Podcast appearances and mentions of Bobby Beausoleil

More than 50 years after the conviction of Charles Manson and members of the Manson Family for the shocking Tate-LaBianca murders, acclaimed filmmaker Errol Morris takes aim at the case. Inspired by author Tom O'Neill, whose book (“CHAOS: Charles Manson, the CIA, and the Secret History of the Sixties”) attempts to debunk the thesis of famed prosecutor Vincent Bugliosi, Errol dives deep into Bugliosi's “Helter Skelter” theory that convinced the jury — and then captivated the world as chronicled in his true crime bestseller.   Errol joins Ken on the pod to talk about what attracted him to O'Neill's skepticism of the Helter Skelter scenario in which Manson's apocalyptic vision of inciting a race war allegedly compelled his followers to carry out the massacre. But, even as the film delves into O'Neill's alternative theory involving the CIA's Project MKUltra (the subject of Errol's earlier Netflix series “Wormwood”), the narrative shifts once again, as Errol's nose for the truth leads him to Manson associate and convicted murderer Bobby Beausoleil. It's a convoluted path that may lead to the truth or, more likely, to more questions. It's just the kind of quest that Errol Morris fans and true crime buffs have been waiting for.   “CHAOS: The Manson Murders” is streaming on Netflix.   Hidden Gem: “

In Episode 5 of Crime Time Inc.'s Charles Manson series, Alex delves deep into a critical phase of Manson's life as he attempted to break into the music industry. Starting with a failed studio session at Universal, the episode explores Manson's recruitment methods, his growing control over followers, and his violent tendencies that were kept hidden beneath a facade of love and selflessness. The narrative also touches on notable encounters with figures like Gary Stromberg, Bobby Beausoleil, and Dennis Wilson of the Beach Boys. The discussion further highlights the societal turmoil of the late 1960s and how it played into Manson's manipulative strategies. Tune in for a detailed, gripping account of how Manson's ambitions and ruthlessness set the stage for his eventual infamy.00:00 Introduction to Charles Manson's Pivotal Moment01:04 The Universal Studios Disaster02:30 Life in Topanga Canyon02:57 The Spiral Staircase and Bobby Beausoleil04:36 Desert Isolation and Communal Living05:59 The Topanga Music Scene07:26 Charlie's Manipulative Tactics10:20 Angela Lansbury's Drastic Measures12:17 Charlie's Growing Influence20:45 The Move to Spahn Ranch23:21 Dennis Wilson and the Beach Boys Connection23:43 Expert Analysis and DiscussionTom Wood is a former murder squad detective and Deputy Chief Constable of Lothian and Borders Police in Scotland. Tom worked on many high profile murder cases including Robert Black, Peter Tobin and was part of the team investigating The World's End Murders from day one until 37 years later when the culprit, Angus Sinclair was finally convicted. Tom was latterly the detective in overall charge of The World's End murder investigation. Tom is now retired from the Police and is a successful author.Tom Wood's Books Ruxton: The First Modern Murder https://amzn.eu/d/25k8KqGThe World's End Murders: The Inside Story https://amzn.eu/d/5U9nLoPSimon is a retired Police Officer and the best selling author of The Ten Percent, https://amzn.eu/d/5trz6bs a memoir consisting ofstories from the first part of his career as a police officer. From joining in 1978,being posted in Campbeltown in Argylll, becoming a detective on the Isle ofBute, Scotland, through to the Serious Crime Squad and working in the busy Glasgowstation in Govan.#CharlesManson,#MansonMurders,#truecrimepodcast,#helterskelter,#CrimeHistory,Further reading on the Charles Manson which helped influence this podcast:Manson: The Life and Times of Charles Manson by Jeff GuinnHelter Skelter: The True Story of the Manson Murders by Vincent Bugliosi and Curt GentryCharles Manson, the CIA and the Secret History of the Sixties by Tom O'NeillPlease help us improve our Podcast by completing this survey.http://bit.ly/crimetimeinc-survey Hosted on Acast. See acast.com/privacy for more information.

