This is an article that Professor James Norwood wrote for the OIC Wrap page in August 2012. Mrs. Lovelady had called Harold Weisberg to say that it was her Billy in the doorway and that he was wearing a checked shirt.
But, this was 1967, so why didn't Mrs. Lovelady say, "And my Billy was standing out in front in the Martin film after the assassination, and you can also see him there in the Hughes film. Just look at those films."
"And just look at the footage of Oswald being led through the Dallas PD where you can see my Billy sitting at a desk in the homicide division, surrounded by police and reporters. Cameras were flashing; film was being shot; history was being made; and my Billy was in the very center of all of it."
Professor Norwood: But, when Mrs. Lovelady spoke to Harold Weisberg, why didn't she point out to him that there was a movie in which Oswald was led by her husband at the Dallas PD, where Billy can be seen wearing the plaid shirt? Why did she not tell him to watch that film? And what about the so-called Martin post-assassination footage in which her husband can supposedly be seen milling around outside after the assassination wearing a plaid shirt? Didn't she know about that one? What about the Hughes film? What about the Wiegman film? Was she unaware of all these films featuring her husband? If so, it is probably because they weren't made yet, that is, the parts that featured her husband weren't made yet.
Here is the FBI image of Lovelady from February 1964 alongside the two Lovelady impostors from the Dallas PD. They are obviously 3 different men.
The significance of Harold Weisberg's talk with Mrs. Lovelady
by James Norwood
10 August 2012
Researcher Harold Weisberg had a telephone conversation with Mrs. Billy Lovelady, which is reproduced in David Wrone's book. Weisberg recorded these notes about the talk:
"She [Mrs. Lovelady] insists it is 'my Billy' in the doorway, that the FBI never asked him what shirt he had worn that day, and that he had worn a red-and-black check with a white fleck. The checks, she says, are about two inches. When I said the Altgens picture shows no check, she replied that it is not as clear as the enlargement 'as big as a desk,' about 30 X 40 inches, the FBI showed them the night of Nov. 25, 1963." (David Wrone, The Zapruder Film--Reframing JFK's Assassination, University Press of Kansas, 2003, p. 177).
Here is my commentary on this passage:
(1) The Altgens photo was obviously of special importance to the government, based on this conversation with Mrs. Lovelady and an FBI agent. By Monday, November 25, 1963, there was already evidence that the FBI was extremely interested in the very Doorman topic at the heart of the Oswald Innocence Campaign. Even as early as November 25, the central concern was the different shirts worn to work by Oswald and Lovelady on November 22.
(2) The Altgens photo was obviously important to the governent if a photo enlargement "as big as a desk" had already been prepared for the FBI by November 25, 1963. By the day of the president's funeral and the day after the public execution of Oswald, there was already concern about developing a plausible pictoral representation of the Man in the Doorway as Lovelady.
(3) The clandestine processing of photo enlargments of other crucial photographic evidence in the JFK assassination was being conducted concurrent with the enlargement of the Altgens photo for the FBI. On the evenings of Saturday, November 23 and Sunday, November 24, there were similar photo enlargements being made of individual frames of the Zapruder film at the CIA's Natonal Photographic Interpretation Center (NPIC) facility in Washington, D.C. These photo enlargements were made for CIA Director McCone on Saturday and for the top secret Kodak "Hawkeyeworks" photo center in Rochester, New York on Sunday.
It was obvious that as early as November 25, the FBI was working hard to convince both Mrs. Lovelady and the American people that it was "her Billy" in the doorway. But, when Mrs. Lovelady spoke to Harold Weisberg, why didn't she point out to him that there was a movie in which Oswald was led by her husband at the Dallas PD, where Billy can be seen wearing the plaid shirt? Why did she not tell him to watch that film? And what about the so-called Martin post-assassination footage in which her husband can supposedly be seen milling around outside after the assassination wearing a plaid shirt? Didn't she know about that one? What about the Hughes film? What about the Wiegman film? Was she unaware of all these films featuring her husband? If so, it is probably because they weren't made yet, that is, the parts that featured her husband weren't made yet.
"She [Mrs. Lovelady] insists it is 'my Billy' in the doorway, that the FBI never asked him what shirt he had worn that day, and that he had worn a red-and-black check with a white fleck. The checks, she says, are about two inches. When I said the Altgens picture shows no check, she replied that it is not as clear as the enlargement 'as big as a desk,' about 30 X 40 inches, the FBI showed them the night of Nov. 25, 1963." (David Wrone, The Zapruder Film--Reframing JFK's Assassination, University Press of Kansas, 2003, p. 177).
Here is my commentary on this passage:
(1) The Altgens photo was obviously of special importance to the government, based on this conversation with Mrs. Lovelady and an FBI agent. By Monday, November 25, 1963, there was already evidence that the FBI was extremely interested in the very Doorman topic at the heart of the Oswald Innocence Campaign. Even as early as November 25, the central concern was the different shirts worn to work by Oswald and Lovelady on November 22.
(2) The Altgens photo was obviously important to the governent if a photo enlargement "as big as a desk" had already been prepared for the FBI by November 25, 1963. By the day of the president's funeral and the day after the public execution of Oswald, there was already concern about developing a plausible pictoral representation of the Man in the Doorway as Lovelady.
(3) The clandestine processing of photo enlargments of other crucial photographic evidence in the JFK assassination was being conducted concurrent with the enlargement of the Altgens photo for the FBI. On the evenings of Saturday, November 23 and Sunday, November 24, there were similar photo enlargements being made of individual frames of the Zapruder film at the CIA's Natonal Photographic Interpretation Center (NPIC) facility in Washington, D.C. These photo enlargements were made for CIA Director McCone on Saturday and for the top secret Kodak "Hawkeyeworks" photo center in Rochester, New York on Sunday.
It was obvious that as early as November 25, the FBI was working hard to convince both Mrs. Lovelady and the American people that it was "her Billy" in the doorway. But, when Mrs. Lovelady spoke to Harold Weisberg, why didn't she point out to him that there was a movie in which Oswald was led by her husband at the Dallas PD, where Billy can be seen wearing the plaid shirt? Why did she not tell him to watch that film? And what about the so-called Martin post-assassination footage in which her husband can supposedly be seen milling around outside after the assassination wearing a plaid shirt? Didn't she know about that one? What about the Hughes film? What about the Wiegman film? Was she unaware of all these films featuring her husband? If so, it is probably because they weren't made yet, that is, the parts that featured her husband weren't made yet.
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