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The lapel flip was wind related


Bill Miller
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For many years some have viewed the flipping up of Connally's lapel at Z224 as meaning that a bullet had struck it as it passed througn the Governor. Wind gust were appearent by looking at the Muchmore and Zapruder films as Hill, Moorman and Oliver's coats flipped around in the wind. Just the other day a researcher named 'Moriarty' had pointed out something I had never noticed before. Moriarty saw that Connally's lapel was flipping around as he came out from behind the road sign. What was seen at Z224 (known as "the lapel flip") was the lapel flipping back upwards again. I offer some slow motion clips of the lapel falling down and going back up as Connally emerges from behind the road sign.

The first clip is the lapel falling back down from having already been flipped up while behind the road sign.

The second clip will show the lapel come down and go back up.

A photo of Connally's coat can be seen on Lancer at ...

http://www.jfklancerforum.com/dc/dcboard.p..._id=21048&page=

The bullet that exited Connally never came close to the lapel flap.

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Bill Miller said:

The bullet that exited Connally never came close to the lapel flap.

Agreed. My thinking is that the 'flip' was in fact a shadow caused by the small side window in the center partition of the limousine. JBC's position changes because he is rotating forward, perhaps in reaction to the sound of the shot that hit JFK in the throat.

Pamela

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Bill Miller said:

The bullet that exited Connally never came close to the lapel flap.

Agreed.  My thinking is that the 'flip' was in fact a shadow caused by the small side window in the center partition of the limousine.  JBC's position changes because he is rotating forward, perhaps in reaction to the sound of the shot that hit JFK in the throat. 

Pamela

It seems that if a window on the car was casting a shadow that it would have been doing so the entire time Connally was coming down Elm Street just prior top the flip and immediately afterwards. Connally placed the moment he was hit when he grimaces at Z224. A careful study of his right shoulder dropping and coming forward while the left shoulder rises is supportive of a bullet just being driven through the Governor. (see above)

Something I pointed out on Lancer about the shadows being cast in the plaza ...

If one also looks closely at the film clips they will find that the solid dark area moves from left to right when covering the shirt and right to left when exposing it. As I pointed out before - the shadows are being cast from the south side of Elm Street to the north side. It is virtually impossible for a shadow to retract across Connally, thus exposing his shirt when moving from south to north. If a shadow is going to retract, then it has to go back towards it's source. The Zapruder film frame #140 in my prior response shows the direction that all the shadows are being cast in relation to their source. (see below)

Edited by Bill Miller
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I agree that there are a number of factors coming into play here. By using the full frame as illustration you are showing us another one -- the Stemmons Freeway sign, which may also have been a factor in these frames.

I don't see any actual movement in these frames of JBC's jacket.

Pamela

Edited by Pamela McElwain-Brown
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I agree that there are a number of factors coming into play here.  By using the full frame as illustration you are showing us another one -- the Stemmons Freeway sign, which may also have been a factor in these frames. 

Your answer seems a bit generic, so forgive me if I misunderstood you, but if you are saying the road sign had cast a shadow onto Connally, then that is in error. All the shadows ran northeast from their source. (see Z140 below)

I don't see any actual movement in these frames of JBC's jacket.

Again, I am not sure if I am understanding what you have said. When you say that you do not see any actual movement of Connally's coat, I assume you are not talking about the lapel flap in my earlier clips. If you are talking about the shoulder movement of Connally, then that is why I placed a white line through the crossbar and another across the tops of Connally's shoulders so everyone could see the sudden forward and downward pitch his upper torso took as the bullet passed through his body.

Maybe my showing the vast pitch in line change between Z223 and Z226 will help. Note how the pitch of Connally's shoulders changes from the crossbar in those 4 short frames, which equates to less than 1/4 of a second in time. If you look to the left of the screen (Connally's right) where the two white lines start and watch the lower line move - it swings forward. The same line as seen at the right of the screen (Connally's left) swings upward. That's how we can judge the momentum of the impact that hit Connally in the right shoulder for it spun him much faster than the limo is rotating as it passes through Zapruder's field of view.

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