd also just like to say thanks to everyone who makes the Education Forum the great source of knowledge that it is!

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Guest Robert Morrow

Hey everyone.

I'll be speaking with Beverly Oliver in a few days. If anyone has any questions they would like me to ask, I'd be more than happy to.

Since this is my first thread, I'd also just like to say thanks to everyone who makes the Education Forum the great source of knowledge that it is!

Please ask her to show you the yellow paint that was on her shoes from the day of the JFK assassination. Supposedly this is from freshly painted yellow stripes on the curb on Elm Street. Apparently she stepped on fresh yellow paint. I think this is very important. Ask to see the shoes with the paint on there. If it is the same paint, then this would corroborate her being there - which I think she was.

We can see these painted stripes in the Zapruder Film.

Edited by Robert Morrow
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Ask here did she ever sit down with a sketch artist to draw a picture of the person who took her camera.

Also ask her what did her boyfriend think where the shots came from.

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Hey everyone.

I'll be speaking with Beverly Oliver in a few days. If anyone has any questions they would like me to ask, I'd be more than happy to.

Since this is my first thread, I'd also just like to say thanks to everyone who makes the Education Forum the great source of knowledge that it is!

Perhaps she deals with this in her book, but I think she should be asked something along the lines of

"Seeing as you knew Jack Ruby, and had a recollection of his hanging out with Lee Harvey Oswald, at what point did you realize your recollections were at odds with the conclusions of the Warren Commission, and what steps did you take when you came to this realization?

Did you, for example, write down all you could remember, and mail it to yourself, and never open the envelope?

Did you speak to a lawyer?

Did you make a notarized statement of any kind, that you have retained?

I know you were interviewed by some researchers in the early 70's. Were any of these interviews recorded, and, if so, would you agree that they should be transcribed and made available to those just beginning to study the case?"

Edited by Pat Speer
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Beverly may not be able to answer some of the following, but it cannot hurt to ask:

1. Her recollection of anything happening as the Presidential Limo was making the turn from Houston on to Elm St.

2. Location of the Limo when she heard the first shot.

3. Location of Mary Ann Moorman.

4. Location of photograper James Altgens.

5. How close was the SS Followup car to the Presidential Limo.

6. Did the Limo slow down or come to a complete stop.

7. Descriptions or identity of people she interacted with in the confiscation of her film.

8. How windy was it and what direction was the wind coming from during the shooting sequence.

9. Did she see indications of any bullets hitting the road or the ground.

10. Any information about links or contact between Oswald and Ruby.

Josh, I look forward to hearing how your interview goes, and thanks for posting the offer.

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  • 2 weeks later...

Gary Shaw (Coverup, 1976, p. 51) and Jim Marrs (Crossfire, 1989, p. 36), both of whom interviewed you said you used a “Yashica Super-8 camera”, John McAdams claims to have heard you say in 1993 you were using a “Yashica Super-8 camera”. However Yashica did not make Super-8 cameras till 1967, the Super-8 format was not introduced till 1965 and in 1994 you told the AARB you had ever said it was a Yashica Super-8 camera. So did McAdams lie and did Marrs and Shaw amazingly make the exact same error?

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Sorry for the delay everyone. I’ll be speaking with Mrs. Massegee tomorrow, and will have your answers posted promptly.

Nightmare in Dallas does indeed contain a chapter entitled “The Fake Ruby?”

We are told that Larry Howard received a phone call from a Ms. Reynolds, calling on the behalf of Rachel and Jake Glickman (all three had their names changed to protect their identities), who then approached Beverly Oliver for her help. When Oliver agreed, Howard told her all that he knew at that point:

On September 8, 1980, Rachel Glickman had received a press clipping regarding Johnny Roselli and his murder, along with a type-written note signed in code “Gene Dunbar” Jack Ruby, real name Jacob Rubenstein. The letter had no return address and had a postmark from Chicago.

The Glickmans had apparently been undercover information couriers for President Roosevelt between 1933 and 1945, and recognized the name Gene Dunbar as one of their fellow undercover agents. According to the next statement in the book, Rachel Glickman also knew Gene Dunbar as the man she had seen shoot Lee Harvey Oswald on television, yet somehow did not recognize the name Jack Ruby. The Glickmans then apparently utilized newspaper want-ads to get in contact with the individual who had mailed them the letter, and spoke with him on multiple occasions. He apparently could not recall the code he had used to sign the letter, but was able to go into “great detail” regarding where the three of them “used to hang out and eat lunch”. After “some time passed”, he contacted the Glickmans via phone, telling them he had remembered the code, and asked them to fly to Chicago along with “the key”. They were apparently astonished by his request to bring the key to the code, because as the author states, only “Dunbar” could have known about the key.

Upon meeting him in person (only Rachel went this first time), Rachel was taken aback by his appearance. As he would explain to her, he had undergone multiple plastic surgeries, as well as being subject to “brainwashing”, which is why he had difficulty remembering the code at first. Evidently Rachel was then able to identify a mole above his right temple that the man she knew as Gene Dunbar had in the same spot.

