Chapter 1: the Prosecutor
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Ghosts, Cowboys
*KRVWV&RZER\V &ODLUH9D\H:DWNLQV The Hopkins Review, Volume 2, Number 2, Spring 2009 (New Series), pp. 163-179 (Article) 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/thr.0.0064 For additional information about this article http://muse.jhu.edu/journals/thr/summary/v002/2.2.watkins.html Access provided by New York University (4 Oct 2015 00:30 GMT) Claire Vaye Watkins GHOSTS, COWBOYS he day my mom checked out, Razor Blade Baby moved in. And at the end I can’t help thinking about beginnings. The city of Reno, Nevada, was founded in 1859 when TCharles Fuller built a log toll bridge across the Truckee River and charged prospectors to haul their Comstock silver across the narrow but swift-moving current. Two years later, Fuller sold the bridge to the ambitious Myron Lake. Lake, swift himself, added a grist mill, kiln, and livery stable to his Silver Queen Hotel and Eating House. Not a bashful man, he named the community Lake’s Crossing, had the name painted on Fuller’s bridge, bright blue as the sky. The 1860s were boom times in the Western Utah Territory: Americans still had the brackish taste of Sutter’s soil on their tongues, ten-year-old gold still glinting in their eyes. The curse of the Comstock Lode had not yet leaked from the silver vein, not seeped into the water table. The silver itself had not yet been stripped from the moun- tains; steaming water had not yet flooded the mineshafts. Henry T. P. Comstock—most opportune of the opportunists, snatcher of land, greatest claim jumper of all time—had not yet lost his love Adelaide, his first cousin, who drowned in Lake Tahoe. -
Nixon Assures Israel of Peace Talks Safety
Black Leaders Rap Inaction by City SEE STORY BELOW Hot and Humid Warn' and humid, showers possible today and tonight. FINAL Hot and humid tomorrow, Red Bank, Freehold (Be* Eefalll. Pa.j. « Long Branch J EDITION Monmouth County's Home Newspaper for 92 Years VOL'. 93, NO. 25 RED BANK, N. J., FRIDAY, JULY 31, 1970 20 PAGES TEN CENTS Nixon Assures Israel Of Peace Talks Safety LOS ANGELES (AP)' — President Nixon has to have forced policy in this area," he said. "Our' unrest, "it is a problem which college adminis- given the Israel government his-personal assur- policy is one of cooperation rather than coercion." trators and college faculties must face up to." ance that entering Middle East talks, as he pro- ; SEES ECONOMIC UPSWING He. said he thought it "very short-sighted" for uni- posed, would not endanger Israel's military posi- , • —The economy will be "moving upward in the versity presidents and professors "to put the last half of 1970" with inflation being cooled. blame for all the problems of the universities on tion. • ••'.' the government." Nixon told a television-radio news conference However, he said, he may have to veto some popular bills if'Congress appropriates more than Nixon also was asked about statements by at the Century Plaza Hotel last night that he hopes his campus advisers that government should Israel will join Egypt and Jordan in accepting his he wants and a request for higher taxes would be used as a last resort to keep the federal budget recognize the reality of fears of repression among proposal for a 90-day cease-fire while negotiations under control. -
The Orkustra
THE ORKUSTRA This day-by-day diary of The Orkustra's live, studio, broadcasting and private activities is the result of two decades of research and interview work by Bruno Ceriotti, but without the significant contributions by other kindred spirits this diary would not have been possible. So, I would like to thank all the people who, in one form or another, contributed to this timeline: Jaime Leopold (RIP), Bobby Beausoleil, David LaFlamme, Henry Rasof, Nathan Zakheim, Stephen Hannah, Jesse Barish, Steve LaRosa, Rod Harper (RIP), Colin Hill, Ross Hannan, Corry Arnold, William Hjortsberg, Aldo Pedron, Klemen Breznikar, Reg E. Williams, Charles Perry, Penny DeVries, Claire Hamilton, Lessley Anderson, Ralph J. Gleason (RIP), Craig Fenton, Alec Palao, Johnny Echols, 'Cousin Robert' Resner, Roman Garcia Albertos, James Marshall, Chester Kessler, Gene Anthony, Christopher Newton, Loren Means, The