Friday, December 19, 2014

Satan's Sadists Filmed at Spahn Ranch

Satan's Sadists was the second to the last movie filmed at Spahn Ranch before the fire that destroyed it.  The last movie, of course, was Robert Hendrickson's Manson.

The movie starred Russ Tamblyn who was also in another movie filmed at Spahn, The Female Bunch.  We did a few posts on that one, here , here and here .

Also in the film was Regina Carroll who, after the arrests for the Tate LaBianca murders, had some choice things to say about the Family and their actions at the time of the filming.  That article can be read at CieloDrive .  It's a good article that I wasn't able to find elsewhere online.

Supposedly Shorty can be seen in this film but according to Chatsworth Charlie who sent me the link to the movie, he couldn't find Shorty.

The movie was released June 1, 1969.

Thanks Chats!

Wednesday, December 17, 2014

Matthew Roberts Opinion of Star

Let me tell you, it ain't pretty!

EXCLUSIVE: Charles Manson's 26-year-old bride is 'an opportunistic pariah' simply interested in his hidden fortune, says his son, a musician whose mother was raped by the imprisoned serial killer, 80

  • Matthew Roberts tells MailOnline he believes his father and his new stepmother have put bizarre wedding together
  • Manson appears to have married Afton 'Star' Burton in recent days and she has been seen with ring on her wedding finger 
  • Roberts has formed relationship with serial killer despite learning that his mother was raped by Manson 
  • He believes his father's fortune from artworks and music made in prison and sold on official website may be well into six figures 
  • Says Burton is happy to have access to it while Manson is getting 'bit of amusement' before he dies
  • 'She needs to realize she will become the most hated woman in America,' says Roberts

Read more: HERE

Was Paul Watkins interviewed in a "Mr. Big" sting police operation?

Was Paul Watkins interviewed in a "Mr. Big" sting police operation? What is a Mr. Big Sting? We figured you'd ask...

Undercover police officers pretend to be members of a fake criminal organization. They attempt to "recruit" a suspect to the fake gang in order to get him or her to confess to prior crimes.

The officers slowly build their suspect's trust, and ask him to do increasingly important jobs for the organization. In the end, the officers introduce their suspect to the fictitious leader of the organization. The so-called "Mr. Big" then tells the suspect that the gang can help him, but only if he recounts his entire criminal experience.

Rather than landing the potential gangster a role in a criminal organization, however, those confessions can send them to jail.

Remember  Jake Friedberg, who (according to Watkins) put Paul up in a hotel suite for three days then vanished? Could it have been an early police "Mr Big" sting? Think about it... Paul is invited to meet 'Mr Big'. He wines and dines him, brags about the crimes they commit while making him comfortable enough to share his exploits to gain acceptance into their group. They tell him that they want to branch out and since Charlie is in jail they need Paul to be the new connection. But first, can they trust Paul? They want to get him to admit to some crimes in order to gain their trust and then... busted. But he didn't know anything he didn't already tell the LAPD, so they vanished and nobody knows who they were or where they went. By the way, this tactic is illegal in the United States, so it will never come out if that was actually what they were up to.

Below is a short excerpt from Paul's book, MY LIFE WITH CHARLES MANSON - by PAUL WATKINS and Guillermo Soledad (if you'd like to download a PDF of the book, CLICK HERE). It deals with Paul's encounter with Friedberg beginning on page 187:
After that episode, things happened fast. Later that same week I was coming out of the court building when a dapper little guy sporting a goatee and dressed in a double-breasted suit approached me, saying he was a lawyer and wanted to ask me a few questions. I walked with him to a chauffeured limousine and we drove up to Hollywood. He introduced himself as Jake Friedberg, saying he just wanted some information about the Family and that he'd make it worth my while to provide it. He asked if I'd mind staying at the Continental Hyatt House for a couple of days, and when I said no, he made a reservation for me in the penthouse. I spent two days there telling him what I knew; on the morning of the third day, as I was leaving the hotel, I was paged to the phone. It was Crockett; I'd called him the day I arrived and left my number.

His voice was hard and clear, like a pick against granite.

"Where the hell you been?"


"I been tryin' to get you. D.A.'s office called us up and said that guy Friedberg is a Mafia man... somethin' about La Bianca's connection with the syndicate... he say anything about it?"


There was a long pause. Then Crockett spoke. "Where you tryin' to take yourself anyway, oblivion?"

I didn't answer. I didn't know.

"When you comin' out to the desert?"

"It won't be long."

I waited [for] Friedberg to come back, but he didn't. And I never saw him again.

Special thanks to Daniel (a MansonBlog secret weapon)

Monday, December 15, 2014

Searching For God in the Sixties - Dr. Dave Williams Part 6 - Beyond Good and Evil

Welcome to Part 5 (Beyond Good and Evil) of our 6 part series with Dr. Dave Williams, author of  Searching For God in the Sixties. Each part is being presented on Mondays. Dr. Dave is making himself available to answer questions in the comments section.


