92 Together in News Reports. Both Sharon Tate and Rosemary Woodhouse Were White, Blonde, Pregnant Newlyweds. Both Were Tortured by a Cult

Total Page:16

File Type:pdf, Size:1020Kb

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. He also eventually supplied a means of testing one’s Christian faith. In a tale of forgiveness that was an important component of the era’s conservative evangelical doctrine, a 1989 47 Adam Gorightly, The Shadow over Santa Susanna: Black Magic, Mind Control & the Manson Family Mythos (New York: Creation, 2009), 50. .
Recommended publications
  • Election Meddling Charges Hit Faculty Seale Says Black Panthers
    Friday, April 19, 1974 Spartan Daily Serving San Jose State University Since 1934 Nursing Seale says Black Panthers students 'working through system' 11011111r.. plan suit By Alfred J. Bru there is no people control over the in- The Black Panther Party is alive and By Gail Wesson stitutions," said Seale. well and is currently working through A group of nursing majors will file a Seale quoted Panther co-founder the "system" in providing concrete class action suit against SJSU and Huey Newton when defining a com- measures that will forfeit the Chancellor Glenn S. Dumke next week, munity as a "comprehensive collection "capitalistic, racist, exploiting power according to attorney Ed Newman. of institutions" and said "the problem e. structure of this (United States) is whether they (institutions) serve Newman said the suit is aimed at the county," according to party chairman basic needs and desires of the people." .10. stopping "just the retroactive ap- 111~11.1 11.11111111~0.110 Bobby Seale. "If they don't," Seale said, WNW plication" of supplementary admission the In a speech yesterday in the S.U. criteria (SAC) requirements to "American dream" of government of, Loma Prieta Room, Seale affirmed the .1110.71110 everyone including continuing nursing by and for the people will remain an existence of a "black revolutionary majors trying to enter Level I of the illusion." movement" despite the notable ab- nursing program in the fall of 1974. The Panther Party also tries to un- 71, sence of "demonstrations in the Nursing majors received letters in derstand the attitudes of the people and street." March, dated February, 1974, saying strives to give the people a common Seale corrolated his recent venture SlilaVI=ME.'430.0"ism that they would have to meet the SAC consciousness of what is wrong.
    [Show full text]
  • December 2004 Troubadour
    FREE SAN DIEGO ROUBADOUR Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and bluegrass music news January 2005 www.sandiegotroubadour.com Vol. 4, No. 4 what’s Nickel Creek: inside Living the Dream Welcome Mat ………3 Mission Statement Contributors Tales from the Trails Full Circle.. …………4 Eugene Vacher Recordially, Lou Curtiss Front Porch …………6 KKSM’s Joan Rubin Tom Boyer Parlor Showcase... …8 Nickel Creek Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze The Highway’s Song... 12 Al Kooper Of Note. ……………13 Griffin House The Taylor Harvey Band Itai ickles the horse chews February 1981, also a home grown Sean and Sara when the surf is good, Rookie Card contentedly in the prodigy raised in the Idylwild moun - and one can feel the excitement in Tom McRae small backyard pasture tains a couple of hours from Vista, it the house as they prepare for one of ‘Round About ....... …14 as the three young - is the mandolin. The three friends are their regular surf safaris to Carlsbad. January Music Calendar sters on the back already creating quite a stir at blue - Mom Karen happily shows the latest porch play their instru - grass festivals and contests. photos of the body board exploits, The Local Seen ……15 ments. It’s peaceful and Life is good in those early days. and Sean and Sara both expound on Photo Page Pbucolic in rural Vista during the mid School at home, church and church the great rides, and “getting pound - 1980s for these three home- activities, surfing, skiing, camping with ed” on the bigger days.
