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History

New analysis of JFK autopsy X-rays suggests gov’t cover-up of wounds requiring a second gunman

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1962: US statesman John F Kennedy, 35th president of the USA, making a speech     Photo by Central Press/Getty Images

From LifeSiteNews

By Jerome R. Corsi

Dr. David Mantik’s optical density analysis of a supposed white patch forgery of JFK’s autopsy skull X-rays suggests that the U.S. government knew Lee Harvey Oswald was not a lone gun assassin.

We now know that the three extant JFK autopsy skull X-rays in the National Archives collection are forgeries, altered to mask evidence of two frontal headshots.

The evidence for this proposition is thoroughly presented in a new book, The Assassination of President John F. Kennedy: The Final Analysis, which I have recently published with Dr. David W. Mantik, M.D., Ph.D. Armed with a Ph.D. in physics and a medical practice extending over five decades as a radiation oncologist, Dr. Mantik has seen the JFK autopsy skull X-rays more than anyone else. Using a densitometer, he measured the light coming through the X-rays millimeter-by-millimeter (with some measurements at a tenth-of-a-millimeter calibration).

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Dr. Mantik has established indisputably that a white patch has been placed to cover the rear parietal and occipital bone on the right side of JFK’s skull, as seen in the right lateral X-ray (Figure 1). This essay poses the question: why was the white patch forgery necessary?

Figure 1. JFK Lateral X-Ray Film: The White Patch at rear, Dark Space at front (circled in white).

Dr. Mantik explained how his optical density measurements proved scientifically that the white patch was a forgery:

The White Patch and the Black Space (Figure 1) were very different from my patients’ X-ray films. Therefore, I was eager to measure the Optical Densities (ODs) of these areas at the Archives. What I found there was quite astonishing. The White Patch transmits an impossibly greater percentage of light than the Dark Space.

He continued:

At the Archives, I measured many ODs of these two specific areas on both lateral X-ray films [right lateral and left lateral X-rays]: the White Patch, sometimes labeled area ‘P’ (for posterior), and the Dark Space, sometimes labeled area ‘F’ (for frontal). As shown in Table 1, these ODs imply that P transmitted about 1,100 times as much light as F. This ratio of over 1000 is quite remarkable, especially when compared to typical ratios found in patients. My ODs for patients showed only minor differences in optical densities between the front and the back. At most, the posterior skull was slightly whiter and transmitted up to twice as much light as the frontal portion.

If the forger placed the white patch on JFK’s lateral autopsy skull X-rays, what was the forger attempting to hide?

The medical personnel treating JFK’s wounds in Trauma Room One immediately after the assassination observed a large blow-out exit wound in the right back occipital region of JFK’s head. In his testimony to the Warren Commission, Dr. Robert McClelland gave the “most detailed description of the Kennedy head wound.” McClelland depicted the scene:

As I took the position at the head of the table that I have already described, to help out with the tracheotomy, I was in such a position that I could very closely examine the head wound, and I noticed that the right posterior portion of the skull had been extremely blasted. It had been shattered, apparently, by the force of the shot so that the parietal bone was protruded up through the scalp and seemed to be fractured almost along its right posterior half, as well as some of the occipital bone being fractured in its lateral half, and this sprung open the bones that I mentioned in such a way that you could actually look down into the skull cavity itself and see that probably a third or so, at least, of the brain tissue, posterior cerebral tissue, and some of the cerebellar tissue had been blasted out. There was a large amount of bleeding which was occurring mainly from the large venous channels in the skull which had been blasted open.

Secret Service Agent Clint Hill explained how he was hit by JFK’s brain matter from the third shot, which created the right rear occipital exit wound that hit JFK’s head from the front just as Hill was reaching the JFK limousine during the shooting.

Hill offers a similar description in his 2012 book, Mrs. Kennedy and Me. He describes running toward the limousine (italics in the original):

I’m almost there. Mrs. Kennedy is leaning toward the president. I am almost there. I was almost there. And then I heard the shot. The third shot. The impact was like the sound of something hard hitting something hollow – like the sound of a melon shattering onto cement. In the same instant, blood, brain matter, and bone fragments exploded from the back of the president’s head. The president’s blood, parts of his skull, bits of his brain were splattered all over me – on my face, my clothes, in my hair.