One of Manson's proudest boasts is that he always spoke what he called the "truth": "I walk a real road. I am a real person. I'm not a phony. I don't put on no airs. I say what I think." What he meant by this is that he does not lie, that he insists on telling it as he believes it. In the parole hearing, he knew what the parole officers wanted to hear. He could have lied; he probably could have even lied successfully. He didn't. Asked what he might do if he was let out, would a hustling con have told the parole board, "I'll cheat. I'll steal. I'll do whatever I have to do to survive, and that's a reality"? But even in simple questions, when pressed for a yes or a no whether he had a family still waiting for him on the outside, he answered "I can't explain it to you man. It doesn't have a yes or no." All he has is what is in his mind. For him to give that up, to lie, would be to surrender the void back to the world, which is what society wants. Instead, he says to the court, "I showed you some strength. I haven't surrendered to this by copping out to yours or telling tales or playing weak…. You've done everything you can to me, and I'm still here."
This is part of the voice from the Infinite which Clem was drawn to. It was a large part of Manson's appeal for kids trying to escape from a sham suburban world of lies wrapped around lies wrapped around lies. "Manson is the only person I ever met who just tells you the truth and doesn't even understand someone having bad feelings about it," said Gypsy. "It's hard to live with a person who tells the truth all the time. Why? Because lots of time we don't want to hear the truth. Manson knows the truth because he knows nothing; he knows the power of an empty head."
But the ultimate irony is that in knowing the power of an empty head and how to use it, Manson also knew the destructive force of a whole civilization of empty heads all playing mindless games. He preached death to liberate his followers from the games of the old culture, games which were leading to wars, famine, oppression, the destruction of the planet. But the death of the old game-playing ego was only a prelude to the rebirth of the new spirit. Manson wasn't just a tree-shaker; he was also a jelly maker. Not just another deconstructionist proclaiming the void in all things, he saw the possibility of creating a new essential narrative. And it is in his horrifyingly honest articulation of his solution to humanity's dilemma that he fulfills Joan Didion's darkest paranoid fear, that out of this army of lost children would arise some fascist leader appealing to the cosmic mind inside everyone for which he was the self-appointed spokesman.
"Whoever is going to put order into the world," Manson tried to explain to Geraldo Rivera, "has to stumble across Hitler." Order is the answer to disorder. If the planet is to be saved from the rapacious destruction of human civilization, then, according to Manson, someone needs to "put order into the world." Manson even for a while set up his own organization with its own webpage ( for this purpose. ATWA stands for Air, Trees, Water, Animals, the life which will be saved when he re-organizes our helter-skelter madness. Asked to explain the swastika he has cut into his forehead, Manson said, "How do you have Peace on Earth? How do you communicate to a whole group of people. You stand up and take the worst fear symbol there is and say, there, now I've got your fear. And your fear is your power and your power is your control. I'm your king of this whole planet. I'm gonna rule this world through ATWA. I want this world cleaned up." But the swastika is more than a symbol of fear. It is also a symbol of Hitler's particular attempt to put order into the world, an order that included each race staying within its own circle. Manson is definitely both anti-semitic and racist, to say nothing of sexist. He freely admits it. His idea of order is in fact more like that of the pre-war generations with which he identifies, than of the flower-children of the Sixties. The older generation had experienced the horror of the depression and the world war and wanted security. So did Manson. His ideas of social and political order were very old fashioned. He also admitted that he preferred the music of Frank Sinatra to the mayhem of Rock and Roll or even the Beatles. He wanted to overcome the chaos around him and restore a sense of order.
Manson once warned his parole board, "If I'm not paroled, and I don't get a chance to get back on top of this dream, you're gonna lose all your money, your farms aren't going to be able to produce. You're gonna win Helter Skelter. You're gonna win your reality." Whether this "I" refers to Manson the man or the universal "I" locked within each of us in the subconsciousness is, as usual, not at all clear. And it makes a difference. But in either case, Helter Skelter is the confusion of a world gone crazy and in need of order. "This dream" is the consciousness of mainstream society that is leading humanity into chaos and suicide. According to Manson, the liberation of the voice of the unconsciousness collective mind to organize all the unconscious minds into one big consciousness can change the dream in such a way as to prevent mankind from destroying the planet.

When Manson argued that his consciousness came from a deeper place "beyond good and evil," he at least conjured up in the minds of more learned people an historic parallel. Nietzsche, who used that phrase in a famous book, was also the product of a romantic movement, the culmination of nineteenth-century German mysticism. He was also the son of a Protestant father. His theory of the Superman who existed outside of the merely artificially constructed codes of bourgeois culture inspired the Nazis. Like Nietzsche, Manson saw that the codes of society are artificial, contingent, socially-constructed, and thus unworthy of respect. Like Nietzsche, he believed himself capable of freeing himself from them and living on a higher plane. He saw the void, but rather than surrender to it, he believed he had what it took to fill the emptiness with a new and better structure.
Joan Didion was right. At the end of the antinomian Summer of Love, a rough beast was slouching toward Bethlehem. A potential Hitler was organizing his small but faithful army. More importantly, if it hadn't been Manson, it would have been someone else. All of those ideas were out there waiting to be brought together and applied. Romanticism, as Paglia warns, ends in decadence that then leads to Fascism. The Sixties themselves, though they began on a note of triumphant liberation ended up liberating too much too soon. Like the peasants at Munster in 1535, the counter-culture went too far too fast, not just ahead of society but ahead of itself.

In light of all this, for reporters to harp on the literal facts of who did what when during the murders often seems as absurd as showing "Reefer Madness" to high school kids to keep them from smoking pot. Once again, the adults haven't a clue. Until they address Manson's issues, they won't have any credibility either. Someone needs to address these questions in language that people understand. Otherwise, kids will turn to the Mansons among us for their answers. "A lot of the kids," says Manson, "never met anybody who told them the truth. They never had anybody who was truthful to them. You know, they never had anybody that wouldn't lie or snake or play old fake games. So all I did was I was honest with a bunch of kids." That is a powerful indictment of our society.
However appalled one must be by the literal reality of Manson, it is almost impossible not to also take him on the level of symbolic consciousness. "They don't want to ever let me go," he explains, "because they feel secure as long as they've got me locked up in that cell. They feel like, yeah, they've got THE MAN locked up right there in a box." Perhaps this is only literal; or perhaps Manson has taken over the role in society that black people used to play, the symbol of the terrors of the subconscious. We need to keep our rational consciousness safe from the chaos on the other side. So we lock up the subconscious under what Freud called the censor. And through the power of symbolic consciousness we imagine that by segregating black people, or locking Charlie Manson in a cell, we have the irrational forces of the subconscious under our rational control. We try to keep the conditioning going. We try to make the combine run more smoothly by adjusting everyone's programming so everyone will think and behave as they should. And yet the secondary meanings are always there. The literal continues to point to the symbolic for anyone able to read between the lines of the text. Even when, perhaps especially when it is least intended, the ironic meanings bring us up short.
At his last parole hearing, Manson was of course rejected. The parole board went through a long explanation why and listed a series of problems. The final problem, number five, reads as if a line from Ken Kesey's Cuckoo's Nest, "The prisoner has not completed the necessary programming which is essential to his adjustment and needs additional time to gain such programming."
To which Manson has the final, chilling word, "Can't you see I'm out, man? Can't you see I'm out? Can't you see I'm free?