Dans cette saison de la Traque, revivez la célébrissime histoire de Charles Manson et des meurtres Tate-LaBianca, au travers du point de vue de Linda Kasabian. Cette membre de la secte Manson, a été complice des meurtres contre sa volonté et a toujours regretté ses actes. Mais la police n'est pas du même avis, laissant sa fille seule aux mains de la secte Manson.  Une reddition libératrice  11 août 1969. Il est 8 h du matin. Linda Kasabian est dans une chambre sombre du ranch Spahn. Elle regarde autour d'elle, la pièce est en désordre, des vêtements et des objets sont éparpillés sur le sol. Elle se souvient… Il y a quelques semaines, quand elle a rejoint Charlie et sa famille, elle rêvait de paix et d'amour… Elle a découvert tout l'inverse… Aujourd'hui, Manson veut qu'elle aille voir Bobby Beausoleil en prison, et si c'était l'occasion de s'échapper ? Linda frissonne. Elle ouvre un vieux sac de toile, commence à empiler des vêtements pour sa fille. Elle jette un coup d'œil par-dessus son épaule, c'est décidé : elle va fuir. Elle ouvre la porte, va chercher Tanya, sa fille… Pour découvrir une autre traque, cliquez ci-dessous : Marco Mouly, le roi de l'arnaque : les petits voleurs de Belleville (1/4) Marco Mouly, le roi de l'arnaque : une vie de millionnaires (2/4) Marco Mouly, le roi de l'arnaque : meurtres et trahisons (3/4) Marco Mouly, le roi de l'arnaque : la fête est finie (4/4) Crédits : Production : Bababam  Textes : Vincent Rebouah  Voix : Anne Cosmao, Aurélien Gouas Montage : Mathew Roques  Première diffusion : 5 juillet 2024. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans cette saison de la Traque, revivez la célébrissime histoire de Charles Manson et des meurtres Tate-LaBianca, au travers du point de vue de Linda Kasabian. Cette membre de la secte Manson, a été complice des meurtres contre sa volonté et a toujours regretté ses actes. Mais la police n'est pas du même avis, laissant sa fille seule aux mains de la secte Manson.  Le meurtre de Sharon Tate Juillet 1969. Linda Kasabian se tient derrière les rideaux. Des bruits de pas résonnent devant la maison en bois. C'est Robert, son mari. Il frappe. La porte tremble. Il veut récupérer l'argent qu'elle lui a dérobé. Charles Manson fait un signe à l'un de ses disciples, Tex Watson, 20 ans. Il ouvre la porte. Dans la main de Tex, il y a un couteau. Linda observe de loin, cachée derrière une étagère. Elle sent son cœur battre fort. Finalement, Robert tourne les talons et s'en va. La "family" se rassemble autour de Linda. Ses nouveaux amis s'appellent Bobby Beausoleil, Susan Atkins, Patricia Krenwinkel, Leslie Van Houten. Des hippies fascinés par Manson qui ne savent pas encore qu'ils finiront leurs jours en prison… Pour découvrir une autre traque, cliquez ci-dessous : Marco Mouly, le roi de l'arnaque : les petits voleurs de Belleville (1/4) Marco Mouly, le roi de l'arnaque : une vie de millionnaires (2/4) Marco Mouly, le roi de l'arnaque : meurtres et trahisons (3/4) Marco Mouly, le roi de l'arnaque : la fête est finie (4/4) Crédits : Production : Bababam  Textes : Vincent Rebouah  Voix : Anne Cosmao, Aurélien Gouas Montage : Mathew Roques  Première diffusion : 3 juillet 2024. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans cette nouvelle saison de la Traque, revivez la célébrissime histoire de Charles Manson et des meurtres Tate-LaBianca, au travers du point de vue de Linda Kasabian. Cette membre de la secte Manson, a été complice des meurtres contre sa volonté et a toujours regretté ses actes. Mais la police n'est pas du même avis, laissant sa fille seule aux mains de la secte Manson.  