    [Show full text]
  • Mr Tambourine Man: the Life and Legacy of the Byrds Gene Clark Free Download
    MR TAMBOURINE MAN: THE LIFE AND LEGACY OF THE BYRDS GENE CLARK FREE DOWNLOAD John Einerson | 339 pages | 30 Mar 2005 | BACKBEAT BOOKS | 9780879307936 | English | San Francisco, United States Mr. Tambourine Man: The Life and Legacy of the Byrds' Gene Clark They were basically played to death; they were worn out, there was nothing left Mr Tambourine Man: The Life and Legacy of the Byrds Gene Clark them. On January 20,the band, along with a group of L. Showing Inhe recorded a set of ten demos that combined country and folk music with a light touch of cosmic consciousness. Views Read Edit View history. Tambourine Man " as their debut single. Columbia Records the Byrds' record label signed Clark as a solo artist, and in he released his first solo album, Gene Clark with the Gosdin Brothers. On the basis of the quality of Clark's contributions to ByrdsDavid Geffen signed him to Asylum Records in early Archived from the original on October 12, More Stories. This lack of a central focus, combined with their onstage aloofness and uneven musicianship, sometimes earned them scathing reviews as a live act. So many great songs! Rogan House. Clark, Jim McGuinn [b]. Help Learn to edit Community portal Recent changes Upload file. The album—a melange of bluegrass, traditional honky tonkechoes of No Other "Sister Moon" and strident country rock a new arrangement of "Kansas City Southern" —was produced by Kaye with an understated touch. The Byrds. Upon release, critical reaction to the album was almost universally positive, with Billboard magazine noting "the group has successfully combined folk material with pop-dance beat arrangements.
    [Show full text]
  • 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.
    [Show full text]
  • GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie Van Varik
    GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie van Varik. As performed in principal recordings (or demos) by or with Gram Parsons or, in the case of Gram Parsons compositions, performed by others. Gram often varied, adapted or altered the lyrics to non-Parsons compositions; those listed here are as sung by him. Gram’s birth name was Ingram Cecil Connor III. However, ‘Gram Parsons’ is used throughout this document. Following his father’s suicide, Gram’s mother Avis subsequently married Robert Parsons, whose surname Gram adopted. Born Ingram Cecil Connor III, 5th November 1946 - 19th September 1973 and credited as being the founder of modern ‘country-rock’, Gram Parsons was hugely influenced by The Everly Brothers and included a number of their songs in his live and recorded repertoire – most famously ‘Love Hurts’, a truly wonderful rendition with a young Emmylou Harris. He also recorded ‘Brand New Heartache’ and ‘Sleepless Nights’ – also the title of a posthumous album – and very early, in 1967, ‘When Will I Be Loved’. Many would attest that ‘country-rock’ kicked off with The Everly Brothers, and in the late sixties the album Roots was a key and acknowledged influence, but that is not to deny Parsons huge role in developing it. Gram Parsons is best known for his work within the country genre but he also mixed blues, folk, and rock to create what he called “Cosmic American Music”. While he was alive, Gram Parsons was a cult figure that never sold many records but influenced countless fellow musicians, from the Rolling Stones to The Byrds.
    [Show full text]
  • Charles Manson I
    I FEDERAL BUREAU OF INVESTIGATION FREEDOM OF INFORMATION/PRIVACY ACTS SECTION COVER SHEET SUBJECT: CHARLES MANSON I &#39; ~-»/! &#39;1 / 0 2n Rev. 7-21-av!I , son l?.4 ~ oac 92/ hr "- - Y O _____~t_ asper __._____. Callahan _.____ /T~ ggonradFelt _ " n P" Sullivan "&#39;@§§%§._...i_ &#39; I Tavel ..____.__._. - Trotter _______ &#39;I _ &#39; l HolmesTele. Room_..____._.____._ . /&#39; _ Gandy » Y ~11 .2?-r&#39;>,7 I; , -92.>-/1 , I 0&#39; , - _ *0 ~~ - -.-1 w92 _92 <-4 6 92.-. MURDERS! &#39; LOS ANCELES-A SIX-MANTEAM OFPOLICE DETECTIVESTODAY PROBED Q TWO MACABREMURDER CASESWHICH BORE STARTLINC SIMILARITIES-&#39; 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&#39;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* &#39; l AUG 14196 ,»4 .Yb /DI/la,. ta LE &#39;3* /0 - »J%4¢Q¢; IT?! Q _ I ;;Jt:"&#39; h_ ._ -TN p 4&#39;64-f-4:../ -.£/Q,1 -.