Dr. Mantik’s optical density proof of the white patch forgery seals the conclusion that the U.S. government, from the first moments after the assassination, knew Lee Harvey Oswald was not the lone gun assassin. Secret Service Agent Clint Hill and the medical personnel at Parkland knew the right rear occipital wound resulted from a frontal shot.

The obvious conclusion is that the forger placed the white patch to hide evidence of the frontal shot that hit JFK in the right temple. Given that the U.S. government had complete control over JFK’s body and the autopsy evidence provides prima facie proof that the Warren Commission assignment was to mask a deep state false flag operation, one that the CIA wants to remain concealed yet today, 61 years later.

Reprinted with permission from American Thinker.

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Frontier Centre for Public Policy

Hungarian Revolution of 1956: A Valiant Effort to Overthrow Communist Rule

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Civilians wave Hungary’s national flag from a captured Soviet tank in Budapest’s main square during the anti-communist uprising of October 1956. AP Photo

From the Frontier Centre for Public Policy

By Gerry Bowler

For a time, Moscow seemed willing to accept change in Hungary, but when Nagy announced that his country would leave the Warsaw Pact and become neutral in the Cold War, that was a bridge too far for Khrushchev.

After World War II ended in the summer of 1945, the Soviet Red Army found itself to be in possession of Eastern Europe. In the next few years, the USSR extinguished the young democracies in Poland, Czechoslovakia, Romania, Latvia, Lithuania, and Estonia, while imposing Stalinist governments on autocracies such as Bulgaria and Hungary. With Marxist regimes taking over in eastern Germany, and Albania and Yugoslavia as well, Winston Churchill spoke truly when he said that “from Stettin the Baltic to Trieste in the Adriatic, an iron curtain has descended across the continent.”

In many of these countries, there was considerable resentment over the Russian occupation. In the Baltic republics, Romania, Croatia, Belarus, Poland, and Ukraine, doomed anti-Soviet guerilla movements with names like the “Forest Brothers,” the “Cursed Soldiers,” or “Crusaders,” fought underground wars that\ lasted for years. In June 1953 in East Berlin, workers rose up in protests against their communist masters, sparking a short-lived rebellion that spread to hundreds of towns before being crushed by Russian tanks. The most serious of these insurrections was the Hungarian Revolution of 1956. By 1956, there were stirrings of discontent in the Hungarian People’s Republic. Under the state control of industry, forced agricultural collectivization, and the shipping of produce to the Soviet Union, the economy was in bad shape. The supply of consumer goods was low and standards of living were dropping. Secret police surveillance of the population was harsh, while many Hungarians resented the suppression of religion and the mandatory instruction of the Russian language in schools. As news leaked out about Soviet Premier Nikita Khrushchev’s denunciation of Stalin in the so-called “Secret Speech,” hopes grew that reform of the communist system was possible.

Marxist intellectuals began to form study circles to discuss a new path for Hungarian socialism, but their cautious proposals were suddenly overtaken by demands for change by young people. On Oct. 22, 1956, students at the Technical University of Budapest drew up a list of demands for change  known as the “Sixteen Points.” They included free elections, a withdrawal of Soviet troops, free speech, and an improvement in economic conditions.

On the afternoon of the next day, these points were read out to a crowd of 20,000 who had gathered at the statue of a leader of the Hungarian rebellion of 1848. By 6 p.m., when the students marched on the Parliament Building, the crowd had grown to around 200,000 people. This alarmed the government, and later that evening Communist Party leader Erno Gero took to the radio to condemn the Sixteen Points. In reaction, mobs tore down an enormous statue of Stalin.

People surround the decapitated head of a huge statue of Josef Stalin in Budapest during the Hungarian Revolution in 1956. Daniel Sego (second L), who cut off the head, is spitting on the statue. Hulton Archive/Getty Images

On the night of Oct. 23, crowds gathered outside the state broadcaster, Radio Budapest, to demand that the Sixteen Points be sent out over the air. The secret police fired on the protesters, killing a number of them. This enraged the demonstrators who set fire to police cars and seized arms from military depots. Army units ordered to support the secret police rebelled and joined the protest. The government floundered; on the one hand, they called Soviet tanks into Budapest; on the other hand, they appointed Imre Nagy, seen as a popular reformer, as prime minister.