Une reddition libératrice  11 août 1969. Il est 8 h du matin. Linda Kasabian est dans une chambre sombre du ranch Spahn. Elle regarde autour d'elle, la pièce est en désordre, des vêtements et des objets sont éparpillés sur le sol. Elle se souvient… Il y a quelques semaines, quand elle a rejoint Charlie et sa famille, elle rêvait de paix et d'amour… Elle a découvert tout l'inverse… Aujourd'hui, Manson veut qu'elle aille voir Bobby Beausoleil en prison, et si c'était l'occasion de s'échapper ? Linda frissonne. Elle ouvre un vieux sac de toile, commence à empiler des vêtements pour sa fille. Elle jette un coup d'œil par-dessus son épaule, c'est décidé : elle va fuir. Elle ouvre la porte, va chercher Tanya, sa fille… Pour découvrir une autre traque, cliquez ci-dessous : Christophe Rocancourt, l'arnaqueur qui escroquait les stars d'Hollywood : des jours de misère aux nuits parisiennes (1/4) Christophe Rocancourt, l'arnaqueur qui escroquait les stars d'Hollywood : en route vers le rêve américain (2/4) Christophe Rocancourt, l'arnaqueur qui escroquait les stars d'Hollywood : un fugitif à New York (3/4) Christophe Rocancourt, l'arnaqueur qui escroquait les stars d'Hollywood : la starification d'un criminel (4/4) Crédits : Production : Bababam  Textes : Vincent Rebouah  Voix : Anne Cosmao, Aurélien Gouas Montage : Mathew Roques  En partenariat avec Upday Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans cette nouvelle saison de la Traque, revivez la célébrissime histoire de Charles Manson et des meurtres Tate-LaBianca, au travers du point de vue de Linda Kasabian. Cette membre de la secte Manson, a été complice des meurtres contre sa volonté et a toujours regretté ses actes. Mais la police n'est pas du même avis, laissant sa fille seule aux mains de la secte Manson.  Le meurtre de Sharon Tate Juillet 1969. Linda Kasabian se tient derrière les rideaux. Des bruits de pas résonnent devant la maison en bois. C'est Robert, son mari. Il frappe. La porte tremble. Il veut récupérer l'argent qu'elle lui a dérobé. Charles Manson fait un signe à l'un de ses disciples, Tex Watson, 20 ans. Il ouvre la porte. Dans la main de Tex, il y a un couteau. Linda observe de loin, cachée derrière une étagère. Elle sent son cœur battre fort. Finalement, Robert tourne les talons et s'en va. La "family" se rassemble autour de Linda. Ses nouveaux amis s'appellent Bobby Beausoleil, Susan Atkins, Patricia Krenwinkel, Leslie Van Houten. Des hippies fascinés par Manson qui ne savent pas encore qu'ils finiront leurs jours en prison… Pour découvrir une autre traque, cliquez ci-dessous : Christophe Rocancourt, l'arnaqueur qui escroquait les stars d'Hollywood : des jours de misère aux nuits parisiennes (1/4) Christophe Rocancourt, l'arnaqueur qui escroquait les stars d'Hollywood : en route vers le rêve américain (2/4) Christophe Rocancourt, l'arnaqueur qui escroquait les stars d'Hollywood : un fugitif à New York (3/4) Christophe Rocancourt, l'arnaqueur qui escroquait les stars d'Hollywood : la starification d'un criminel (4/4) Crédits : Production : Bababam  Textes : Vincent Rebouah  Voix : Anne Cosmao, Aurélien Gouas Montage : Mathew Roques  En partenariat avec Upday Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode I speak with convicted murderer and former Manson Family member Bobby Beausoleil about his time recording music with Charles Manson and how a peyote deal gone wrong set in motion a series of crimes that forever changed the counterculture and public perception of psychedelic drugs.