Their second meeting took place in Atlanta, and this time Jake accompanied Rachel. While waiting for Dunbar, Jake went to the restroom, at which time Dunbar arrived and began conversing with Rachel. Jake, upon viewing his wife conversing with the man, laid back and observed what was going on. After a few moments, Dunbar was able to pick Jake out of the crowd and greeted him warmly. The Glickmans were eventually impressed enough by Dunbar’s recollection of minuet details regarding their intelligence work to become convinced he was the man he claimed to be.

When they asked him about the Jack Ruby affair, he explained to them that another man who had cancer in the hospital passed away, and the media were then informed that it was in fact Ruby. Meanwhile, he was secreted away to the Dallas airport, where he was then flown to Mexico City by David Ferrie. Ferrie died six weeks later.

While at a hospital in Mexico, major steps were taken to change his appearance, including smashing his fingers to rid him of his fingerprints. He was then given a new identity under the name Thomas Kennedy.

Evidently the “brainwashing” did not work well enough, because Dunbar soon became sick of playing the character Thomas Kennedy, and contacted the Glickmans in hopes they could help him obtain his real birth certificate under the name Jacob Rubenstein.

Reynolds, the woman who contacted Larry Howard on behalf of the Glickmans, also believed there was something to the story, as her office had been broken into, and all of her files regarding Rachel Glickman had been stolen. Soon after, she received a threatening phone call telling her not to help the Glickmans in any way.

Howard had Beverly Oliver prepare a list of questions for the supposed Ruby, all of which were answered. Oliver’s book states the answers were inconclusive. Dunbar was unable to recall whom he had wired the money to through Western Union moments before shooting Oswald. However, when asked what the only present was that he had given Oliver that was gift-wrapped, he correctly responded “a green and white polka-dot dress.”

Quite the strange tale, eh? What I can't figure out is why go to all the trouble to keep Ruby alive, when it would be much easier and more safe for the conspirators to simply get rid of Ruby? In fact, "Thomas Kennedy" himself had the same question and no answer.

Edited by Josh Cron
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Ask here did she ever sit down with a sketch artist to draw a picture of the person who took her camera.

Also ask her what did her boyfriend think where the shots came from.

“No, I never did that. I’ve identified the man who took my camera, Regis Kennedy from photographs. I knew it was him, so I didn’t have any need for a sketch artist.”

Her boyfriend did not hear any of the shots.

"Seeing as you knew Jack Ruby, and had a recollection of his hanging out with Lee Harvey Oswald, at what point did you realize your recollections were at odds with the conclusions of the Warren Commission, and what steps did you take when you came to this realization?

Did you, for example, write down all you could remember, and mail it to yourself, and never open the envelope?

Did you speak to a lawyer?

Did you make a notarized statement of any kind, that you have retained?

I know you were interviewed by some researchers in the early 70's. Were any of these interviews recorded, and, if so, would you agree that they should be transcribed and made available to those just beginning to study the case?"

“Well I knew that day. Well, not that day – I stayed drugged for a couple days, but soon after anyways. Ya’know, I saw Jack shoot Oswald on television, and I knew what they were saying on TV wasn’t true. I didn’t know why they were saying it. But I knew what I saw down there in the plaza wasn’t what was being said.

“I didn’t want to do anything about it. I was only seventeen years old at the time, and I was terrified. I was just going to shut up and hope everything went away.”

“I was interviewed by Richard Sprague, Mary Ferrell and Penn Jones at Mary’s house, but it wasn’t recorded because it wasn’t really an interview per-say.”

1. Her recollection of anything happening as the Presidential Limo was making the turn from Houston on to Elm St.

2. Location of the Limo when she heard the first shot.

3. Location of Mary Ann Moorman.

4. Location of photograper James Altgens.

5. How close was the SS Followup car to the Presidential Limo.

6. Did the Limo slow down or come to a complete stop.

7. Descriptions or identity of people she interacted with in the confiscation of her film.

8. How windy was it and what direction was the wind coming from during the shooting sequence.

9. Did she see indications of any bullets hitting the road or the ground.

10. Any information about links or contact between Oswald and Ruby.

1. “Everything seemed normal right up until I heard the “bang-bang.. bang”.

2. “I heard what I thought were the poppers just after the President had made the turn onto Elm. The car behind him was still on Houston.”

3. “She was right on the curb. Right next to Jean Hill. I didn’t ever see her in the street.”

4. “No, I couldn’t tell you where he was.”

5. “I couldn’t really say. It was just a safe distance behind.”

6. “They were going pretty slow as it was. I’ve been asked this before, and I really can’t tell you if the car slowed down or stopped. I was just so shocked at everything I had just seen. I just couldn’t say for sure.”

7. “I’ve identified the man who took my camera, Regis Kennedy from photographs. I knew it was him… I couldn’t tell you much about the other man. I’ve never been able to identify him, and I don’t know if I even could to tell you the truth.”

8. “Oh, I really don’t know how windy it was at the time of the shots. It was quite windy earlier and I assume it was still gusting then, because you can see in the photos that are clothes are being blown by the wind… The wind was coming out of the south that day.”

