JFK Witness Deaths: Graphical Proof of a Conspiracy

Richard Charnin's Blog

JFK Witness Deaths: Graphical Proof of a Conspiracy

Richard Charnin
Oct.14, 2013
Updated:Aug.29, 2015

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This post is updated for the latest data, analysis and graphics from the JFK Calc Spreadsheet/database of Unnatural and Suspicious Deaths. Mortality rates used for expected deaths and probabilities are from http://www.infoplease.com/ipa/A0005124.html.

The Poisson distribution function calculates the probability of rare events based on the difference between the actual and statistically expected number.

Assuming that 1400+ material witnesses were connected to the assassination, then based on annual mortality rates for major causes of death, 214 deaths were expected in the 1964-78 period (196 natural and 18 unnatural). Among the 122 suspicious deaths in JFK Calc, 78 were officially ruled unnatural (34 homicides, 16 suicides, 24 accidents, 4 unknown). The probability is:
P = E-61 (1 in…

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Surrender (1971)

THE DIANA ROSS PROJECT

“I don’t know how to be nothin’ but yours…”

Considering the calculated effort it took to extricate Diana Ross from The Supremes — including a frantic race to release a final #1 single on the group and then a whirlwind of publicity surrounding the move — the first year of the singer’s solo career was surprisingly erratic.  When Diana’s debut solo single, the Nick Ashford and Valerie Simpson-penned “Reach Out And Touch (Somebody’s Hand),” failed to make an immediate impact on listeners, Motown founder Berry Gordy, Jr. panicked and put Deke Richards to work with the singer.  Then, suddenly, “Ain’t No Mountain High Enough” raced to #1 on the pop and R&B charts, and producers Ashford & Simpson were back in the driver’s seat, quickly coming up with a follow-up single (“Remember Me”).  The result was that the Richards album, titled Everything Is Everything, was released without a promotional…

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The Boss Returns To The Charts

THE DIANA ROSS PROJECT

Fans have been waiting a long time for new music from Diana Ross — and although we’re still waiting, it’s nice to see Miss Ross riding high again on the Billboard and iTunes music charts.

From her collection Diamond Diana: The Legacy Collection, a new remix of “Ain’t No Mountain High Enough” sits at #38 on Billboard’s Dance Club Songs chart for the week ending December 2.

Billboard Top Dance Club Songs for the week ending December 2, 2017

And in the wake of Diana’s triumphant performance at the American Music Awards, at which she was honored with a lifetime achievement award, not one…not two…but three Diana Ross collections charted in the iTunes R&B Top 20, led by The Number Ones and followed closely by Diamond Diana.

iTunes R&B Albums Chart: November 20, 2017

Congratulations to Miss Diana Ross — and here’s to continued success in 2018!

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Ross (1983)

THE DIANA ROSS PROJECT

“But I’ll tell you this for sure, if nothing is ventured, then nothing is gained…”

1983 would turn out to be one of the biggest years of Diana Ross’s career, although it had nothing to do with the new material she was releasing.  Coming after the platinum Why Do Fools Fall In Love and the gold Silk Electric, 1983’s Ross — Diana’s third album for RCA Records — pretty much sank without a trace.  There wasn’t a major hit single to be found here — the closest was “Pieces Of Ice,” which just made the top 40.  Still, Diana Ross would garner as much publicity as she ever had in 1983 — first, due to her appearance and “reunion” with the Supremes on the TV special “Motown 25: Yesterday, Today, and Forever,” and next with her infamous Central Park concerts, broadcast on Showtime.

Considering the fact that the Central Park concerts…

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A Very Special Season (1994)

THE DIANA ROSS PROJECT

“Although it’s been said, many times, many ways…”

In a recent interview with Lance Chau, producer Nick Martinelli remembered, “EMI UK decided they wanted a Christmas CD.  I was asked to put it together.  The studio sessions lasted about three to four weeks.  All the tracks were recorded in London except for ‘Amazing Grace.’  Most of the musicians were from the London Symphony.  My favorite tracks were ‘Overjoyed’ and ‘War Is Over.'”

The Christmas CD he’s talking about is A Very Special Season, which is Diana’s Ross’s first and only full-length solo holiday album.  Like 1989’s Greatest Hits Live, this was an international project only, and was never officially released in the United States.  That said, it’s relatively easy to find in the states, and has certainly become an essential for fans; reviews were also strong, with the All Music Guide stating that it  “easily ranks among the diva’s best of the ’90s. Instead…

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Why Do Fools Fall In Love (1981)

THE DIANA ROSS PROJECT

 “It’s Never Too Late to hold the power in your hands…”

In late 1981, Diana Ross began the third act of her career.  Act I, of course, had been her rise to stardom as lead singer of the Supremes, the Motown supergroup that scored 12 #1 hits.  Act II came with the 1970s and solo success, during which time she notched six more #1’s and made three feature films.  But in 1981, in a quest for creative control of her career (and a way bigger paycheck), Diana Ross left Motown and signed with RCA Records.  She apparently talked with a couple of producers about working with her on this important first album, but ended up in the hot seat herself, not only producing the album but also co-writing one song, the first case of Miss Ross being credited in helping to write her own music.

Sales-wise, Why Do Fools Fall…

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Diana & Marvin (1973)

THE DIANA ROSS PROJECT

“First I had you in the palm of my hand, but I let you slip through like grains of sand…”

“Are Diana Ross and Marvin Gaye recording an album together with Valerie Simpson and Nick Ashford producing?????”  This tantalizing question asked in the September 2, 1972 issue of Billboard was the first clue that two of Motown’s top stars would be teaming up for a joint project; it would be a full year before music fans would get a definitive answer, with the release of the pair’s first joint single.  Certainly a Ross-Gaye collaboration made perfect sense, especially under the direction of Ashford & Simpson; the producers were responsible for Gaye’s legendary duets with Tammi Terrell before moving on to produce Diana’s solo debut, 1970’s Diana Ross, and both Ross and Gaye had scored a major success with the same Ashford & Simpson song, “Ain’t No Mountain High Enough.”…

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