-----------------A big thank you for supporting my content: Kykeon Analytics - https://www.kykeonanalytics.comA fully anonymous mail-in drug checking lab service.Cannaclear alternative cannabinoids - https://cannaclear.com/product/thc-b-1-gramUse the code "Hamilton" to get 15% off.Lucy Tobacco-Free Nicotine - https://www.lucy.coLucy's mission is to reduce tobacco-related harm to zero: use the code "Hamilton"Matcha.com - https://matcha.comAndrew Weil MD's matcha tea, it's delicious! Use the code "Hamilton" for up to 20% off + a FREE gift.Top Tree Herbs Kratom Tea Bags - https://www.toptreeherbs.com Top Tree Herbs products are 15% off if you use the code "Hamilton"New Brew Euphoric Seltzer - https://www.drinknewbrew.comUse the code "Hamilton" for 15% offKykeon Analytics A fully anonymous mail-in drug checking lab service. CannaclearGet 15% off with the code HamiltonLucy Tobacco Free NicotineLucy's mission is to reduce tobacco-related harm to zero.Matcha.comAndrew Weil MD's matcha tea company. Use the code "Hamilton" for up to 20% off + a FREE gift.New BrewA delicious, euphoric seltzer.Top Tree Herbs Kratom Tea BagsTop Tree Herbs is the first kratom tea bag companyDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the Show.

In this podcast episode, we explore the deeper sinister forces connections of Laurel Canyon including Charles Manson's life and the infamous Manson family murders.   NOTE:  This discussion may not be for everyone and we have rated it as *explicit content*   Listener discretion is advised.Timestamps:Manson's Influence in California (00:02:32)Time in Prison (00:05:04)Study of Hypnosis (00:13:00)Rumors about  CIA Connections (00:19:37)The beginning of Manson's influence (00:21:06)Speculation about CIA involvement (00:22:22)Connections and Associations (00:24:45)Mary Brunner and early disciples (00:26:15)Criminal activities and police surveillance (00:27:38)Move to LA and connections to famous figures (00:28:42)Manson's interpretation of the Beatles' music (00:32:23)Manson's racist beliefs and influence (00:34:34)Activities at Spahn Ranch (00:37:40)Manson's paranoia and violent actions (00:39:52)Influences and Connections (00:40:57)Watts Riots and  Time in Prison (00:42:42)Gary Hinman Murder and Bobby Beausoleil (00:43:55)Preparation for the Cielo Drive Murder (00:49:33)Cielo Drive Murder (00:50:04)Motivation Behind the Murders (00:55:53)Investigation and Police Involvement (00:58:20)Murder at Waverly Drive (01:00:33)The Labianca Murders (01:00:45)Manson's Occult Connections (01:03:35)Process Church and Manson (01:06:18)Other Occult Groups (01:12:33)Laurel Canyon and Sinister Forces (01:17:03) 

It was the summer of 1969 and just a few weeks before the infamous Manson murders of actress Sharon Tate and Leno Labianca; Manson ordered his follower Bobby Beausoleil to get drug money from their friend Gary Hinman.Hinman was a local music teacher and dealt a little drugs on the side - what started as a shakedown for money turned into 3 days of torture and a murder that would propel the Manson Family past the point of no return and into the darkest nights of the Summer of '69See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This bonus episode is an addendum to Episode 6 on Zachary Lazar's rock novel ‘Sway', a story that brings together the early Rolling Stones, members of the Manson Family, and avant-garde filmmaker and occultist Kenneth Anger. In the last segment of that episode, Zeena Schreck shares her memories of her godfather Kenneth Anger and gives her