Since Charles Manson has never himself published anything in his own right, the best sources of his words are the many interviews he has conducted since being sent to prison. 
A book by Nuel Emmons titled Manson: In His own Words (Grove 1986) is not in Manson’s own words at all but in the words of a former cellmate who saw a way to profit off his brief encounter. Tex Watson’s  Will You Die For Me? (Revel 1978), while full of informative information, needs to be read in the context of its author’s attempt to evade his own responsibility. Vincent Bugliosi’s Helter Skelter  (Norton 1974) remains the definitive text on the Mason trial, written by the prosecutor himself. It is full of information and reliable quotations. When Manson was still  on trial, an interview with David Felton appeared in the June 1970 Rolling Stone titled "Year of the Fork; Night of the Hunter." It was later published in a collection titled  The MindFuckers: The Rise of Acid Fascism in America (Straight Arrow Books, 1972), to which I made a small introductory contribution. It is an excellent sourcebook. Also excellent is Ed Sanders The Family, (EP Dutton, 1971). Edward George’s Taming the Beast: Charles Manson’s Life Behind Bars (St. Martin’s, 1998) reveals its sensationalist bias in its title, but it does contain transcripts of Manson’s 1970, 1986, and 1992 parole hearings in a lengthy appendix.  Much of this material once could  be found on the website maintained by Manson’s confidant St George at Transcribed lyrics to several of his songs can be found in The Garbage People (Omega Press 1971) by John Gilmore and Ron Kenner.



Among the interviews given by Manson, including his parole interviews, for which I have either VHS videotapes or written transcripts and which I used for this piece are:
1981 "The Tomorrow Show" with Tom Snyder
1985  interview with  "Maurie Povich"
1986 "Nightwatch" with Charlie Rose
1989 "Inside story" with Patti Daniels
1981 interview with Geraldo Rivera
1991 Hard Copy Interview "Charlie Manson Today"
1994 Diane Sawyer  "Turning Point"Interview "The Manson Women"

Parole Hearings:

Sunday, December 14, 2014


We at received unconfirmed word this morning from a souce who claimed to have called Corcoran to confirm that Charles Manson and Star had married this weekend. The same source is this evening stating that the marriage DID NOT happen after all:  

"I would like dispel a rumor that was started this am after I personally spoke with prison officials. I just spoke with Star, they are not married, no date is set, the photo is from last week, and she begs that people please stop calling the prison, or sending crazy letters to cm in regards to this personal situation. I apologize for shit info from the folk at Corcoran, however this is from the horses mouth."

The photo that the source is referring to was published this morning in the Daily Mail:

"A 'superfan' of Charles Manson appears to have carried out her vow to marry the 80-year-old notorious mass murderer.
Afton Elaine Burton, who calls herself Star, was spotted outside her home on Saturday proudly flaunting a new ring on her wedding finger."

Friday, December 12, 2014

The strategy behind Charles Manson’s engagement

By , Communities Digital News

CALIFORNIA, November 19, 2014  — It appears that notorious 80-year-old convicted serial killer Charles Manson has found his soul mate. Press releases indicate Manson is scheduled to be married next month to a young woman named Afton Burton. Burton, age 25, was re-named "Star" by Manson when she was 16 years old.

Is this potential union really the result of May-December love? Unlikely. It is more likely a strategic move by Manson and his best friend and family member, Craig Hammond. Manson is a complex and highly enigmatic personality. However, after having long conversations with Manson and developing a friendship with Hammond, I have some clear insight into Manson and his motivations.

In 2009, I had more than 3 1/2 hours of conversations with Manson. I also became friends with 63-year-old Hammond, who Manson calls "Grey Wolf." At that time, Burton and Hammond were living together close to the California Corcoran State Prison for Men so they could visit Manson as frequently as allowed.

Manson has a habit of nick-naming those close to him. "Star" and "Grey Wolf" are both names Manson picked.

Hammond and Manson met after the infamous "Manson Family Murders," so Hammond had no involvement and little knowledge of the bloody murders in August of 1969 which viciously and savagely took the lives of seven people in their homes in a two night spree.

After Manson's conviction, Hammond remained close to Manson. He has visited Manson and played chess with him for 45 years.  Afton Burton is no more than a pawn in their ongoing game of chess.

Burton lived in Illinois with her parents and had written Manson many letters. Manson replied to those letter. When Burton was 16, Manson instructed her to move in with Hammond at his California residence. According to Hammond, Manson instructed Burton to "take care of him," meaning Hammond.

In 2009 when this author was speaking to Manson, Hammond and Burton, phone calls placed to Hammond would be frequently answered by Burton.

On one particular morning, Manson placed a call directly to this writer's office phone without the benefit of the prison communication system. The call came at 3 a.m. Manson explained the call by saying he had access to a guard's office, but a week later, every news source in America reported Manson was caught with an illegal cell phone.

After four years of quiet, Manson again made the news in concert with his friend Hammond. Press reported that Hammond was arrested for sneaking a watch type of cell phone into the prison. It appears that Hammond provided the means for Manson's cell phone in 2009.

As a result of the arrest, Hammond was banned from Corcoran and from all communication with Manson. This spelled trouble for Manson, as Hammond was Manson's lifeline to the outside world.

Additionally, Hammond and Burton were working hard for Manson's release, but this effort ground to a halt when Hammond was arrested.

What to do?

Manson is crafty. If he marries Burton, she will have spousal access to Manson, although his sentence precludes them from conjugal visits. Burton will access records kept from view for close to half a century and she can provide Manson a direct line to Hammond and vice versa.

Burton has given her life to Manson, so from her standpoint, she may be in love with Manson. However, last year when the marriage first became tabloid fodder, Manson steadfastly denied the possibility.

Love? Unlikely. Strategy is a better explanation.

