Fifty Years After the Infamous Murders, The
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A Terrible, Horrible, No Good, Very Bad Election Day Buster Hymen
November 2020 Someone Please give me Cigarette Page 2 Eats Glue Take a Deep Handie Samberg Gum in Hair Rat Junior Fucking Breath Diaper Warriors 10/10 Would get Shit Faced on Election Night Again Pissboi, Tiny Rock, Soy Kombucha Latte, Maturbation Enthusiast, Texas Toast, Hentia, Blackout Brady, Dear Ex-President Donald Trump, Watersportz, Coconut Head, Marmite, Chop Chop Revolution, Aynal Rand, Suck my dick, eat my ass, and lick my shit off the rim of the toilet. Thank fucking whoever the No Capes, Fleetwood Macdonalds, fuck created all of us for that shit show being over. Tom and, Flower Boy, Little Dybbuk Howdy everyone, Handie here. It has been some crazy times this November. There is a new Nap Avoiders president, the old president won’t accept it, and we are all still locked in our houses. At least that means we don’t have to come home for thanksgivings this year. My apology for any peo- Special Gay, Squirms McKenzie, Clifford the BIG, GoldiCocks, Silent, ple that are locked inside with their family. I sit in my high castle in San Diego eating pasta and Brotankula, Buster Hymen, Fuzzy Naval, questioning my life choices. Ah yes, my questionable life choices. Anyways this country is on a JohnMulBangMe, Lilo and Bitch, Pixy new path of hopefully being less racist and more accepting of others. Even with that us here at Pipe Dream, Sinus Baby, Based Sticker God, Manson Family Vacation the Koala will try and stay the drunken selves that we are. “Consistency in our addictions” is our motto. -
LESLIE VAN HOUTEN, ) ) Related Cases: BH007887; S230851 6 Petitioner, ) B240743; B286023 ) S45992; S238110; S221618 7 on Habeas Corpus
1 SUPERIOR COURT OF THE STATE OF CALIFORNIA 2 COUNTY OF LOS ANGELES 3 4 In Re ) CASE Nos. BH _________ ) 5 LESLIE VAN HOUTEN, ) ) Related Cases: BH007887; S230851 6 Petitioner, ) B240743; B286023 ) S45992; S238110; S221618 7 on Habeas Corpus. ) ______________________________ ) Superior Court Case A253156 8 9 _______________________________________________________ 10 PETITION FOR WRIT OF HABEAS CORPUS; 11 MEMORANDUM OF POINTS & AUTHORITIES 12 _______________________________________________________ 13 RICH PFEIFFER 14 State Bar No. 189416 NANCY TETRAULT 15 State Bar No. 150352 P.O. Box 721 16 Silverado, CA 92676 Telephone: (714) 710-9149 17 Email: [email protected] 18 Attorneys for Petitioner Leslie Van Houten 19 20 21 22 23 24 25 26 27 28 PETITION FOR WRIT OF HABEAS CORPUS Page 1 1 TABLE OF CONTENTS Page 2 TABLE OF EXHIBITS. 2 3 INTRODUCTION. 4 4 PROCEDURAL HISTORY. 8 5 STATEMENT OF FACTS. 10 6 PETITIONER’S JANUARY 30, 2019 PAROLE HEARING DECISION. 16 7 JUNE 3, 2019 GOVERNOR REVERSAL. 17 8 MEMORANDUM OF POINTS AND AUTHORITIES.. 18 9 I. MS. VAN HOUTEN IS NOT AN UNREASONABLE RISK TO 10 PUBLIC SAFETY UNDER ANY STANDARD.. 18 11 A. THE STANDARD OF REVIEW.. 18 12 1. Governor Reversal Standard of Review.. 18 13 2. The De Novo Standard of Review is Appropriate. 22 14 B2.. THE REVERSAL OF MS. VAN HOUTEN’S FINDING OF PAROLE SUITABILITY WAS A DENIAL OF DUE PROCESS.. 25 15 II. THE GOVERNOR FORFEITED NEW REASONS TO DENY PAROLE 16 THAT WERE NOT ASSERTED AT REVERSALS OF EARLIER REVERSALS OF GRANTS OF PAROLE.. 31 17 18 III. MS. VAN HOUTEN WAS DENIED DUE PROCESS WHEN THE PROSECUTION HAD EXCULPATORY EVIDENCE IN THE CHARLES 19 “TEX” WATSON TAPES, AND FAILED TO DISCLOSE IT. -
The Nightingale
SCREEN AUSTRALIA SCREEN TASMANIA AND SOUTH AUSTRALIAN FILM CORPORATION present in association with ADELAIDE FILM FESTIVAL BRON CREATIVE And FILMNATION ENTERTAINMENT a CAUSEWAY FILMS and MADE UP STORIES production THE NIGHTINGALE PRODUCTION NOTES Running Time: 136 mins AUSTRALIAN PUBLICITY REQUESTS: Amy Burgess / National Publicity Manager, Transmission Films 02 8333 9000, [email protected] Images: High res images and poster available to download via the DOWNLOAD MEDIA tab at: https://www.transmissionfilms.com.au/films/the-nightingale Starring Aisling Franciosi, Sam Claflin and Baykali Ganambarr Writer and Director: Jennifer Kent Producers: Kristina Ceyton p.g.a., Bruna Papandrea p.g.a., Steve Hutensky p.g.a. and Jennifer Kent p.g.a. Executive Producers: Brenda Gilbert, Jason Cloth, Andrew Pollack, Aaron L. Gilbert, Ben Browning and Alison Cohen Associate Producer: Jim Everett Director of Photography: Radek Ladczuk Editor: Simon Njoo Production Designer: Alex Holmes Costume Designer: Margot Wilson APDG Hair and Makeup Designer: Nikki Gooley Sound Designer: Robert Mackenzie Composer: Jed Kurzel Visual Effects Supervisor: Marty Pepper Casting Director: Nikki Barrett CSA Distributed in Australia and New Zealand by Transmission Films International Sales: FilmNation Entertainment, US Sales: Endeavor Content The Nightingale Production Notes 2 INDEX SYNOPSES 3 DIRECTOR’S STATEMENT 4 CAST AND CHARACTER LIST 4 GENESIS OF THE FILM 5 CASTING AND CHARACTERS Clare – Portrayed by Aisling Franciosi 8 Hawkins – Portrayed by Sam Claflin 10 Billy -