insight into some of his work. This bonus episode features Zeena's segment in isolation. Zeena Schreck (formerly LaVey) is an artist, musician, and Tibetan Buddhist yogini, as well as former High Priestess of the Church of Satan (founded by her late father Anton LaVey). Topics Zeena and I cover in this bonus episode include how her father made Kenneth Anger her godfather; her personal and working relationship with Kenneth; his interest in Aleister Crowley; the making of and background on some of his iconic films, especially the 1969 film ‘Invocation of My Demon Brother' (a movie that figures large in Zachary Lazar's novel ‘Sway'); Kenneth's relationship with Anita Pallenberg and her influence on the Rolling Stones; Bobby Beausoleil; how Kenneth's work influenced MTV and music videos; and more. MUSIC PLAYED IN THIS EPISODE IN ORDER OF APPEARANCE Avant-Garde Sound Collage/Experimental Electronica/Royalty Free Background Music (8-mindemo Mix) Zeena Schreck – ‘Transcend' - 02 “Parting Clouds” Zeena Schreck – ‘Transcend' - 03 “Gone Beyond” Zeena Schreck – ‘Transcend' - 01 “Ascent” — last two songs before podcast theme music LINKS For news of Zeena's current public activities and releases, subscribe to the e-newsletter at https://www.zeenaschreck.com/subscribe.html Zeena's website: www.ZeenaSchreck.com Zeena on Bandcamp: https://zeenaschreck.bandcamp.com/releases Zeena, Instagram: https://www.instagram.com/zeenaschreck_art/ Zeena, YouTube Channel: https://www.youtube.com/user/ZeenaSchreckOfficial Zeena, Facebook: https://www.facebook.com/ZEENA.Official.ZeenaSchreck Episode 6 of Rock is Lit featuring Zachary Lazar, Tony Sokol, Zeena Schreck: https://www.christyalexanderhallberg.com/rockislitpodcast/zacharylazar/tonysokol/zeenaschreck Bonus Episode of Rock is Lit featuring Scott Michaels on the Manson Murders on YouTube: https://www.youtube.com/watch?v=dzpLvUN0_2E Bonus Episode of Rock is Lit featuring Scott Michaels on the Manson Murders audio-only podcast: https://www.christyalexanderhallberg.com/rockislitpodcast/scottmichaels Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/ Christy Alexander Hallberg, Instagram/Twitter, YouTube: @ChristyHallberg Link to Christy Alexander Hallberg's essay on the Manson Family, “Shifting Phantasmagoria”: http://storysouth.com/stories/shifting-phantasmagoria/ Learn more about your ad choices. Visit megaphone.fm/adchoices

This bonus episode is an addendum to Episode 6 on Zachary Lazar's rock novel ‘Sway', a story that brings together the early Rolling Stones, members of the Manson Family, and avant-garde filmmaker and occultist Kenneth Anger. In the last segment of that episode, Zeena Schreck shares her memories of her godfather Kenneth Anger and gives her insight into some of his work. This bonus episode features Zeena's segment in isolation. Zeena Schreck (formerly LaVey) is an artist, musician, and Tibetan Buddhist yogini, as well as former High Priestess of the Church of Satan (founded by her late father Anton LaVey). Topics Zeena and I cover in this bonus episode include how her father made Kenneth Anger her godfather; her personal and working relationship with Kenneth; his interest in Aleister Crowley; the making of and background on some of his iconic films, especially the 1969 film ‘Invocation of My Demon Brother' (a movie that figures large in Zachary Lazar's novel ‘Sway'); Kenneth's relationship with Anita Pallenberg and her influence on the Rolling Stones; Bobby Beausoleil; how Kenneth's work influenced MTV and music videos; and more. MUSIC PLAYED IN THIS