San Francisco Examiner, San Francisco Chronicle, San Francisco Oracle, and Berkeley Barb. September 1966 Undoubtedly the most experimental and ecletically diverse band of the so-called 'San Francisco Sound', The Orkustra were put together by the infamous Bobby Beausoleil. A larger than life character with a mixed reputation ("He was like Bugs Bunny," says Orkustra's bandmate Nathan Zakheim. "Very in your face, enthuastic."), Robert Kenneth Beausoleil, aka 'Cupid', aka 'Bummer Bob', aka 'Bobby Snofox', was born on Thursday, November 6, 1947, in Santa Barbara, California. After dropping out of high school and let his hair grow out, Bobby moved to Los Angeles in search of fame and fortune in 1965. There, over the summer, he played a six-string rhythm guitar with The Grass Roots, a folk- rock band later known as LOVE, for only three weeks, and also made a cameo appearance (as 'Cupid') in the famous underground documentary movie Mondo Hollywood. -
“'The Paranoia Was Fulfilled' – an Analysis of Joan Didion's
“‘THE PARANOIA WAS FULFILLED’ – AN ANALYSIS OF JOAN DIDION’S ESSAY ‘THE WHITE ALBUM’” Rachele Colombo Independent Scholar ABSTRACT This article looks at Joan Didion’s essay “The White Album” from the collection of essays The White Album (1979), as a relevant text to reflect upon America’s turmoil in the sixties, and investigate in particular the subject of paranoia. “The White Album” represents numerous historical events from the 1960s, but the central role is played by the Manson Murders case, which the author considers it to be the sixties’ watershed. This event–along with many others–shaped Didion’s perception of that period, fueling a paranoid tendency that reflected in her writing. Didion appears to be in search of a connection between her growing anxiety and these violent events throughout the whole essay, in an attempt to understand the origin of her paranoia. Indeed, “The White Album” deals with a period in Didion’s life characterized by deep nervousness, caused mainly by her increasing inability to make sense of the events surrounding her, the Manson Murders being the most inexplicable one. Conse- quently, Didion seems to ask whether her anxiety and paranoia are justified by the numerous violent events taking place in the US during the sixties, or if she is giving a paranoid interpretation of com- pletely neutral and common events. Because of her inability to find actual connections between the events surrounding her, in particular political assassinations, Didion realizes she feels she is no longer able to fulfill her main duty as a writer: to tell a story. -
Retrospektive Roman Polanski the PIANIST Roman Polanski
Retrospektive Roman Polanski THE PIANIST Roman Polanski 31 Roman Polanski bei den Dreharbeiten zu Kino der Heimsuchung kennen. Und doch wird der Zuschauer augenblicklich Als die Cinémathèque française im Oktober letzten in den Bann des Films gezogen, in dessen Verlauf die Jahres eine große Ausstellung über die Geschichte der mulmige Enge nachbarschaftlichen Zusammenwoh- Filmtechnik eröffnete, fungierte er als Pate. Eine klü- nens nach und nach in einen Albtraum umschlägt. gere Wahl hätte die Pariser Kinemathek nicht treffen können, denn Roman Polanski hat immer wieder be- Ein Treibhauseffekt tont, wie unverzichtbar für ihn das Handwerk ist, das er Als LE LOCATAIRE 1976 herauskam, fügte er sich in an der Filmhochschule erlernt hat. Darin unterscheide einen Zyklus der klaustrophobisch-pathologischen Er- er sich, bemerkte der Regisseur mit maliziösem Stolz, zählungen, den der Regisseur ein Jahrzehnt zuvor mit doch ganz erheblich von seinen Freunden von der Nou- REPULSION (EKEL) und ROSEMARY'S BABY begonnen velle Vague, die als Filmkritiker angefangen hatten. hatte. Ihr erzählerischer Radius beschränkt sich weitge- Zur Eröffnung der Ausstellung präsentierte er LE hend auf einen Schauplatz. Der filmische Raum ist für LOCATAIRE (DER MIETER), der seinen virtuosen Um- diesen Regisseur eine Sphäre der Heimsuchung, an- gang mit der Technik spektakulär unter Beweis stellt. fangs auch der Halluzinationen und surrealen Verwand- 1976 war er der erste Filmemacher, der den Kamera- lungen. Sich auf einen Handlungsort zu konzentrieren, kran Louma einsetzte. Die Exposition des Films ist eine ist für ihn keine Begrenzung, sondern eine Herausfor- überaus akrobatische Kameraoperation, eine Kombi- derung an seine visuelle und dramaturgische Vorstel- nation aus Fahrten und Schwenks, der die Fassaden lungskraft. -