Paul mountjoy is a Virginia based psychotherapist

Wednesday, December 10, 2014

Dean Moorehouse's Mendocino County Probation Department Report

This report was made after Moorehouse was found guilty in the second jury trial held to determine his guilt or innocence for selling LSD.  The first trial ended in a hung jury. has excellent background on Moorehouse and how he became involved with the Family.  That information can be found HERE .  Among the information provided are some documents showing that Moorehouse could not have occupied the Cielo Drive house between the time that Candace Bergen and Terry Melcher lived there and Roman and Sharon signed a lease.  Bugliosi was flat out wrong when he stated this in his book and it seems to be one of the harder rumors to quash.  Moorehouse was sent to prison January 2, 1969, the day after Bergen and Melcher moved out!

Dean Moorehouse, last known photo

Monday, December 8, 2014

Searching For God in the Sixties - Dr. Dave Williams Part 5 - Death Literal and Spiritual

Welcome to Part 5 (Death Literal and Spiritual) of our 6 part series with Dr. Dave Williams, author of  Searching For God in the Sixties. Each part is being presented on Mondays. Dr. Dave is making himself available to answer questions in the comments section.

Part 1 - Part 2 - Part 3 - Part 4 - Part 6


Manson's message then to the hippies he picked up along the road was one they were ready to hear, that the rational world they had dropped out of was false and that new possibilities existed once they broke free of that mindset. "People only love each other in books," he said, "you can't love each other in reality because you're all trapped in books, locked up in wars. You are all locked up in the second world war…. I'm trying to unlock that war." As the war raged in Vietnam, with the generals and politicians all projecting Hitler's invasion of Poland onto Ho Chi Minh, this made sense. With segregation still rampant in the south, racism a curse throughout the nation, the cities burning in yearly riots, leaders assassinated, nuclear Armageddon threatened, the need to break away from the old games and enter a new dispensation seemed clear.

Manson's songs are perhaps the best example of this message. "Look at your game girl," the song that Axl Rose made infamous, is Manson trying to convince a young girl that it is all "a mad delusion,/ living in that confusion./Frustration and doubt./Can you ever live without your game?" So everything she is is a game, and she needs to realize that "You can tell those lies baby, but you're only fooling you." Every adolescent, every human being, has doubts which reach far into the soul. In the Sixties, a whole generation going through an intense identity crisis, faced doubts about the game we had all been taught. Manson's message was not unique, but communicated one on one to young, uneducated drop outs it came across as cosmically original.

One other song, "Ego is a too much thing," also brings down to a basic level a complex idea which was very much part of the mindset of the era. They have placed rationality, your reason, Blake's Urizen, in control, and shoved all the love into the back, "And they call it your subconscious." The computer up front demands to be in control; it demands to be accepted as you. It "makes you want to jump on a band and fight,/And you can't stand not to be right." It makes you "afraid you are gonna act like a clown/And you get mad when somebody puts you down." The answer to the problem of ego being a "too much thing", is to lose your ego: "Your certainty turns to doubt/And then you start flipping out,/And then you ease on out of your mind."

To lose one's ego is to lose one's common sense view of the world, to leave rationality behind. Included in all that is whatever social construct one was brought up to believe, be it Mormon Republicanism or Jewish liberalism or Roman Catholicism or scientific atheism. It does not matter. Each and every world view, conservative or radical, is just another world view, just another game. This anti-rationality therefore lends itself very easily to relativism, to the idea that all belief systems are equally valid, or invalid, but equally whatever value systems are. They are all "just games." Or as Manson once succinctly summed up the spirit of relativism, "Shit's like sugar to flies."

And the games all take place in an illusion of which even the concept of time plays a role. It is part of Manson's whole conception that the normal cause and effect relationships in which we all believe, including time, are themselves part of the illusion, part of the fallen world, not the Godhead from which it springs. There is only, he keeps saying, an eternal NOW. In this, he is saying nothing that mystics haven't said since the beginning of time. But in his mouth, the idea has important legal implications. If there is no time, there is no cause and effect; if there is no cause and effect, what ever he might have said was in a separate sphere from whatever his followers might have done. The circumstantial cause and effect connections that Bugliosi carefully put together have no meaning. "The idea," said Leslie Van Houghton in a recent cell block interview, "was to let time disappear. There was no time." Asked by Diane Sawyer what he expected would happen after he told the girls "you know what to do," Manson answered, "I don't live in anticipation, woman. I live in now."

As a capstone, there is the theory of language. "The Fall is into language," said Norman O. Brown, and Manson echoed that idea too. He blamed his conviction on the way the prosecutors "had to use catchy little words to make it into a reality, like hippie cult leader." In such ways, the illusions with which we live in the world are created and sustained by language. Language is the instrument of the illusion, of the fall. Said Manson,
That's what Jesus Christ taught us, words kill. They've filled every living thing with death. His disciples betrayed him by writing it down. Once it was written, it was as dead as a tombstone... They killed him with every word in the new Testament. Every word is another nail in the cross, another betrayal disguised as love. Every word is soaked with his blood. He said, "go, do thou likewise." He didn't say write it down. The whole fucking system is built on those words - the church, the government, war, the whole death trip. The original sin was to write it down.
If the fall is into language, as Brown had proclaimed, then words are the evil of the world. Words are the tools of deception and control, the way in which the illusion is maintained. They must be used carefully, if at all. Or they must be discredited to liberate people from the illusion that words actually "mean" anything. What, after all, does it even mean to "mean?" It's all just words trying to fool us into believing we know not what. There is no presence in the text.