EPISODE IN ORDER OF APPEARANCE Avant-Garde Sound Collage/Experimental Electronica/Royalty Free Background Music (8-mindemo Mix) Zeena Schreck – ‘Transcend' - 02 “Parting Clouds” Zeena Schreck – ‘Transcend' - 03 “Gone Beyond” Zeena Schreck – ‘Transcend' - 01 “Ascent” — last two songs before podcast theme music LINKS For news of Zeena's current public activities and releases, subscribe to the e-newsletter at https://www.zeenaschreck.com/subscribe.html Zeena's website: www.ZeenaSchreck.com Zeena on Bandcamp: https://zeenaschreck.bandcamp.com/releases Zeena, Instagram: https://www.instagram.com/zeenaschreck_art/ Zeena, YouTube Channel: https://www.youtube.com/user/ZeenaSchreckOfficial Zeena, Facebook: https://www.facebook.com/ZEENA.Official.ZeenaSchreck Episode 6 of Rock is Lit featuring Zachary Lazar, Tony Sokol, Zeena Schreck: https://www.christyalexanderhallberg.com/rockislitpodcast/zacharylazar/tonysokol/zeenaschreck Bonus Episode of Rock is Lit featuring Scott Michaels on the Manson Murders on YouTube: https://www.youtube.com/watch?v=dzpLvUN0_2E Bonus Episode of Rock is Lit featuring Scott Michaels on the Manson Murders audio-only podcast: https://www.christyalexanderhallberg.com/rockislitpodcast/scottmichaels Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/ Christy Alexander Hallberg, Instagram/Twitter, YouTube: @ChristyHallberg Link to Christy Alexander Hallberg's essay on the Manson Family, “Shifting Phantasmagoria”: http://storysouth.com/stories/shifting-phantasmagoria/ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Things Observed, I am joined by William Ramsey the author of 2 books relating to Crowley: Prophet of Evil and Children of the Beast. We discuss Aleister Crowley's childhood inside the puritanical Plymouth Brethren, his start in the occult world and his infamous life of ceremonial black magick and debauchery. We also discuss a ton of the people he had an influence. Here's a list of just some of the many people we discuss in relation to Crowley and Thelema: the Beatles, Led Zepplin and Jimmy Page, David Bowie, Bobby Beausoleil of the Manson Family, L. Ron Hubbard, Alejandro Jodorowsky, JK Rowling and the Harry Potter novels, the band Tool, Kenneth Anger, Alfred Kinsey, Ghostemane and Lil Peep. Oh and how could I almost forget about Damien Echols. Anyhow hope you all enjoy this episode. Check William Ramsey's work below.William Ramsey Investigates - Books, Documentaries, PodcastsVideo Hub - William Ramsey InvestigatesBooks by William Ramsey - WILLIAM RAMSEY INVESTIGATESWilliam Ramsey Investigates on Apple Podcasts (You can find him on multiple other platforms including youtube and Odyssey for some video content of his just look up William Ramsey Investigates. You can buy his books from his website but I will also link his Amazon below)Amazon.com: William Ramsey: books, biography, latest update

Cette semaine sur Du crime à mes oreilles, Alex et Papy Jo accueil un invité très spécial! Après avoir parcouru plus de 6000km, Philippe du podcast Le scénario du pire est en studio avec nous pour vous faire un podcast en programme double! Dans cet épisode, Papy Jo nous parle de ASMR et l'histoire en lien avec la formation The Prodijy! Philippe lui nous parle de Bobby Beausoleil. Ce musicien autodidacte est passé pas loin du succès dans le rock mais son chemin l'a mené vers des endroits plus sombres avec comme point : d'un adepte d'Alistair Crowley à Charles Manson. Un parcours qui amènera Bobby Beausoleil à tuer de sang-froid. Bonne écoute! Liens : www.dubruitamesoreilles.com https://lescenariodupire.buzzsprout.com/share https://www.youtube.com/watch?v=Q1BsfpDSDDE https://www.youtube.com/watch?v=L5EX-Y1Wmy0 https://www.youtube.com/watch?v=2e1QjB6fmKs

