Jack Lawrence worked for the Downtown Lincoln-Mercury car dealership in Dallas. Lawrence claimed that Lee Harvey Oswald asked to test-drive a car in early November. Afterwards Lawrence reported the incident to the Federal Bureau of Investigation.
On 21st November, 1963, Lawrence borrowed one of the firm's cars. The following day he failed to turn up for work. According to Jim Marrs (Crossfire): "about thirty minutes after the assassination, he came hustling through the company's show room, pale and sweating with mud on his clothes. He rushed into the men's room and threw up. He told co-workers he had been ill that morning, and that he had tried to drive the car back to the dealership but had to park it due to the heavy traffic. Later, employees found the car parked behind the wooden picket fence on top of the Grassy Knoll overlooking Dealey Plaza."
Lawrence's strange behaviour was reported to the Dallas police. He was interviewed by officers investigating the assassination of John F. Kennedy. They discovered that Lawrence was a marksman in the United States Air Force.
According to Beverly Oliver, Lawrence was a regular at the Carousel Club (owned by Jack Ruby) and a close friend of George Senator.
Jack Lawrence - History
Mr. Lawrence’s Class | United States and European History
La Jolla High School - 750 Nautilus St. - La Jolla, CA 92037
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"Educate and inform the whole mass of the people. They are the only sure reliance for the preservation of our liberty."
Before I get into the mess that is the case against Oswald for the shooting of police officer J.D. Tippit, there is one other strange arrest from November 22 that I wanted to point out. Jack Lawrence was arrested in the late afternoon after the assassination because he exhibited some suspicious behavior after he showed up late to work. The story goes, according to Marrs, that Lawrence got the job a month before based on what turned out to be fake references from an alleged previous job in New Orleans. He never sold a car in the month leading up to the assassination, but the night before he borrowed one to use on a date. The next morning, Lawrence was late to work, showing up without the car, clothes muddied, and out of breath. It was reported that he rushed into the bathroom where he threw up. When asked about the car, he told his boss that he had to park it because of all the traffic. The car was later found to be parked behind the wooden picket fence on top of the Grassy Knoll. Lawrence was subsequently arrested for his behavior but released later that day.
More after the jump.
After a quick Google search on Lawrence, I found that in a 1992 article, "Jack Lawrence Responds," in which the suspect offers his side of the story, something that the Warren Commission and HSCA never bothered to do. He claims that he left for work in the borrowed car around 12:35pm but because of the motorcade, he soon ran into a ton of traffic. Not wanting to be late for work, he parked his car on the corner of Ervay and Main and walked the rest of the way. Lawrence tells us that the claims of his clothes being muddied, that he threw up, and the car being parked behind the Knoll are completely false.
There are a couple of things that stick out to me. First, the false references from New Orleans of all places. I really haven't seen much of an explanation for this, and while I'm sure he isn't the first guy to write something fake on his resume, the tie to New Orleans is suspicious. Second, what motivation would the other dealership employees have to falsely report the suspicious activity? If Lawrence didn't show up muddied and didn't throw up, why would someone report his activity to the police? Interestingly enough, of the 16 identifiable employees of the dealership on the day of the assassination, only 6 remained a few months later. I've never worked in the auto industry, but it seems like an extremely high turnover rate. Finally, in further looking into this incident, it turned out that a Lee Harvey Oswald imposter took a test drive from this same dealership along the route that the motorcade would eventually follow. The salesman who rode with this man never bothered to report it when the actual Oswald was arrested because he feared it would bring bad publicity for the dealership.
Basically, I find it very odd how someone's reported activity can be so suspicious, yet it is never looked into by either of the two primary investigations, especially when Lawrence denies nearly every claim made about his actions that day. Just another extremely odd piece of this impossible puzzle.
