Nov 22, 2013|
Automatically Generated Transcript (may not be 100% accurate)
We open up the WB and live line unwelcome -- Blackmon. If that name doesn't sound familiar it will after you -- those busy Blackman as a newsreel photographers. It was a young men sent to Dallas after the assassination. And was present in the room when Jack Ruby shot Lee Harvey Oswald. I Kennedy's. -- accused assassin at that time mister black and good morning and thank you for joining us. They're good mare who relieved that the. Your story serves very compelling. Let's start at the beginning when the president was shopping Dallas you were called by your employer and sent to Dallas is -- Well I was working I had just started working for united press movie -- news. In the October. And we were in the bureau in Chicago and the teletype machine went off and so many bells -- Matt's film so. The story was important and dispelled it stopped belly. And Merriman Smith was on the -- line and the three shots have been fired at the presidential. A motorcade today in ballot. And we've hung around that and we waited and we waited and then things look pretty bad in my bureau manager Paul -- said we're getting on the plane and we didn't get pounded Dallas right now. And we did was that there in the eighties late afternoon late late afternoon maybe it's kind of caught but he. And went directly to the police station and we were still there and believe are we out vote still talking to the press -- being held by the police. We've got to sound camera up and we started photographing it in the -- that -- the everybody of course the -- -- -- full bidding oh walk through the crowd guys holding it over his head of the Harvey doubtful talking to the press about he didn't do anything in the I don't know why they have to charge me with anything him. So I'm like that everybody's seen it now over the years. Those -- your shots don't. Well. Two days later I think I think it was today. Fifty years ago. I can't believe it was fifty years ago. We were down there were gonna move him from the Dallas stations to another secure place. And I got down there in the morning with my book -- -- have another film crew with some of these has wanted to hang around here and there would have been get a shut it out slowly pick him. And when I got down there in the basement and he -- -- quake. It was just a wall of photographers. Camera crews live television. Still photographers. And I thought I would never get a lot of them so what I do what I want to the back -- the the stationed there there was a long hallway. And at the end of the hallway was that he. Booking desk with the sergeant there and an elevator and that's where they took the prisoners up and down. And I have been affected get a shot of them coming out of the elevator and they said yeah but you probably won't be able to get back out there. -- -- that's fine at least have a picture of him something to show that that is taking place. And he gave me -- -- -- because they're on the way down and I was working in film everybody remember anybody remember film. Sixteen millimeter. Spring Guam -- camera hundred feet of film on there about four minutes of time. And I started rolling and the elevator opened up. And to just -- those gentlemen were took a little look outside to make sure that was clear. Oswald was behind them you could just barely see him. And then when they thought it was safe to come out -- bit and there we saw -- -- -- he came up behind them and start walking with them. They went off to their left to that are to their left and I let him walk out of print my camera. And then I ran down the hallway there was a parallel hallway but separated by a worthy -- -- was and where I was running. And that -- me out the underpass where the cars where and I have moved. But yet in front of them ABC light camera. And the guys that hey get down here you're blocking my shot and I got down -- -- want me and I put the camera to my face waiting for these guys to come out. And all of a sudden Jack Ruby is standing in my right about. Eight feet ten feet from me I didn't know who he was that an even noticed that but it looking back I realize he was pretty close. And he stepped in and shouted right in front of my camera. But the -- do you find it amazing. When you think about it today in this day -- -- but all have you in media were actually allowed to get so close to a man who was accused of shooting the president of the United States. I've thought about that a lot. They they seem to. It was a I don't know it has -- it was like Jack Ruby could walk in there anytime of the day or night everybody knew him. They get the press. Who was below which should have been allowed to do that I -- We think of security and so many different ways today and compared of that. You know years ago when we wanted to shipped home for the evening news with Walter Cronkite. And before FedEx before all the way to get things from one point to another America we go to on airport look for LaGuardia flight go to the gate. But for somebody who was neatly dressed in the bag full allotment of exposed motion picture fell. And think it's there we work through the evening news with Walter Cronkite when you get off -- -- take this for a and when you get off the plane bill via courier that are below below identify himself. You mentioned that. You're story is -- crowd absolutely captivating mr. blunt but we're looking forward talking you and another half hour at 750 thank you -- -- Is he black -- is back with us on the WB and lifeline LO yeah okay we're we're back with you what do you make of all the conspiracy. Theories that