The way, finally, to escape from the illusion was to surrender the letter and to accept some larger vision. This could be achieved by breaking the hold of language, the letter, which keeps us chained to the illusion of the rational. Once one realizes that words are just sounds and then passes beyond the illusion of inherent meaning or presence in the text, escape becomes possible. In the "Bug Letter," written from his cell, Manson provided an example of this process:
To write I must slow my mind down. I'm not human in my ways of thought and I don't want to be programmed by schools of thought what man is or what man is not, woman, etc." nature" has a balance. I want it like a hunger. I learn a universe in a look, in a flash. I could slow down and spell the word over and over until it hangs in my thought pattern and holds little bits and pieces of power. I try to clear all patterns out of my mind to where I can become a tree or woods, a mountain, a world, a universe. Sparks in my mind become the only pattern I crave.
The pattern here is one that had been part of Manson's Protestant background for centuries, a death and rebirth sequence; it was to be born again. He himself often told the story of his own death and rebirth experience in the desert. He even used the scriptural language to define it. About the kids on his ranch, he said, "I turned ‘em loose. They became free in their minds. We started a rebirth movement, a rebirth in Jesus Christ. It's a Holy War really." But so ignorant was he of the larger historical framework and its wider influence over so much of American culture that he once charged Jimmy Carter and the religious right with stealing his idea, as if he had thought it up first.

This explains his fixation with death and the need to die. This is the meaning of the song "Cease to Exist" which he wrote for Dennis Wilson and the Beach Boys and which they put out as a mere seduction song, "Cease to Resist." But as so often throughout the history of Christian hermeneutics, the question of literal and metaphorical readings is constantly a problem. To have stated clearly a distinction between the two would have been to embrace another duality. As Emerson said in "Brahma," "shadow and sunlight are the same." So Manson talked death to his followers, some of whom never did understand that there was even a question of whether he meant literal or spiritual death.
Yet, literal death is important as a way of talking about spiritual death. They really cannot be divided. The death of Jesus of Nazareth the incarnate human on the cross is a necessary symbol of the spiritual death of the soul that is conversion. We humans love ourselves, our bodies, our existence. We don't want to die. So this fear of death becomes an image or shadow of the greater fear of spiritual death, of eternal death - "To die and know it! This is it. This is the black widow, death." Fear and paranoia thus become a part of the package. When the old Adam starts to die, he panics trying to hold onto the old consciousness as it disintegrates in his mind leaving him exposed and naked.

When the old certainties disintegrate, anything suddenly becomes possible, absolutely anything. Images of the devil, of hell, of aliens farming humans for consumption on their home world, you name it. Manson's and the Beatles' message then to "let go and surrender to the void. It is not dying" was a push into a terrifying experience.

To realize that one is only playing a game, and then to watch oneself playing that game, and then to watch oneself watching oneself playing that game, is a terrifying fade back into the infinite upon infinite layers of consciousness until one's mind is as Jonathan Edwards said "swallowed up in God." Thus all the emphasis on exposing game-playing that one reads throughout the Sixties finally culminated here. We have all been programmed by the combine. We need to realize that we are programmed, that we don't know why we believe what we believe or do what we do, and we need to escape from those illusions. This is true liberation from all of the games that have been laid down for thousands of years of civilized history.

Growing up in prison, Manson had experienced a different reality, a different world entirely from that on the outside. In prison, little tolerance is shown for the pretensions that so often mark personalities in the outside world. There each individual is forced back on his or her own final line of defenses, reduced, like the soldiers in Vietnam, to an elemental struggle for survival that has no patience for the petty games that people play. "In the pen you learn this, " Manson told one interviewer, "don't lie. I stand on my own. Not many people in your world can do that. I didn't realize this at that particular time. I didn't realize how weak and mindless you people really are." When he got out, Manson simply did not comprehend that people on the outside really believe their own movies. He had no idea that people actually took their own games seriously. This may explain part of why he allowed the game to get out of hand. At a rare moment in his 1986 parole hearing, when asked if he felt any responsibility for the murders, Manson responded,
Sure, I influenced a lot of people unbeknownst to my own understanding of it. I didn't understand the fears of people outside. I didn't understand the insecurities of people outside. I didn't understand people outside. And a lot of things I said and did affected a lot of people in a lot of different directions. It wasn't intentional. It wasn't with malice aforethought.
But a few seconds later when asked if he also felt "remorse," which presumes guilt, Manson sat for a long time in silence before saying, in resignation, "we reach an impasse here, man."

Friday, December 5, 2014

Screams from Tate murders: Who was it?

"Oh, God, no, please don't! Oh, God, no, don't, don't, don't...."

We've all read about the assortment of peculiar noises, gunshots & screams heard that awful night of August the 9th, 1969, and various sources have told different stories as to what actually occurred, and in what sequence, but do we really know 100% what happened? I would have to say a big "hell no!" I don't think anyone does, except for the monsters who were responsible. I'm sure this has been discussed over & over, but I wanted to mention it AGAIN. According to the prosecutor of this case, a man named Tim Ireland heard, at approximately 12:40 A.M., a man screaming "Oh, God, no, please don't! Oh, God, no, don't, don't, don't...." This was verified by police. (Mr. Ireland probably did not sleep too well for many months afterwards. I know I wouldn't of.) Also, according to defector witness Linda Kasabian, she saw Wojciech Frykowski stumbling out of the house, covered in blood. She also said he was screaming. Did she ever testify as to WHAT he was screaming? I don't know. This "point of view" has also been shared by the actual perpetrators too. Of course, whatever comes out of their yap is worthless, because it's usually self-serving bullshit, but.... What doesn't make sense is, IF, and I mean IF it was Wojciech screaming, why on earth would he have screamed in English? This is something I have never been able to understand. This man did not know English that well, and most likely would of been screaming in his own language, which was Polish. He was also fluent in French, since that is how Abigail Folger was able to communicate with him upon their first meeting. The only possible reason I could think of why he would of screamed in English was to try to get help, but he was probably so scared, and mortally wounded, he wouldn't of even known to do that. All of the victims were most likely in shock, and their brains probably couldn't even function beyond anything, much less trying to remember English phrases. This is one of MANY things about this case I just don't get. I know a lot of people think that Sharon & Jay were outside at some point during the attacks, because their blood was found on the porch. I always thought that was a mistake, caused by the incompetent crime scene technicians at the time. Of course, anything is a possibility. After all these years, one has to wonder WHY Tex & Pat aren't telling the truth about what really happened. Who are they protecting, and why? Sounds, screams, and other clues just don't add up to their version of what happened. I question a lot about this case. What do you think? Was it Wojciech Frykowski, who Tim Ireland heard, or Jay Sebring? Let us know what you think! I'm very curious to know what our readers think. 