- Mary on Comments Policy
- Mary on Josiah Thompson on how to think about November 22
- G.W.Hicks on Breaking a promise, Trump blocked the release of JFK files a year ago
- G.W.Hicks on Ex-flame says Jack Ruby ‘had no choice’ but to kill Oswald
- Keyvan Shahrdar on A closer look at Orville Nix’s film
In Our Man in Mexico, investigative reporters tells the remarkable story of CIA station chief and what he really thought of JFK's assassination. Click on the cover image to buy it now.
Chapter 2: The Old Song
"I love the quiet, and that's hard to come by these busy times. And yeah sure it may stink to high heaven down here. But it's just perfect for an old lyricist like me. Sammy's songs always got some bounce, but if I didn't get away once in a while, they'd never have any words to go with them. So I'll keep my mind a-singin' and my nose closed."
— Jack's audio log.
"A person shouldn't live for their coffee break, but you try having Sammy's songs playing all day in your head over and over and over, like a parade, you're front row to the bass drum solo! So I'm just here for the coffee and the quiet. Hey, 'coffee and quiet', that wouldn't be a bad song lyric! Where's my pencil?"
— Jack's audio log.
"Ok, the smell is kinda starting to get me now. Ever since they started putting in more pipes, it's really begun to flow a lot more down here. The good news is that it's helped me to work on things a lot faster. Definitely been some of my best lyrics lately. Sammy and I even won an an award for one of our songs last month. I was told. Of course it had Mister Drew's name on the award, but it's the thought that counts. Speaking of which, I saw Mister Drew the other day. was meeting with that Connor fellow, holding some papers. Why they'd want to meet down here is beyond me. Something stinks."
— Audio log, dated November 18th, 1943, by Jack Fain.
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Lawrence Schwartz grew up in Brooklyn as the son of a Jewish family originally from Ukraine . He graduated from Thomas Jefferson High School and then studied podiatry at the First Institute of Podiatry , where he graduated in 1932. As a child he wrote his own songs. At 20 he became a member of the American Society of Composers, Authors and Publishers . He was able to publish his first work Play, Fiddle, Play in the year of his graduation. It was used in the 1933 film Dinner at eight . In 1939 The Ink Spots recorded his song If I Didn't Care .
During World War II he served as a Coast Guard and later with the United States Merchant Marine . He also wrote other songs during the war. After the war, he settled in Hollywood, where he continued to work on his songwriting career. Meanwhile, Frank Sinatra had made All or Nothing at All a hit with music by Arthur Altman . Other number one hits were Linda for Buddy Clark (1963 also a hit for Jan and Dean ), which he wrote for Linda Eastman , the daughter of his lawyer, and Tenderly for Sarah Vaughan and later Rosemary Clooney . Beyond the Sea also became known for Bobby Darin . He also wrote the lyrics for various songs on Broadway
For Hold My Hand from the film One Night with Susanne , which he co-wrote with Richard Myers , he was nominated for the best movie song at the 1955 Academy Awards.
In 1975 he was inducted into the Songwriters Hall of Fame.
In 2009 his book Between the Sheets: The Stories behind My Songs was published .
Jacob Lawrence, Peering Through History’s Cracks
“American Struggle” at the Met shows an artist searching out bits of the nation’s history that have been edged out, and making visible the fight for racial equality.
What might the image of treachery look like? Consider a painting of two men, one whispering into the other’s ear. The speaker, his face in profile, has his mouth slightly open, enough for us to see his teeth. His eyes fall like a ball under gravity toward the other man’s face. The second person, half his face out of view, listens almost expressionless, except for the dodgy expression in his left eye in the upper-right corner. The frame is tight on their faces. Many parts of the image are dark. Treachery oozes from their eyes, from their teeth.
The moment itself is real. The work is a representation of Benedict Arnold, the American Revolutionary officer turned traitor, informing Sir Henry Clinton, the British commander in chief, in 1780 of Gen. George Washington’s secret plan to cross the Hudson. This painting, Panel 11, 1955, is one of the 30 depicting the artist Jacob Lawrence’s re-examination of American historical moments from 1775 to 1817 at the Metropolitan Museum of Art.
