The JFK War: What’s going on with Len Osanic and Black Op Radio?

When I traveled to Vancouver for The Vancouver Hearings in June of 2012, I was delighted to visit with Len at his studio and to create three segments for his “50 Reasons for 50 Years” to believe that JFK was taken out by a conspiracy and that The Warren Report (1964) is indefensible.  One was on 15 indications that the Secret Service set him up for the hit; another was on evidence of the fabrication of the Zapruder film; the third was on proof that Lee Oswald was standing in the doorway at the time of the shooting.

Imagine my surprise when Len released his “50 reasons” and I discovered, not only had my second and third segments been excluded from his sequence, but even my first on the Secret Service had been edited to cut off some of the most important points I was making, where he left in that the driver had pulled the limousine to the left and to a halt, but had cut it there to exclude my elaborating on that point and several others, which were further additions to the proof that the Secret Service set up JFK for the hit.

My presentation was cut at the very point I mentioned that the driver, William Greer, had pulled the limo to the left and to a halt–not even adding, “to make sure that he would be killed”.  I am quite certain that I added, “During the limo stop, he was hit twice in the head–once in the back of the head (and fell forward), where Jackie eased him back up and was looking him right in the face when he was hit in the right temple by a frangible (or “exploding”) bullet that blew his brains out the back of his head to the left/rear with such force that, when they impacted Officer Bobby Hargis riding there, he initially thought that he himself had been shot”.  Here’s what survived of that interview:

When I discovered that the second and third of my segments were not included at all, I asked Len what had become of them.  He told me that “important people” had refused to participate at all if I were included, but that he had managed to keep the one segment in the sequence (but had dropped the others).  I found that to be extremely offensive, because the points I was making are extremely well-founded and those who oppose them have not been able to fault any of the arguments that I have made on their behalf.  But he featured Robert Groden making the unsubstantiated charge that all of the claims that have been made of film fakery are “easily refuted”, which is complete false:

It also struck me as odd that Len would position Groden’s segment about the films that were taken during the assassination earlier in the sequence (as “Episode 11”) than my explanation about the Secret Service setting him up for the hit (“Episode 16”), since it was important to understand how he was set up.  Indeed, one of the most important points I had made about all of this was that the vehicles were in the wrong order, since the presidential limousine should have been in the middle, where the lower-ranking dignitaries, such as the Mayor and the Vice-President,  preceded him.  And that the cars were of different makes and models, which enabled the conspirators to keep track of where everyone was in the motorcade.  That point seems to have been lost as well.

Len told me that something must have gone wrong with the camera, but he had double-checked it at the time.  Since the key points I was making concerned the motorcade and the limo stop, they appear to have been deliberately removed from my segment.  Interestingly, the medical evidence supports and substantiates the alteration of the film, where the defect at the back of the head has been blacked out in most of the frames of the Zapruder. The Parkland physicians had observed a fist-sized blow-out at the back of the head and slightly to the right.  These diagrams were drawn by Robert McClellan, M.D. (on the left) and by Charles Crenshaw, M.D. (on the right), who were  present in Trauma Room #1 during JFK’s treatment:

Just two days later, Dr. Crenshaw would be responsible for the treatment of his alleged assassin, Lee Oswald, in Trauma Room #2.)  They were discounted by the Warren Commission and the HSCA on the ground that the autopsy X-rays did not confirm them.  However, as the extraordinary research by David W. Mantik, M.D., Ph.D.,Assassination Science (1998), on the basis of meticulous optical densitometry studies have  established, those X-rays were “patched” to conceal the blow out,

which has now been confirmed by my discovery of the visible blow-out in late frame 374, which I emphasized in The Great Zapruder Film Hoax (2003).  Notice how closely “Area P” (for “patch”) defined by the series of broken lines corresponds to the blow out as seen in that frame. For those who prefer evidence-based history, there is no longer any room for doubt who got it right–the Parkland physicians, the Bethesda pathologists, or the HSCA!