Wednesday, December 3, 2014

Baker, CA

From friend of the blog, Cuntrytrash:

"Manson pumped gas here in ‘59 before he went back to prison, in Baker, California. He said his mother worked as a waitress at the cafe next door. This building is the remnants of what was the Dad Fairbanks (who founded Baker and Shoshone, California) Big Blue Baker Service. A very small part of the service station still stands, but is some weird head shop now. 

When Charlie was there, he said it was called "Standard Oil". 


He said he lived in a cabin out back with his mother: some foundations of the cabins still exist, but they are long gone. The road that is visible towards the right of the "now" aerial photo, below, goes to Tecopa/Shoshone. So, he was in the area long before ‘69. 


Big Blue was a gas station, cafe and cabins all in one. In the beginning it was the only business there.

Fairbanks founded three places Manson went: Baker (A on the map at right), Shoshone (B) and Ash Meadows (C, where Devil's Hole is at).  Fairbanks learned they were putting in a highway and gave Shoshone to his son-in-law Charles Brown, and moved to what he named Baker to capitalize on the highway... which is 58 miles from Shoshone. Kind of cool."

Yes, Cuntry! That is really cool. Thanks for sharing what you have learned with our readers.

Monday, December 1, 2014

Searching For God in the Sixties - Dr. Dave Williams Part 4 - The Power of an Empty Head

Welcome to Part 4 (The Power of an Empty Head) of our 6 part series with Dr. Dave Williams, author of  Searching For God in the Sixties. Each part is being presented on Mondays. Dr. Dave is making himself available to answer questions in the comments section.

Part 1 - Part 2 - Part 3 - Part 5 - Part 6


Setting aside as much as possible the horror of the Tate/LaBianca murders, it is instructive to look into Manson's belief system for evidence of why he was believed.  According to Bugliosi, part of Manson's charismatic appeal was "his ability to utter basic truisms to the right person at the right time." What were these truisms? Why did they work?

What we find when we do take Manson's own words seriously is that he had managed to absorb much of the developing philosophy of the Sixties.  In some way, he was the final extension of the mind's "true liberation,"  of the ideas of the Civil Rights movement, of the white radicals of SDS, of Timothy Leary and Baba Ram Das, of Norman O.  Brown.  What he said seemed to make sense to so many innocents because these same ideas were running all around them.  Manson is no intellectual in the conventional sense.  He is at best self-educated but not at all bookish, having spent his entire life, from childhood up, behind bars.  He has a sharp mind and has paid attention to the world around him.  But he never had much opportunity to compare notes or to talk with others about ideas.  He was like someone who learned French entirely out of books but never heard the language spoken.  When he emerged from prison in 1967, in the summer of love, his language and his approach were just bizarre enough to seem to be a part of the multi-faceted counter-culture.  And his beliefs seemed like the culmination of a decade of antinomianism, the logical extension of what had been going down, not just in the Sixties, but also throughout American history.

We can see here why so many people in the counter-culture at first embraced Manson as one of their own, why the underground press treated him as a martyr to the cause.  By taking on so much of the many strains of the Sixties, "Manson" became a symbol of the hippyfreak fighting back against the machine.  And the immediate assumption was, as it was when a black man was accused of rape, that this was an obvious frame, that Manson was being made a scapegoat by a crumbling establishment terrified that it was losing control over its children.  There were even a few, who had already gone over the edge, who assumed that he was indeed the perpetrator of the crime and congratulated him for striking a blow in a revolutionary war.  Bernadine Dohrn of SDS, when she heard the news, said, "Offing those rich pigs with their own forks and knives, and then eating a meal in the same room.  Far  out! The Weathermen dig Charles Manson." Jerry Rubin, who had rejected his parents' liberal rationalism for the spontaneous emotions of the crowd, said, "I fell in love with Manson the first time I saw his cherub face and sparkling eyes on TV."

In the romantic revolt of the nineteenth-century, Ralph Waldo Emerson had proclaimed the superiority of individual intuition over the corpse-cold tea of rationality and logic, and he had urged himself and others to be totally self-reliant, to trust the inner self.  What if this spirit you trust is from the Devil, not from God, asked his orthodox aunt, Mary Moody Emerson? "I do not believe it is," he replied, "but if so I will live then from the devil." What is in the self is paramount.  It and not the combine must be allowed to direct traffic.  He proclaimed that reality exists as consciousness and not as matter, and thus truth is to be sought not in science but in the subjective intuition of each mind.  Each of us, he said, if we dig down through the layers of culture and belief that has been accumulating over the millennia will find a universal consciousness we all share and from which we all come.  Therefore, he called on every free person to "speak your latent conviction and it shall be the universal sense."

Walt Whitman read Emerson and was inspired to believe that his heart's truth was indeed this universal truth, that when he said "I" he was both "Walt Whitman, a kosmos," and  "of Manhattan the son." He was a specific individual in the material world, but his voice was also a voice that came from the infinite.  As such, he was beyond the moral law, beyond even the Victorian era's horror at anything sexual, much less his flaunted homosexuality.  He was part and parcel of the universal mind and thus beyond good and evil.  A baby in the cradle, two teenagers in the bushes, a suicide lying dead on the floor were equally innocent in his eyes.