Organized by and first exhibited at the Peabody Essex Museum in Massachusetts before arriving at the Met, “Jacob Lawrence: The American Struggle” brings together recently reunited panels of a series painted during the civil rights era. One of its great strengths is showing the way this African-American artist expanded the confines of how the American Revolution and the early decades of the republic are considered, reinterpreting the roles of all parties involved. It also succeeds in making visible, and even visceral, America’s history with the struggle for racial and political equality.
At the Peabody Museum, the series was exhibited alongside contemporary artists but at the Met the focus is on Lawrence, with four of his works from the Met’s permanent collection positioned at the entrance. Curated by Elizabeth Hutton Turner, Austen Barron Bailly and coordinated by Lydia Gordon, the presentation at the Met by Randall Griffey and Sylvia Yount organically utilizes the long rectangular shape of Gallery 913 and makes it possible for viewers to really follow the series’ story style from panel to panel.
Jacob Lawrence (1917-2000) was one of the best-known artists of his time. Unable to make it into the government-funded Federal Art Project because he was too young, Lawrence began very early to make series of paintings that retold historical narratives. At 21 he made a series of 41 paintings of the Haitian general Toussaint L’Ouverture, who had led a revolution to free slaves in Haiti. He also produced series on the lives of Harriet Tubman and Frederick Douglass. Then, at 23, he produced the masterpiece, “The Migration of the Negro,” now known as “The Great Migration” — a collection of 60 panels narrating the movement of hundreds of thousands of African-Americans from the South to the North. It showed his style of “dynamic cubism,” which he claimed wasn’t really an influence of French art as much as the shapes and colors of Harlem. His later series “Struggle: From the History of the American People,” created from 1954–1956 (and from which the exhibition at the Met derives its name), follows the same tradition.
Lawrence worked with egg tempera — a permanent, fast-drying paint medium — so he always planned his paintings in advance. But “Struggle” required extra research and planning. He spent time at the 135th Street branch of the New York Public Library (now the Schomburg Center for Research in Black Culture), pulling sources and inspiration from the archives. Originally intended to be 60 panels, each 12 x 16 inches, the series ended up with 30, five of which are missing, and two of which have no image record.
Borderlands: The Pre-Sequel
"Jack" is called in as part of the Vault Hunter group that assists the real Jack on Helios.
While looting the Handsome Jackpot, the Vault Hunters hear a cry for help. Pretty Boy is sending Loaders after someone in a makeshift hideout. After defeating Pretty Boy's Loaders, it is revealed that Timothy Lawrence is trapped in the casino and has been since the death of Handsome Jack. His mask is cracked, and his right hand has been grafted with a Hyperion-brand cybernetic authorized access key dubbed "The Winning Hand". After finding out that Timothy is also trying to get into Jack's Tower, the Vault Hunters team up with him upon Moxxi's approval (who still seems to openly distrust him).
Because Timothy's Winning Hand grants him full access to every facility in the casino, Pretty Boy kidnaps him, and the Vault Hunters must rescue him. After killing Pretty Boy, the casino activates the "Screw Everyone I'm Rich" Protocol, which starts piloting the casino into a black hole. At first, Timothy tells the Vault Hunter to simply flee to safety, however Moxxi refuses the order and the Vault Hunter(s) agree with Moxxi that they can't leave Timothy behind. Timothy then comes up with an idea and cuts off his cybernetic hand using his laser prison cage and gives it to the Vault Hunters to override the protocol.
In the ending of the DLC, Timothy, sans one hand, finally asks Moxxi's why she agreed to the date that she had with "Jack" (a detail he has brought up a few times). He did so disguised as Jack, so he was confused why she agreed to have a dinner date with Jack when "He was the worst". Moxxi admits to having known it was never Jack she met up with, otherwise she wouldn't have shown up, something that makes Timothy happy to learn.