Chatsworth Nature Preserve/Reservoir
HISTORIC RESOURCES IDENTIFICATION STATEMENT OF SIGNIFICANCE Final 6/2/15 - Prepared by Carla Bollinger Chatsworth Nature Preserve/Reservoir Why is this individual resource or neighborhood significant? Chatsworth Nature Preserve (CNP) is a representation of San Fernando Valley (SFV)-Los Angeles history from pre-historic through the 20th Century. This is the last remaining opening space, 1325 acres, on the valley floor with rolling hills, native plants and oak trees, a vision of what the SFV once looked like with numerous cultural-historic landmarks. Native American site from pre-historic Middle Period (1500 - 500 AD), through Pre-Mission period: A Gabrielino and Ventureno-Chumash, historical district Mission Period: (1769 to 1833-1836) Spanish expedition and establishment of California Missions through the time period the Missions were secularized by the Mexican government. Mexican Period: (1821-1848) Rancheros, cattle and sheep ranch, Rancho Ex-Mission San Fernando, Mexican land grant by Governor Pio Pico to Eulogio de Celis. Pioneering/Homesteading or American Period: (1848 - early 1900’s) Gold discovery north of San Fernando Mission in Placerita Canyon, 1848; California Statehood in 1850; and the Homestead Act, 1862, all contributed to the SFV changes from cattle and sheep ranching to agricultural, dry farming. 20th Century: Owens Valley-Los Angeles Aqueduct, building of the Chatsworth Reservoir, early Movie/TV Filming, and the development of commercial industry and growth of residential development surrounding the CNP-Reservoir. Native American Convergence site. The CNP and surrounding area was a convergence location for Ventureno-Chumash, Gabrielino, and Fernandeho Native Americans to gather, trade, inter-marry, and hold ceremonies. Momonga Village (Fernandeno ) or Rancheria de las Piedras (Gabrielino/Tongva) Location: Northeastern Simi Hills through Santa Susana Pass to Stoney Point on the west, and south to the north end of Chatsworth Reservoir. -
The Big Goodbye
Robert Towne, Edward Taylor, Jack Nicholson. Los Angeles, mid- 1950s. Begin Reading Table of Contents About the Author Copyright Page Thank you for buying this Flatiron Books ebook. To receive special offers, bonus content, and info on new releases and other great reads, sign up for our newsletters. Or visit us online at us.macmillan.com/newslettersignup For email updates on the author, click here. The author and publisher have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy. For Lynne Littman and Brandon Millan We still have dreams, but we know now that most of them will come to nothing. And we also most fortunately know that it really doesn’t matter. —Raymond Chandler, letter to Charles Morton, October 9, 1950 Introduction: First Goodbyes Jack Nicholson, a boy, could never forget sitting at the bar with John J. Nicholson, Jack’s namesake and maybe even his father, a soft little dapper Irishman in glasses. He kept neatly combed what was left of his red hair and had long ago separated from Jack’s mother, their high school romance gone the way of any available drink. They told Jack that John had once been a great ballplayer and that he decorated store windows, all five Steinbachs in Asbury Park, though the only place Jack ever saw this man was in the bar, day-drinking apricot brandy and Hennessy, shot after shot, quietly waiting for the mercy to kick in. -
Tender Exotics