The 1960s have been called neo-transcendental because in many ways the ideology of the era was an echo of the transcendentalism of Emerson and Whitman's day.  Martin Luther King, Jr., a Baptist minister, opened the door a crack when he stood up in the name of righteousness against the laws that defended segregation.  He was willing to proclaim in the name of God that these laws were immoral.  How did he know? He felt it in his heart, in his conscience.  But he denied that he was an antinomian.  He was after all, a Baptist, in the historic tradition of his namesake, Martin Luther.  He spoke from within a historic tradition tied to the morality of the Bible and his Protestant faith.  He may have been outside the circle of American law, but he was still well within the circle of Western cultural beliefs.  Calvin had once before opened that door a crack and the result was the Puritan peopling of America.  Now through that same door streamed a generation of baby boomers who did not identify with the Baptist tradition, who in fact identified with no tradition, who had no grounding, and thus were truly antinomian and entirely on their own.  Norman O.  Brown's call to suspend rational common sense and follow the consciousness of the body spoke to these rebels.  Timothy Leary and Baba Ram Dass and the psychedelic experience heightened the sense of being outside the normal realms of consciousness and in touch with higher truths.  The radicals of SDS attacked American capitalism and militarism and racism and imagined themselves capable of superior insight into the political problems of humankind.  Even the grunts in Vietnam stepped outside the combine and gave themselves over almost completely to the wilderness outside the civilized laws they had been brought up to respect.

Into all this, Charles Manson emerged in 1967 and soaked up the ideas then prevalent and ar repeated them with a voice that commanded attention.  One of his followers tried to explain that he wasn't brainwashed by Manson but impressed by him: "The words that would come from Manson's mouth would not come from inside him, [they] would come from what I call the Infinite."

Just like Walt Whitman, Manson believes that his "I" was more than the limited ego of one particular small time hoodlum.  When he says "I" he means the same thing that Whitman meant when he began his "Song of Myself," with "I celebrate myself, and sing myself." The initial reaction of most people first reading this is, "what a conceited, egocentric ass!" But further reading reveals that his celebration is not of Walt Whitman of Manhattan the son, but Walt Whitman, spokesman for the "kosmos." When Walt Whitman the particular human opened his throat, the voice that came out came from the infinite.  His was the "latent conviction" which Emerson proclaimed would be "the universal sense," a voice inside each and every one of us, a  voice that exists not in rational consciousness but in the subconscious, below the petty games we play.  Whitman is no dualist, a finite sinful human out of touch with truth.  He is a pure romantic, a monist, convinced that what he feels in his heart is one with the falling rain, the blowing clover, the rising sun.

You hear this same conceit in much of Manson's rhetoric and behavior.  Where does your music come from, he is asked? His response is to stand up, say "It comes from this," and then go into a dance of flinging arms and swinging legs, a whirling dervish of energy.  His spirit, he is saying, is the basic spirit from which all life emanates.  He taps into that spirit.  "I respect the will of God, son," he says to Geraldo Rivera.

"What will is that?"

"The will of God." And then he goes into his dance again humming and chanting along with it. "Whatever you want to call it, Call it Jesus.  Call it Mohammed.  Call it Nuclear Mind.  Call it Blow the World up.  Call it your heart.  Call it whatever you want to call it.  It's still music to me.  It's there.  It's the will of life."

That this will is also his will is implicit in what follows: "They crowd me in," he tells Rivera, "and I've got this little space.  I live in the desert.  I live in the mountains, man.  I'm big.  My mind is big, but everyone's trying to crowd me down and push me down and make me something they need me to be.  But that's not me."

Manson calls himself Jesus Christ, but, like Emerson, he also says that every man is Jesus Christ.  Every man has the original energy within him. "I am everything, man," he says, and he means it.  But he does not bother to explain when the "I" of his discourse is the person, Charles Manson, or the Universal eye that is the will of God.  Thus he tells Rivera, "If I could kill about fifty million of you I might save my trees and my air and my water and my wildlife."

Taking him literally, and hoping for a good soundbite, Rivera responds, "You're going to kill fifty million people?"

Manson's answer is instructive.  It shows both what he is trying to say and his inability to communicate it.  "I didn't say I would kill anything," he protests.  "I'm reaping the head in thought.  I'm Jesus Christ whether you want to accept it or not… I'm reaping it in thought.  It's a thought, a thought," Obviously frustrated, he jabs his fingers on his head to emphasize his point. "Do you see what I'm saying? In other words, the whole world is a thought, and I am in the thought of Peace-on-Earth."

The point is not simply that Manson is speaking metaphorically.  He is doing that, but he is also saying that everything is a metaphor, that our very lives, our bodies, our surroundings, are metaphor; that we live in an illusion if we think this material reality is real.  Like Emerson and Edwards, he is a philosophical idealist.  He believes that what is ultimately real is not matter but consciousness.  This whole thing we call reality, or the universe, is an illusion, a dream.  What we call God is the dreamer.  And our bodies are no more real than are the strange beings that flit through our dreams at night.  The whole world is a thought, and each person's perceptions are but a series of thought within the framework of the larger thought.  As Manson once put it, "everyone's playing a different game with the thought." All of the many perceptions of this existence are but dreams within a larger dream.  This is where Manson is coming from when he says to the court and the straight world, "I don't live in your dream." This is why he says "You've got my body in a cell… but I'm walking in forever, man." He is freer, he claims, to wander among the mountain in his jail cell than if he were struggling to survive in the day-to-day realities of the outside world.  To believe that this physical world is the ultimate reality is to be trapped in the illusion.  To be aware of the cosmic mind is to be liberated from the illusion.

That is where all the emphasis on life as game-playing becomes important.  It is not a question of being brainwashed by the Capitalists' game, as the Marxists imagine, but of being brainwashed by any game, Capitalist, Marxist, Buddhist, scientific, you name it.  All of rational human consciousness is a walking dream from which people need to be awakened.  We are each, as Kesey kept saying,  trapped in a movie.  And the first thing we need is to realize it so we might try to break out of the movie or, perhaps, enjoy it more fully, more consciously, more completely and honestly.  

The key to this notion is the same as the key to most poetry; it is the idea of symbolic consciousness.  To realize, as Emerson said, that "we are symbols and we inhabit symbols," is to take the first step out of the common sense perception of reality into a transcendent consciousness.  Here, Manson sounds eerily like Norman O.  Brown, whom he may have never read.  But Brown's words were abroad in the Sixties; he could have picked them up anywhere.  Rolling Stone's article on Manson, written in 1969 and reprinted in Mindfuckers, puts quotes by Brown and Manson back to back.  "Words are symbols," Manson told Rolling Stone, "All I'm doing is jumbling the symbols in your brain.  Everything is symbolic.  Symbols are just connections in your brain.  Even your body is a symbol." In Love's Body, Brown writes, "The body is not to be understood literally.  Everything is symbolic, everything including the human body." And elsewhere in the book he writes, "To make in ourselves a new consciousness, an erotic sense of reality, is to become conscious of symbolism.  Symbolism is mind making connections (correspondences) rather than distinctions (separations)."