Jacob Lawrence Biography
"History Painter" is an appropriate title, although Jacob Lawrence himself preferred "Expressionist," and he was certainly best-qualified to describe his own work. Lawrence is one of the best known 20th-century African-American painters, along with Romare Bearden.
While Lawrence is often associated with the Harlem Renaissance, it's not accurate. He began studying art half a decade after the Great Depression terminated the heyday of that movement. It can be argued, though, that the Harlem Renaissance brought into being the schools, teachers and artist-mentors from whom Lawrence later learned.
Lawrence was born on September 7, 1917 in Atlantic City, New Jersey.After a childhood marked by a series of moves, and the separation of his parents, Jacob Lawrence, his mother and two younger siblings settled in Harlem when he was 12. It was there that he discovered drawing and painting (on discarded cardboard boxes), while attending an after-school program at Utopia Children's Center. He kept up painting when he could, but was forced to drop out of school to help support the family after his mother lost her job during the Great Depression.
Luck (and the persistent help of sculptor Augusta Savage) intervened to procure Lawrence an "easel job" as a part of the W.P.A. (Works Progress Administration). He loved art, reading and history. His quiet determination to show that African Americans, too, were a major factor in the history of the Western hemisphere -- despite their conspicuous absence in art and literature -- led him to embark on his first important series, The Life of Toussaint L'Ouverture.
1941 was a banner year for Jacob Lawrence: he broke the "color barrier" when his seminal, 60-panel The Migration of the Negro was exhibited at the prestigious Downtown Gallery, and also married fellow painter Gwendolyn Knight. He served in the U.S. Coast Guard during WWII and returned to his career as an artist. He landed a temporary job teaching at Black Mountain College (in 1947) at the invitation of Josef Albers -- who became both an influencer and friend.
Lawrence spent the rest of his life painting, teaching and writing. He is best known for his representational compositions, full of simplified shapes, and bold colors and his use of watercolor and gouache. Unlike nearly any other modern or contemporary artist, he always worked in series of paintings, each with a distinct theme. His influence, as the visual artist who "told" stories of the dignity, hopes and struggles of African Americans in American history, is incalculable.
Lawrence died on June 9, 2000 in Seattle, Washington.
- Toussaint L'Ouverture (series), 1937-38
- Harriet Tubman (series), 1938-39
- Frederick Douglass (series), 1939-40
- The Migration of the Negro (series), 1941
- John Brown (series), 1941-42
- "I would describe my work as expressionist. The expressionist point of view is stressing your own feelings about something."
- "My belief is that it is most important for an artist to develop an approach and philosophy about life - if he has developed this philosophy, he does not put paint on canvas, he puts himself on canvas."
- "If at times my productions do not express the conventionally beautiful, there is always an effort to express the universal beauty of man's continuous struggle to lift his social position and to add dimension to his spiritual being."
- "When the subject is strong, simplicity is the only way to treat it."
Sources and Further Reading:
- Falconer, Morgan. "Lawrence, Jacob"Grove Art Online. Oxford University Press, 20 August 2005. Read a review of Grove Art Online.
- Lawrence, Jacob. Harriet and the Promised Land. New York : Aladdin Publishing, 1997 (reprint ed.). (Reading level: Ages 4-8) This wonderfully illustrated book, along with The Great Migration (below), are excellent means with which to introduce budding art enthusiasts to Jacob Lawrence.
- Lawrence, Jacob. The Great Migration. New York : Harper Trophy, 1995. (Reading level: Ages 9-12)
- Nesbett, Peter T. (ed.). Complete Jacob Lawrence. Seattle : University of Washington Press, 2000.
- Nesbett, Peter T. (ed.). Over the Line: The Art and Life of Jacob Lawrence.
Seattle : University of Washington Press, 2000.
Films Worth Watching:
Names beginning with "L" or Artist Profiles:Main Index.