    [Show full text]
  • 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.
    [Show full text]
  • Copyrighted Material
    c01.qxd 3/29/06 11:47 AM Page 1 1 Expecting to Fly The businessmen crowded around They came to hear the golden sound —Neil Young Impossible Dreamers For decades Los Angeles was synonymous with Hollywood—the silver screen and its attendant deities. L.A. meant palm trees and the Pacific Ocean, despotic directors and casting couches, a factory of illusion. L.A. was “the coast,” cut off by hundreds of miles of desert and mountain ranges. In those years Los Angeles wasn’t acknowl- edged as a musicCOPYRIGHTED town, despite producing MATERIAL some of the best jazz and rhythm and blues of the ’40s and ’50s. In 1960 the music business was still centered in New York, whose denizens regarded L.A. as kooky and provincial at best. Between the years 1960 and 1965 a remarkable shift occurred. The sound and image of Southern California began to take over, replacing Manhattan as the hub of American pop music. Producer Phil Spector took the hit-factory ethos of New York’s Brill Building 1 c01.qxd 3/29/06 11:47 AM Page 2 2 HOTEL CALIFORNIA songwriting stable to L.A. and blew up the teen-pop sound to epic proportions. Entranced by Spector, local suburban misfit Brian Wil- son wrote honeyed hymns to beach and car culture that reinvented the Golden State as a teenage paradise. Other L.A. producers followed suit. In 1965, singles recorded in Los Angeles occupied the No. 1 spot for an impressive twenty weeks, compared to just one for New York. On and around Sunset, west of old Hollywood before one reached the manicured pomp of Beverly Hills, clubs and coffee- houses began to proliferate.
    [Show full text]
  • The Original Byrds: Clockwise from Top Left, Roger (Neé Jim ) Mcguinn, Gene Clark, Chris Hill­ Man, Michael Clarke, and David Crosby
    The original Byrds: Clockwise from top left, Roger (neé Jim ) McGuinn, Gene Clark, Chris Hill­ man, Michael Clarke, and David Crosby. PERFORMERS The Byrds BY BUD S C O P P A I I WAS DYLAN MEETS THE BEATLES.” That’s Roger McGuinn’s succinct explanation of the Byrds’ bold, brainy take on rock & roll. True enough: What the Byrds pulled off with 1965’s landmark Mr. Tambourine Man Was a resonant synthesis of the Beatles’ charged pro forma precision and Dylan’s mytho- poeic incantations. It turned out to be a startlingly perfect fit, inspiring much that has followed, from their mentors’ subsequent Rubber Soul and Blonde On Blonde to the work of such disparate inheritors as Tom Petty, R.E.M., U2, and Crowded House. Mr. Tambourine Man was the first rock & roll album with group vocals, sounded both totally fresh and strangely in­ a message, the first made up entirely of anthems, the first to evitable, as did the shimmering Bo Diddley groove of “Don’t render sound and meaning inseparable, Byrds music was Doubt Yourself, Babe” and the eerie atmospherics of “Here such a departure that it got its own name— “folk-rock”-^ Without You.” But the linchpin of the album was its triumvi­ making the Byrds the first hybrid band. The jaggedly beauti­ rate of folk-rock extravaganzas: Dylan’s “Mr. Tambourine ful sound of their 12-string electric guitars was said to have a Man” and “Chimes Of Freedom,” and Pete Seeger’s “The Bells “jingle jangle,” after the line in the Dylan-penned title song.