Manson saw the world as a symbolic manifestation, not a literal reality.  It is an illusion, a mask, and the things within this illusion point beyond themselves to some transcendent presence.  Everything from scripture to sex is a symbolic message from the divine trying to tell us something.  We are surrounded by messages we cannot read and locked into game-playing roles we do not understand, all at the mercy of some cosmic game player.

When Starbuck protests that Moby Dick is just a whale, Captain Ahab responds, "All visible objects, man, are but as pasteboard masks.  But in each event - in the living act, the undoubted deed - there, some unknown but still reasoning thing puts forth the moldings of its features from behind the unreasoning mask.  If man will strike, strike through the mask! How can the prisoner reach outside except by thrusting through that wall?"  Ahab, awakened to the fact of his being an actor in a greater movie not under his control, cannot enjoy the part, and so determines to make his role that of the rebel who resists his role, a rebellious role he realizes he was fated to play from the beginning of time.  It is a paradox. 

The Calvinists believed that we are all trapped in predetermined roles over which we have no control, but following Calvin, they imagined a way out.  They imagined that if they could crucify their human selves they might get in touch with the divine.  They imagined that a few, a very few, had the fate to escape the cage, and they imagined that they could identify these elect few.  Unfortunately,  this idea of the elect, dead to their old selves and born again to the divine self, expanded in America until it included almost anyone who wanted to belong.  In this democratization of spiritual election, we came to imagine the entire nation to be God's nation and we created worldly structures based on that conceit.  Yet the original conception remained alive beneath the sham. 

So in America we continue to have periods of awakening in which people realize that they have been playing parts that are not divine, which are in fact stupid and gross and evil.  They awake from their sleep and determine to break away from the old world with its corruptions and begin anew, to recreate the Garden of Eden in a new world.  They imagine that their reborn consciousness is the mind of God, and if that is so, it empowers them beyond any imagination.

Throughout the Sixties, this same message was repeated again and again.  We are all playing games.  We are all stuck in a movie.  We are all conditioned to believe in things that are not true.  We are all socially constructed, not essential, not in control.  Some would replace the old conditioning with new conditioning, a better jail with a kinder jailer.  The true Children of the Sixties, however, unlike the Marxists in SDS, did not embrace some new Egypt but kept on sojourning toward the Promised Land outside of the cages, outside of any jail.

This is who Manson said he was, a Christ, the person who had broken through, who was free.  Like Randle P.McMurphy, another sort of Christ, he had never been under the control of the combine.  Ironically, being in jail, where they did not bother to educate or socialize him, he remained free of all the institutions by which the state brainwashes its other children.  He received, as did McMurphy, another kind of conditioning, for sure.  But it was different, so he came out different and knew it.  He knew it was all a sham, and he believed this insight set him apart, put him on a higher plane. 

Rationality, he said, is a false god.  It is part of the game playing of the world.  The whole rational logical structure of the world is false and the people who play its games without realizing it are fools.  So he had little respect for the law, for the courts, for the lawyers, for any representative of the establishment.  His attack on the law had its parallel in Love's Body:
Reik, in a moment of apocalyptic optimism, declares that 'The enormous importance attached by criminal justice to the deed as such derives from a cultural phase which is approaching its end.' A social order based on the reality principle, a social order which draws the distinction between the wish and the deed, between the criminal and the righteous, is still the kingdom of darkness.
The interconnectedness of all things in the realm behind the veil means that everything is dependent upon all, that there is no individual consciousness, hence no individual freedom, and therefore no individual responsibility.  To be, as romantics imagine, in the divine consciousness, to participate in the godhead, is to be as Manson said, "inside of you.  I'm inside every one of you.  It's beyond good and evil."

To be romantic is to imagine that one exists in a realm of perfect Oneness in the garden, not in the fallen world of alienation, duality, and separateness.  The fall, original sin, dualism, and all that belong to the orthodox and neo-orthodox, the over-30s who think themselves still in Egypt or the wilderness, not at ease in Zion in the promised land.  At its core, the consciousness of the counter-culture, so evident at Woodstock, was a belief that we had somehow passed over into the garden and set our souls free, that we had left the fallen world of dualism and sin and passed into a new dispensation in which dualism had been overcome.  It is perhaps the highest vision of the oldest American dream, its most powerful inducement, but also its most dangerous delusion.

Emerson's remarkable poem "Brahma" brings this all together, traditional American romanticism, Eastern mysticism, and the transcendence of binaries like good and evil, life and death, killer and killed:

If the red slayer thinks he slays,
Or if the slain think he is slain,
They do not know the subtle ways
I keep, and pass, and turn again.
Far or forgot to me is near;
Shadow and sunlight are the same;
The vanished gods to me appear;
And one to me are shame and fame. 
They reckon ill who leave me out;
When me they fly, I am the wings;
I am the doubter and the doubt,
And I the hymn the Brahmin sings.
The strong gods pine for my abode,
And pine in vain the sacred seven;
But thou, meek lover of the good!
Find me, and turn thy back on heaven.

 To find that one mind behind the dualities of life, to find that cosmic center, that essence that Baba Ram Dass also thought he found, is to find a place beyond good and evil.  Hence, even heaven is part of a binary.  To believe in it is to reveal one's attachment still to the world with its binary consciousness.  Manson believed he had found that one mind, tripping away on acid, and hence he had turned his back on all of the false constructs of the language of the world, all of the artificially constructed binaries, including "heaven."

Thursday, November 27, 2014


We would like to thank all of our readers here at the blog. 

Wednesday, November 26, 2014

Linda Kasabian's Mother

Linda's mom takes the blame for Linda's actions!  An article from The National Tattler