The Premiere Fund Slate for MIFF 2021 Comprises the Following
The MIFF Premiere Fund provides minority co-financing to new Australian quality narrative-drama and documentary feature films that then premiere at the Melbourne International Film Festival (MIFF). Seeking out Stories That Need Telling, the the Premiere Fund deepens MIFF’s relationship with filmmaking talent and builds a pipeline of quality Australian content for MIFF. Launched at MIFF 2007, the Premiere Fund has committed to more than 70 projects. Under the charge of MIFF Chair Claire Dobbin, the Premiere Fund Executive Producer is Mark Woods, former CEO of Screen Ireland and Ausfilm and Showtime Australia Head of Content Investment & International Acquisitions. Woods has co-invested in and Executive Produced many quality films, including Rabbit Proof Fence, Japanese Story, Somersault, Breakfast on Pluto, Cannes Palme d’Or winner Wind that Shakes the Barley, and Oscar-winning Six Shooter. ➢ The Premiere Fund slate for MIFF 2021 comprises the following: • ABLAZE: A meditation on family, culture and memory, indigenous Melbourne opera singer Tiriki Onus investigates whether a 70- year old silent film was in fact made by his grandfather – civil rights leader Bill Onus. From director Alex Morgan (Hunt Angels) and producer Tom Zubrycki (Exile in Sarajevo). (Distributor: Umbrella) • ANONYMOUS CLUB: An intimate – often first-person – exploration of the successful, yet shy and introverted, 33-year-old queer Australian musician Courtney Barnett. From producers Pip Campey (Bastardy), Samantha Dinning (No Time For Quiet) & director Danny Cohen. (Dist: Film Art Media) • CHEF ANTONIO’S RECIPES FOR REVOLUTION: Continuing their series of food-related social-issue feature documentaries, director Trevor Graham (Make Hummus Not War) and producer Lisa Wang (Monsieur Mayonnaise) find a very inclusive Italian restaurant/hotel run predominately by young disabled people. -
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. -
Star-Studded Line-Up Set for the 7Th AACTA Awards Presented by Foxtel
Media Release Strictly embargoed until 12:01am Wednesday 22 November 2017 Star-studded line-up set for the 7th AACTA Awards presented by Foxtel The Australian Academy of Cinema and Television Arts (AACTA) has today announced the star-studded line- up of presenters and attendees of the 7th AACTA Awards Ceremony presented by Foxtel. Held at The Star Event Centre in Sydney on Wednesday 6 December and telecast on Channel 7, tickets are still available to enjoy a night of glamour and entertainment with the country’s biggest stars. Tickets are open to the public and industry and are selling fast. To book, visit www.aacta.org. The Ceremony will see some of Australia’s top film and television talent take to the stage to present, including: Jessica Marais, Rachel Griffiths, Bryan Brown, Charlie Pickering, Noni Hazlehurst, Shane Jacobson, Sophie Monk, Rob Collins, Samara Weaving, Daniel MacPherson, Tom Gleeson, Erik Thomson, Melina Vidler, Ryan Corr, Dan Wyllie and celebrated Indian actor and member of the Best Asian Film Grand Jury Anupam Kher. Nominees announced as presenters today include: Celia Pacquola, Pamela Rabe, Marta Dusseldorp, Stephen Curry, Emma Booth, Osamah Sami, Ewen Leslie and Sean Keenan. A number of Australia’s rising stars will also present at the AACTA Awards Ceremony, including: Angourie Rice, Nicholas Hamilton, Madeline Madden, and stars of the upcoming remake of STORM BOY, Finn Little and Morgana Davies. Last year’s Longford Lyell recipient Paul Hogan will attend the Ceremony alongside a number of this year’s nominees, including: Anthony LaPaglia, Shaynna Blaze, Luke McGregor, Don Hany, Jack Thompson, Kate McLennan, Sara West, Matt Nable, Jacqueline McKenzie and Susie Porter. -
Soddoma: Cantos of Ulysses
Soddoma: Cantos of Ulysses Chris Mansel Argotist Ebooks 2 Cover image by Rich Curtis Copyright © Chris Mansel 2010 ll rights reserved rgotist Ebooks 3 Dedicated to $ake Berry 4 Soddoma: Cantos of Ulysses 5 Through the slave quarters and to the river below, cross sections of freshening earth* 1. Shaft scene Syphilitic skeletons borne in blood menstrual pillars of Sodom coitus breath scars thorns milk interprets the scrotal consummating corpse labia drunk and made holy clitoridectomies penis sheaths paleolithic barriers scavenging decomposition narrow receiving bowl. Bushmen read the koka shastra, wandering wombs dilate the reproductive cycle* 6 2. ,enus in furs -edged yogic castration, umbilical suckling male hymen e.aculatory ducts the membranous urethra pastoralists, con.ugated estriols femini/ed 0double castration1 dislect of deep incised consumption an infant2s se3ual attributes cranial4uteral childbirth masturbation swallows. 