TENDER EXOTICS BOBBY BEAUSOLEIL NIK KAMVISSIS MARGARET STONES ALAN TOWNSEND CURATED BY LISA CAMPBELL-SMITH UNDER THE CURATORIAL MENTORSHIP PROGRAM, CONTEMPORARY ART TASMANIA EXHIBITION: 2 - 31 MAY 2015 TENDER EXOTICS A recent exhibition titled Open Field held at Hauser and Wirth Somerset in the UK, celebrated the founder of the New Perennial movement, Piet Oudolf. The works on display were Ouldof’s sketches and designs for a series of public gardens. The drawings were layered with symbols, codes, and colour; steeped in the knowledge of plant life. What is fascinating about their presence in a ‘high art’ context, removed as they are from the finished gardens, is that they become loaded with possible narratives; instantly imbued with meaning beyond their schematic and instructional purpose. Tender Exotics, has at its centre a similar set of intentions, that is, to place works into a context in which they have not been previously considered. Tender Exotics brings together a collection of works from Bobby Beausoleil, Nik Kamvissis, Margaret Stones and Alan Townsend. From the margins of contemporary art practice to the pedagogical rigours of scientific illustration, Tender Exotics considers the criteria by which artists and objects are assigned to correspond with contemporary themes and curatorial agendas. The assemblage of this trans-historical grouping is presented here, not to seek order through it, but rather to explore a juxtaposition of descriptive elements and latent possibilities. Borrowing its title from the 18th Century publication, A collection of various forms of stoves, used for forcing pine plants, fruit trees, and preserving tender exotics…, 1 the exhibition also art galleries in juxtaposition with contemporary art, may not incorporates visual material from these architectural drafts. -
Charles Manson I
I FEDERAL BUREAU OF INVESTIGATION FREEDOM OF INFORMATION/PRIVACY ACTS SECTION COVER SHEET SUBJECT: CHARLES MANSON I ' ~-»/! '1 / 0 2n Rev. 7-21-av!I , son l?.4 ~ oac 92/ hr "- - Y O _____~t_ asper __._____. Callahan _.____ /T~ ggonradFelt _ " n P" Sullivan "'@§§%§._...i_ ' I Tavel ..____.__._. - Trotter _______ 'I _ ' l HolmesTele. Room_..____._.____._ . /' _ Gandy » Y ~11 .2?-r'>,7 I; , -92.>-/1 , I 0' , - _ *0 ~~ - -.-1 w92 _92 <-4 6 92.-. MURDERS! ' LOS ANCELES-A SIX-MANTEAM OFPOLICE DETECTIVESTODAY PROBED Q TWO MACABREMURDER CASESWHICH BORE STARTLINC SIMILARITIES-' E SENSELESS, SAVAGESTABBINGS WITH ALMOST RITUALISTIC OVERTONES., Q POLICE MAINTAINEDTHERE WAS NO DIRECT PHYSICALEVIDENCE TO _ I F ONNECT THESTABBING DEATHSOF A MIDDLEACED COUPLE SUNDAYAND * E MASSMURDER SATURDAYOF ACTRESS SHARON TATE AND HER FOURGUESTS . if T A SECLUDED ESTATE. - } BUT AN OFFICER SAID IT IS UNUSUALTO HAVETHE SAME TEAM ON TWO ASESTHE SOLE SUSPECTUNLESSTHERE'STHEINDICATION INTATE MURDERS CASESANWILLIAM THELINKED. AREGARR5%SON, 19 A/// A CARETAKERTHE AT BENEDICT CANYON LEASEDHOME THE BY AESS, WAS ; RELEASED YESTERDAY. 1 AFTER HISONLY SUSPECTWALKED OUTOE POLICEHEADQUARTERS INSPECTOR HAROLD YARNELLSAID THERE IS NOTSUEFUCIENT EVIDENCETO HOLD GARRETSON.THERE IS NO REASON TOSUSPECT HIM. DETECTIVES TODAYLEANED TOWARDTHE THEORYTHE STABINGS SUNDAY OF MARKET OWNERLEON LABIANCA ANDHIS WIFEROSEMARY EIR HOMMIGHT 92 8/12--ctsoeaH-I COPYA A NEW BY_ ASSAILANT THE or EARLIER. U MUR 11301;? ~ E4 " 101,0/~"n REC-69* ' l AUG 14196 ,»4 .Yb /DI/la,. ta LE '3* /0 - »J%4¢Q¢; IT?! Q _ I ;;Jt:"' h_ ._ -TN p 4'64-f-4:../ -.£/Q,1 -. -
Volume 6 Number 064 the Manson Murders
Volume 6 Number 064 The Manson Murders – I Lead: Of the turbulent events that marked the decade of the 1960s, the chilling and notorious Charles Manson murders are clearly among most shocking. Intro.: A Moment in Time with Dan Roberts. Content: Charles Manson was born in 1934. He had an unstable childhood and by the age of thirteen was ripening into young man with a decidedly criminal inclination. After being released from a California prison in 1967, he moved to San Francisco, where he began attracting a group of devoted young people who would eventually follow him on a path of violence and destruction. Playing upon sections of the Book of Revelation and drawing inspiration from certain Beatle songs, Manson and his followers began preparing for a racial war in which black and white would annihilate each other. After this war, which Manson called “Helter Skelter,” he and his followers, or as he called them, his “family,” would emerge from a bottomless pit in Death Valley ready to lead a new society. By August 1969 the “Manson Family” was living in the run-down ranch buildings of an abandoned movie set just outside of Los Angeles, running a crime ring specializing in car thefts and drug sales. Manson, through some type of psychological control, dominated members of “The Family.” He correctly suspected that they would commit murder if he so instructed. On the night of August 9, 1969, on his orders a group of his followers brutally murdered actress Sharon Tate and four others in her Beverly Hills home. The next evening Leno and Rosemary LaBianca, wealthy owners of a grocery chain, were as brutally murdered in their Los Angeles home. -