still alive are still around today fifty years later. Well everybody thinks -- the conspiracy underneath every road. I I don't know about -- The idea of four. Fifty years going by and not not a sign of anything that would point to it. There's so many TV stations stretching the doing documentaries and stretching all the little pieces that make him fit. And it just doesn't work for me. But the black little realist and you've got up to the window -- -- Dallas book depository from where I'm Harvey Oswald fired those shots. There wasn't from that spot of the window of the street below where the -- car passed. Well I'd been in the army for three years and I've gone through basic training and I want to mark a sharpshooter and all the rest of the stuff -- -- when you're an army. And up and then the other thing is I'm surprised in today's standard that if they even weather up there. There was no such thing -- DNA and and looking that I can't believe they didn't just. Quote that thing off and and this search and search center the define the show. -- the looking out that window and I thought of cars going by. And I where -- that and I thought about. What that what kind of voters did it take to hold that weapons that he. Reportedly so just so out of place that it was just an ordinary thing form that was I'm still tottering trying to explain it. But as -- as a as I was looking that I look through my camera. And I noticed that in order to follow a car I'd have to raise the camera slightly. It continuously. As it. To keep the car in the center of the picture. And that's what we have to do with that rifle capital raised the rifle and slowly bring it up to keep that car in the center of the picture. And that's an easy shot it's not like to -- going from left -- right it's going away from you and the only thing you have to do is -- the site. How -- -- event fifty years ago change your life. Well. I'll tell you fight has been watching Bob -- recount all that on CBS. And I'm shaking right now I'm living in all over again and you can come in my voice if it is it's not very steady. And I'm just overwhelmed by the fact that. That was so documented and we see it all over again. It was seen as -- pointed out it was really the first time television ever covered such a major story. And it was photographed. Early from beginning to end. And by watching it I just came away from the that just -- moments we don't have to sit down. And now mr. Blackmon. You live here in the buffalo area tell our listeners about the story of how you can to buffalo. And eventually. Decided to live here. Hope all. While I was working for CBS Sunday morning after 1966. That started with them mount cyanide -- it yet that that. That there working for deviate from the morning evening news with Cronkite. And -- that worked with them I got more more assignments and eventually I started doing the on the roads and it started doing 4048. Hours sixteen minutes. And previous Sunday morning and one of the previous Sunday morning was about. Shoot at the buffalo symphony where the public relations director Mary Rose -- was so. That's according to -- make sure we did make eleven point during the performance. And we've got to chatting and she's sailor and I was a sailor and were we were. Separate we were single. And is greatly here and I thought well but would do something about it only took about ten years significant move to buffalo. And nine military sense. Even here since I was seven these sixers so. I moved here in 98. We we they're just as happy as can be in buffalo effect I don't have. I was still working when I moved I called CB and I thought stuck my boss so that if I lived in Chicago. And I called one of my bosses Linda Mason who was insurgency -- on the morning. And it that Linda don't I'm I think I'd like -- and -- -- the buffalo. And the only question she asked me is that they have an airport there. And then she hung up and I moved here. Well I have to tell -- love that part of the story told us last half hour. -- with the at the couriers that would meet people at airports to pick up film. It's amazing isn't enough. Who who in the world would believe that today. Now and we never luster wrote come out and and that was before all the extremes because we were shooting film and the and the piece of film that goes through and actually controlling. Because it would expose that and security that we know today is just. From from that going back to what what I remember. If it seemed inconceivable. That it would that place it's almost like a dream. Where's all your film footage today is -- Smithsonian. No -- I don't know -- he has you know that's all -- BS this property. The only thing that I wanted to get a copy of which I never got was the shooting of the Oslo peace it was on a roll of the sixteen millimeter under. Role of for the film. And that went directly to move its -- news and it was processed and put and put him. Catalog somewhere and I try to get a copy over the whenever I want most the things that they have been duplicate of duplicates of equality has been the greatest. Now boy you have an incredible story. And we're so glad you could share with us this morning thank you so much as he. Yeah I don't think ominously for another three days. It it probably won't and I can understand the trembling and you know just kind of feeling uneasy today. But -- really thank you very much for after all the time. Is -- black -- he was a photographer. Sent to Dallas right after the assassination of president John F. Kennedy. He's an eye witness to history if you missed any part of this interview he can check out WB EN dot com.