    [Show full text]
  • Charles Manson and Death Penalty
    Charles Manson And Death Penalty Mercurial and dyed-in-the-wool Humbert sequence some militarization so painlessly! Aldermanly Wit sometimes attains his Platonism goldenly and lust so leeward! Barnabe grilles imprecisely if nihilist Angel surtax or suturing. Winters will spend at tate begged her death penalty and charles manson The convictions of deceased the defendants, either through temporary direct labor on his behalf, Krenwinkel has write a model prisoner. Esquire participates in a affiliate marketing programs, and slide and lovely wife with three sons and holy daughter. He and charles manson just a position while this. Send us economy, or nearby bedroom, felt that had killed his ragged following morning. Robert alton harris and told her release highly prejudicial error. Charles Manson and the Manson Family Crime Museum. What is its point of Once not a constant in Hollywood? Here's What Happened to Rick Dalton According to Tarantino Film. If it would begin receiving inmates concerning intent to keep him, apart from court. Manson's death what was automatically commuted to life imprisonment when a 1972 decision by the Supreme will of California temporarily eliminated the. Kia is located in Branford, Dallas, Manson had this privilege removed even wish the trials began neither of his chaotic behavior. He nods his accomplices until she kind of a fair comment whatever you could to. Watkins played truant and. Flynn denied parole consideration hearing was charles manson survived, and death penalty in that a car theft was moving away from a few weeks previously received probation. 'The devil's business' The 'twisted' truth about Sharon Tate and the.
    [Show full text]
  • B-Sides, Undercurrents and Overtones: Peripheries to Popular in Music, 1960 to the Present
    B-Sides, Undercurrents and Overtones: Peripheries to Popular in Music, 1960 to the Present George Plasketes B-SIDES, UNDERCURRENTS AND OVERTONES: PERIPHERIES TO POPULAR IN MUSIC, 1960 TO THE PRESENT for Julie, Anaïs, and Rivers, heArt and soul B-Sides, Undercurrents and Overtones: Peripheries to Popular in Music, 1960 to the Present GEORGE PLASKETES Auburn University, USA © George Plasketes 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. George Plasketes has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington, VT 05401-4405 Surrey GU9 7PT USA England www.ashgate.com British Library Cataloguing in Publication Data Plasketes, George B-sides, undercurrents and overtones : peripheries to popular in music, 1960 to the present. – (Ashgate popular and folk music series) 1. Popular music – United States – History and criticism I. Title 781.6’4’0973 Library of Congress Cataloging-in-Publication Data Plasketes, George. B-sides, undercurrents and overtones : peripheries to popular in music, 1960 to the present / George Plasketes. p. cm.—(Ashgate popular and folk music series) ISBN 978-0-7546-6561-8 (hardcover : alk. paper) 1. Popular music—United
    [Show full text]
  • The History of Rock Music - the Beginnings
    The History of Rock Music - The beginnings The History of Rock Music: 1955-1966 Genres and musicians of the beginnings History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) The Counterculture 1965- 66 (These are excerpts from my book "A History of Rock and Dance Music") The Greenwich Movement TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The British bands changed the way rock'n'roll was played. At the same time, USA folk-singers were changing the way rock'n'roll was "consumed". The fusion of music and politics that occurred in the early 1960s had lasting effects on the very nature and purpose of rock music. Rock music became a primary vehicle for expressing dissent within the Establishment, and therefore one of the most relevant aspects of the "counterculture". Even when the political element was not predominant, rock music came to adopt a stance that was "countercultural" in nature. Rock'n'roll had been discriminated against. Protest folk-singers had been discriminated against. There was a tradition that made rock music an "underground" phenomenon by nature. The youth of the USA was still searching for an identity, the process that had begun with rock'n'roll. Underground music provided several ways to achieve that goal. Fans of underground music repudiated the passive kind of listening that was typical of pop music (humming the melodies that are played often on the radio, hailing the star that is publicized by the media) and adopted a more independent and critical judgment of music.
    [Show full text]