Murder, Media, and Mayhem: the Metamorphosis of California Murder Cases to International Media Sensations
Murder, Media, and Mayhem: The Metamorphosis of California Murder Cases to International Media Sensations By: Olivia Cusimano Advisor: Richard Perry Undergraduate Legal Studies Honors Thesis University of California, Berkeley 1 “Sometimes the power of the media, the power of the movie, can be very subtle and great.” -James Blatt, Attorney for Jesse James Hollywood I would like to take a moment to thank all those who helped me take an idea grown while watching Investigation Discovery on the couch and develop it into this project. From the initial guidance of Professor Musheno and Christina Carbone to the astute guidance of my advisor, Professor Perry, I am forever thankful. My family, too, has supported me mentally and even intellectually. To my Aunt Diane, I owe you so much for your direction and insight. I never would have parsed out a coherent thesis without our conversations at The Natural Café. Additionally, a never-ending thanks to those who supported me, made sure I didn’t give up, and listened to my unending laments without disowning me: Kent, Mike, Brendan, Safeena, Dani the entire Student Advocate’s Office, and everyone else who spent any iota of time listening to my laments. 2 Table of Contents I. Abstract……………………………………………………………………...…….4 II. Introduction……………………………………………………………………...5 III. Literature Review………………………………………………………………6 IV. Methodology…………………………………………………………………...17 V. Findings and Analysis………………………………………………………….21 i. Charles Manson………………………………………………………... ii. Scott Peterson…………………………………………………………… iii. Jesse James Hollywood………………………………………………… VI. Synthesis and Limitations…………………………………………………….. VII. Conclusions…………………………………………………………………….. VII. Works Cited…………………………………………………………………….. 3 I. Abstract This project seeks to explore how and why certain cases are sensationalized, by tracing the movement of the cases through various media outlets. -
92 Together in News Reports. Both Sharon Tate and Rosemary Woodhouse Were White, Blonde, Pregnant Newlyweds. Both Were Tortured by a Cult
92 together in news reports. Both Sharon Tate and Rosemary Woodhouse were white, blonde, pregnant newlyweds. Both were tortured by a cult. The head of the Church of Satan, with which Manson was affiliated, played the role of the devil in the rape scene in Polanski’s film.47 There were fundamental, irreconcilable differences between the film, the Manson case, and its representation in the news, but their striking resemblances to one another stemmed from shared and intimate ties to the same expanding commercial media enterprise, increasingly owned by the same corporations, even in the late 1960s. Manson’s homicidal anger partly resulted from his frustrated ambitions in the music industry. After record producer Terry Melcher failed to honor a scheduled meeting with Manson and his followers, who hoped to record an album, Manson ordered his group to kill everyone at Melcher’s old house, where Tate and Polanski, a powerful and recognizable Hollywood couple, resided. The Manson murders demonstrated that similarities between reality and contemporary fiction were pliable, easily exploited, and profitable, especially when reported live on local and national news. Despite the fact that Manson was not present when his followers killed Tate and six others in her Hollywood Hills neighborhood, he became the living embodiment of evil, an example cited by emerging political pro-family groups, including evangelicals, of the hedonistic excesses of sixties liberalism. Manson was used as a means of reinstating early Cold War nuclear family values after young people began flagrantly rejecting them in the 1960s. As an eccentric cult leader remorselessly tied to brutal crimes, he served as an example of the devastating personal repercussions that came from straying beyond the limits of the 1950s middle-class suburban ideal in which he was raised.