5haling asps three miles by four, heavens corpse spinal venerated. It2s flaccid genital beard, 0it2s1 0madness to be confined7Rimbaud1 7 8. Coffin birth Menstruation 0ovum1 migration e3plicit breath sutras tenderness, thick wash rape 0decay1 copulation abortifacients peyote insufficient mitochdrial DN homologue of the penis 0masculine machinery1 the debauchery of an open wound herded to the dead. 8 4. Flesh allows sins without the body Departing drew squalor copula weightless heat sweating petals de7centered borne wallow plurality of unrecorded raindrops rhythms tastes screams branches nausea erections vomiting animal bearers agony clutter the pineal eye smell is monogamous; intimate doctrine of a menstrual matter. 9 5. The absurdity of rigor mortis Blood bathed lips of a reptilian beings drag Basilidan stones spreading the dust from her ribcages to make another opening in her entrails 0the presence of unnecessary practice > peremptory e3pulsion1 the .aws of the clitoris are pried open by hideous animals 0ecstasy e3cludes the worker1 inundated with hair. -
The Long Prison Journey of Leslie Van Houten: Life Beyond the Cult by Kariene Faith Boston: Northeastern University Press (2001), 216 Pp
The long Prison Journey of leslie Van Houten: life Beyond the Cult By Kariene Faith Boston: Northeastern University Press (2001), 216 pp. Reviewed by Liz Elliott n the last year of the 1960s, a decade of anomie, the U.S. experienced two I events that would symbolize different aspects of its culture into the next millennium. These events took place at opposite sides of the country, although they occun-ed less than a week apart. One event, a cultural festival of music and arts, has remained in time as an example of the possibilities of peaceful co existence in adverse circumstances oflarge numbers ofpeopJe. From August 15th to the 17th the Woodstock Music and Arts Festival's patrons endured rain and mud - and all of the other inconveniences that would reasonably accrue in a situation where unexpected large numbers ofpeople converged in one location -to see some of the decade's masters of rock and roll and folk music perfonn in the state of New York. Almost half a million people, many of whom were experiencing the event under the influence of various illicit drugs, attended Woodstock and lived together peacefhlly for one weekend. 1 Across the continent a few days earlier, the world heard the news of two ten-ible sets of murders in California that shook the sense of security that until then was enjoyed by Americans. We were soon to learn that these bizarre, seemingly ritualistic killings were the bidding of a charismatic but crazy man who was state-raised2 and resourceful. In this case the drugs were used to weaken the already fragile resolve ofyoung idealistic people who were searching for themselves and open to new ways of seeing the world. -
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. -
Will You Die for Me? by Charles Watson As Told to Chaplain Ray Hoekstra Copyright
Will You Die For Me? by Charles Watson as told to Chaplain Ray Hoekstra Copyright...................................................................................... 1 Acknowledgments ........................................................................2 Dedication ....................................................................................2 About the Author .........................................................................3 Sure, Charlie, You Can Kill Me ...................................................4 Behold, He Is In The Desert ........................................................8 The Campus Kid........................................................................ 14 The Times, They Are A-Changin' .............................................18 California Dreamin' ...................................................................23 Gentle Children, With Flowers In Their Hair ...........................27 Family .........................................................................................33 Magical Mystery Tour ................................................................37 Watershed: The White Album ...................................................42 Happy in Hollywood ..................................................................48 Revolution / Revelation .............................................................51 Piggies .........................................................................................57 You Were Only Waiting for This Moment .................................62 -
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 -. -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.