What this means–believe it or not!–is that critical medical evidence in the assassination of John Fitzgerald Kennedy has undergone an astounding evolution from the appearance of the wounds to thoroughly competent and highly experiences physicians at Parkland Hospital–who were used to dealing with gunshot victims–to the Bethesda autopsy report–by physicians who had never dealt with one!–and then was unjustifiably contracted by the HSCA.  Consider the absurdity:

Indeed, we now know from depositions conducted by the ARRB, that Humes took a cranial saw to the skull of JFK and enlarged the wound to make it more consistent with the appearance of (what could have been) a shot fired from behind, since the Parkland observations were obviously of an exit wound from a shot fired from in front.  Humes performed that grisly task in front of two witnesses, one of whom was Thomas Evan Robinson, the mortician.

This comparison of earlier frames with frame 374 demonstrates that the blow-out observed at Parkland was taken out by the simple expedient of painting over the wound in black–as the Hollywood restoration experts have confirmed. This means that the film is not even internally consistent, which makes it all the more incredible that experts on film and photos, such as Robert Groden, would persist in contending the film is authentic, when it is provably false.

So much proof that the film is a fabrication has been published–where at least some of those proofs are as simple and straightforward as the one I have just presented–that I shall simply summarize some of the most important proofs that have appeared since the publication of The Great Zapruder Film Hoax (2003), where it is beyond belief that any serious student of the assassination of JFK, much less experts on film and photos, would continued to deny them.  Consider:

(1) We have more than 60 witnesses who reported seeing the limo slow dramatically or come to a complete stop, where it slowed dramatically AS it came to a complete stop, where those witnesses include all four of the motorcycle escort officers:  See “What happened on Elm Street? The Eyewitnesses Speak” compiled by John P. Costella, Ph.D.

(2)  We also know that Officer James Chaney motored forward to inform Chief Curry the president had been shot, which was confirmed by Chief of  Police Jesse Curry, Secret Service Agents Winston Lawson and Forrest Sorrels, as well as Motorcycle Officers Bobby Hargis, James Chaney, and Marrion Baker:  See “New Proof of JFK Film Fakery”.

(3)  We know that, for nearly 50 years, Clint Hill has described climbing on the trunk, pushing Jackie down, lying across their bodies, peering into the wound, observing a fist-sized blow-out and giving a “thumbs down”, all before the limo had reached the Triple Underpass:  See “JFK: Who’s telling the truth: Clint Hill or the Zapruder film?”

(4) We know that the original 8mm, already split film developed in Dallas, was taken to the NPIC on Saturday, the 23rd, and that a substitute 16mm, unsplit film, developed in Rochester, was taken there on Sunday, the 24th, where two different teams worked on the different versions: See “US Government Official: JFK Cover-Up, Film Fabrication”.

(5) We also know that a half-dozen or more have viewed another film, apparently the original, including William Reymond, Rich DellaRosa, Gregory Burnham and several others, where Rich DellaRosa’s description of its content appears as an Appendix to The Great Zapruder Film Hoax (2003): See “Did Zapruder film ‘the Zapruder film’?”

(6) We have John Costella’s precise visual tutorial about evidence internal to the film that explains how we can know that the film is a fabrication, where all of its frames had to be reshot to create the right sequence of “ghost panels”:  See “The JFK Assassination Film Hoax: An Introduction”. Here’s an informal discussion of his research on the film:

(7) We know that they not only removed the limo stop but painted over the blow-out in early frames and that the “blob” and the blood spray were painted in, but that they overlooked that in later frames, especially in Frame 374, the blow-out can be seen, as I explain in many places, including “What happened to JFK–and why it matters today”:

(8) More recently, in  “The Two NPIC Zapruder Film Events: Signposts Pointing to the Film’s Alteration”(2012) and “The Two NPIC Zapruder Film Events: Analysis and Implications” (2012), Doug Horne has substantiated that the original was taken to the NPIC on Saturday, the 23rd, and the substitute was brought there on Sunday, the 24th.

The timeline argument–that there was no opportunity for the film to have been faked,which Josiah Thompson has endlessly promoted–has no basis in fact and was merely a gambit.  We know that the film was altered, which can be proven by multiple lines of argument.  We also know when and where it was altered and when and where the fake film was substituted for the original.  Since rationality requires that we revise our beliefs with the acquisition of new evidence and alternative hypotheses, the time has come to abandon the fantasy that the Zapruder film is authentic. And it might be appropriate for Len Osanic to publish the proof in the segment that I provided for “50 Reasons for 50 Years”.