As barricades were being erected by protesters and shots were being exchanged with secret police units, Nagy was negotiating with the Soviets who agreed that they would withdraw their tanks from the capital. Over the next few days, the rebellion spread; factories were seized, Communist Party newspapers and headquarters were attacked, and known communists and secret police agents were murdered. The new prime minister released political prisoners and promised the establishment of democracy, with freedom of speech and religion.

For a time, Moscow seemed willing to accept change in Hungary, but when Nagy announced that his country would leave the Warsaw Pact and become neutral in the Cold War, that was a bridge too far for Khrushchev. Fearing the collapse of the entire Soviet bloc, he made plans for an invasion of Hungary. By Nov. 3, the Red Army had surrounded Budapest, and the next day heavy fighting erupted as armoured columns entered the city. Some units of the Hungarian army fought back, joined by thousands of civilians, but the end was predictable. After a week of battles, with over 20,000 dead and wounded, resistance crumbled. A new Soviet-approved government under János Kádár purged the army and Communist Party, arrested thousands, and executed rebel leaders including Nagy.

Hundreds of thousands of refugees fled, many of them settling in Canada and the United States. World condemnation of the USSR was strong; critics of the Soviets included many communists in the West who resigned their party membership. Not until the collapse of the Soviet hold on Eastern Europe in 1989 did Hungarians get another taste of freedom.

Published in the Epoch Times.

Gerry Bowler, historian, is a Senior Fellow at the Frontier Centre for Public Policy.

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Central Alberta

Local artist records original song for Remembrance Day with video showcasing Red Deer’s military history

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Editor’s note: This article was published in 2020.  It was extremely popular in the Central Alberta region so we wanted to circulate it again this year, now even more poignant with the war in Ukraine. The video uses many images that are familiar to Central Albertans and pays tribute to Central Alberta soldiers who have deployed internationally over the years. 

This spring, a singer and songwriter friend of mine from Red Deer, Shelly Dion, came to me with a song idea that had, in her words, been “knocking around in my head for the past 30 years”. She said that she really wanted to pay her respects to the people who sacrificed their lives and livelihoods to go to war.

The song is called “Lay Me Down”, and it’s a very fitting song for this time of year. We decided to get together and record a simple version of the song.  Then I sent her off to see musical wizard, Red Deer’s Heath West of Medodius Design.  Heath came up with some excellent improvements and we recorded it in his studio this fall.

As Honorary Colonel of 41 Signal Regiment in Alberta, I’m always looking for opportunities to promote the military, our Regiment’s members, and of course at this time of year, to acknowledge the sacrifice made by the men and women who serve in the Canadian Armed Forces. “Lay Me Down” hit all the right notes.

With some help from Counsellor Michael Dawe, long-time archivist for the City of Red Deer, I gained access to some wonderful historic photos that helped me to tell some of the stories of Red Deer’s military history. At the same time, I wanted to help the members of our Regiment honour the many local members who have volunteered to put their lives and careers on hold to deploy internationally to places like Afghanistan, Golan Heights, Bosnia-Herzegovina, Croatia, and more recently Ukraine and Latvia. This project allowed me to both profiles some local history and recognize our more modern history. Thanks to WO Drew Adkins of 41 Signal Regiment for his help in coordinating photos from our wall of fame inside Cormack Armoury.

The above video is the result. Take some time to learn about our local military history. Do you know who Cormack Armoury is named after? You’ll also learn about local members of 41 Signal Regiment (2 Sqn), many of whom actively serve in the Armed Forces today. You may even know some of them as neighbours, friends, and co-workers.  Please take a moment to acknowledge their service, and on November 11th, attend a service, and at the very least, take a moment at 11 AM to be silent and consider how lucky we are to be at peace in our country.

“Lay Me Down” is written and performed by Shelly Dion and produced and engineered by Heath West. Musicians: Bagpipes Glenn MacLeod, acoustic guitar Heath West, electric guitars Lloyd Lewis, drums Phil Liska, Bass Doug Gagnon.

Click to read more on Todayville.

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