9. “No, I didn’t see anything like that.”

10. She spoke of seeing Oswald around the club a few times before Ruby introduced the two of them. Twice that she was positive of. Once was when he was punched in the mouth by an employee of the Carousel Club three or four nights prior to their introduction. Ruby introduced him as “my friend Lee Oswald of the CIA” and she didn’t have any particular interest in him. She never heard anyone around the club discussing Oswald, and did not know the reason for him being at the club.

Gary Shaw (Coverup, 1976, p. 51) and Jim Marrs (Crossfire, 1989, p. 36), both of whom interviewed you said you used a “Yashica Super-8 camera”, John McAdams claims to have heard you say in 1993 you were using a “Yashica Super-8 camera”. However Yashica did not make Super-8 cameras till 1967, the Super-8 format was not introduced till 1965 and in 1994 you told the AARB you had ever said it was a Yashica Super-8 camera. So did McAdams lie and did Marrs and Shaw amazingly make the exact same error?

"I did tell them it was a Yashica, and I may have said it was a Super-8. I still believe it probably was a Super-8. I was given the camera by a friend who worked for Kodac, along with twelve magazines of film, and twelve envelopes with the address already marked on them so I could send the film in to be developed. He told me it was an experimental camera, and that I wouldn’t be able to have the film processed anywhere around, I’d have to send it to Rochester, New York. I’ve spoken to someone who worked for Yasicha, but he told me they didn’t keep very good records of when prototypes would have been available. The Super-8 was released to the public in 1965, so I certainly believe it’s possible the camera I was using was a Super-8."

Pat, here is Beverly’s description of the shooting sequence:

I couldn’t really say how long I was waiting for the President to arrive, but it wasn’t very long. The whole plaza was just filled with static electricity. You could feel it in the air, and it made the hairs on the back of your neck just stand right up. There’s just no way to properly explain it… I took my camera out and took footage of the nearby buildings and people to make sure it was working. You could tell the President was approaching from the roaring of the crowd as it got near. I began filming again just before the President’s car turned, and as it made the turn from Houston onto Elm I heard “bang-bang.. bang” a little to the right of where I was standing. I don’t know if they still have them, but I thought it was one of those little poppers that people throw and they explode. Like the size of a gumball. And I actually thought to myself, “Who in their right mind would throw one of those down here today?” Then as the limousine got a little past me I heard “ba-boom”, just deafeningly loud. And I saw the whole back of the President’s head just explode. It looked like someone threw a bucket of blood out the back of the car. And then I saw Jackie on the back of the car reaching out for what I thought at the time was a piece of the President’s skull. Then the car disappeared beneath the overpass… I did see Roscoe White on the grassy knoll. He was just to the right of the steps. I couldn’t tell where he was coming from. I assumed he was just over there to talk to people. I certainly recognized him, and we made eye contact and I’m sure he recognized me as well. He was used to seeing me in different hair colors, so I’m sure he didn’t have any trouble recognizing me… I couldn’t say whether the second set of sounds I heard was one shot and an echo, or two shots fired almost simultaneously. The sound seemed to originate just to my left, but I couldn’t say for certain where any of the shots came from… I heard what I thought were the poppers just after the president had made the turn onto Elm. The car behind him was still on Houston.

And in response to the Zapruder film:

“I certainly believe I saw the back of his head come off, and I believe the film does show what I saw – the back of his head exploding… I suppose there is a chance it wasn’t the back of his head, but I do not believe so. How else would a piece of his skull ended up on the trunk of the car?

When I asked if there was anything in the film that lead her to believe it had been doctored, she responded with a no.

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Gary Shaw (Coverup, 1976, p. 51) and Jim Marrs (Crossfire, 1989, p. 36), both of whom interviewed you said you used a “Yashica Super-8 camera”, John McAdams claims to have heard you say in 1993 you were using a “Yashica Super-8 camera”. However Yashica did not make Super-8 cameras till 1967, the Super-8 format was not introduced till 1965 and in 1994 you told the AARB you had ever said it was a Yashica Super-8 camera. So did McAdams lie and did Marrs and Shaw amazingly make the exact same error?

"I did tell them it was a Yashica, and I may have said it was a Super-8. I still believe it probably was a Super-8. I was given the camera by a friend who worked for Kodac, along with twelve magazines of film, and twelve envelopes with the address already marked on them so I could send the film in to be developed. He told me it was an experimental camera, and that I wouldn’t be able to have the film processed anywhere around, I’d have to send it to Rochester, New York. I’ve spoken to someone who worked for Yasicha, but he told me they didn’t keep very good records of when prototypes would have been available. The Super-8 was released to the public in 1965, so I certainly believe it’s possible the camera I was using was a Super-8."

But she testified before the AARB that she had never said it was a Yashica. Why would a Kodak employee give her a Yashica camera? Why would he give an experimental camera to a 17 year-old stripper almost 2 years before the launch? Why would a Kodak employee in Dallas, far from the company HQ and labs in Rochester, have such a camera almost 2 years before the launch? This supposed employee has never been named I presume.

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