Episode 65: Its Marcus' birthday and we're going one fucking hour on a 27-minute flick! We're deep diving on Kenneth Anger's LUCIFER RISING (1974) and all the fascinating cultural forces that collided – Aleister Crowley, Jimmy Page, Bobby Beausoleil, The Manson Family, Mick Jagger, Marianne Faithful, Donald Cammell, etc – in order to bring this legendary psychedelic experimental art film to life. DON'T FORGET!!! OUR FIRST EVER LIVE STREAM EPISODE WILL BE SUNDAY, MAY 21st at 7pm PT / 10 pm ET  on our youtube channel: https://www.youtube.com/onefuckinghour Order your copy of BRINGER OF LIGHT – The Making of Kenneth Anger's LUCIFER RISING: ⁠https://www.luciferrisingbook.com/merch/p/album-aglmx⁠ Follow us on – Instagram: ⁠https://www.instagram.com/onefuckinghour/⁠ Twitter: ⁠https://twitter.com/1fuckinghour⁠

Brew Crime is now moving to Crimes of Rock Music. Mike tells the story of Bobby Beausoleil and the murder of Gary HinmanBeer Pairing for this episode is Mind Haze IPA from Firestone Walker Brewing out of California.Sources:https://listverse.com/2019/08/19/10-rock-and-metal-musicians-who-killed-someone/https://en.wikipedia.org/wiki/Bobby_Beausoleilhttp://www.bobbybeausoleil.com/music.htmlhttps://www.rollingstone.com/culture/culture-features/bobby-beausoleil-charles-manson-murder-mystery-helter-skelter-880805/https://www.charlesmanson.com/defendants/bobby-beausoleil/http://www.cielodrive.com/robert-beausoleil.phphttps://www.bardachreports.com/death-trips-new-yorks-unwanted-dead-1https://spectrumnews1.com/ca/la-west/public-safety/2022/01/29/former-manson-follower-robert-beausoleil-denied-parolehttps://allthatsinteresting.com/gary-hinmanhttps://en.wikipedia.org/wiki/Tate%E2%80%93LaBianca_murdershttps://www.cnn.com/2013/09/30/us/manson-family-murders-fast-facts/index.html#:~:text=The%20couple%20are%20brutally%20murdered,on%20suspicion%20of%20auto%20theft.https://spectrumnews1.com/ca/la-west/public-safety/2022/01/29/former-manson-follower-robert-beausoleil-denied-parole#:~:text=Beausoleil%2C%20now%2074%2C%20was%20denied,in%20his%20Topanga%20Canyon%20home.Brew CrimeWebsite, Twitter, Instagram, Facebook, Facebook Group, Youtube, patreonPromo - Our True Crime Podcast

Bobby BeauSoleil's musical start in San Francisco and Los Angeles is discussed as well as meeting Charlie and Kenneth Anger. All Is None is Written and Produced by Jason Hay  Email me at allisnonepodcast@gmail.com  YouTube- https://www.youtube.com/@wilsonzepher3722

Cosa si scatena nella mente delle persone che si innamorano (e spesso sposano) serial killer e criminali in carcere? Cosa spinge un uomo o una donna intrattenere rapporti epistolari con criminali che si sono macchiati di crimini inauditi? E perché soprattutto leggiamo di donne che si innamorano di criminali condannati per crimini atroci proprio nei confronti delle donne? Gli esempi sono tantissimi: da Ali Agca a Gianfranco Stevanin, da Ted Bundy a Charles Manson, sono tantissimi i criminali che hanno fatto innamorare donne apparentemente normali. Jacopo Pezzan e Giacomo Brunoro sono partiti da queste domande per cercare di capire cosa si nasconde nella psiche umana, un tentativo di trovare una risposta a una serie di quesiti inquietanti soprattutto perché potrebbero riguardarci da vicino. Nella puntata si fa riferimento a una giornalista italiana che ha intrattenuto un rapporto epistolare con Bobby Beausoleil, uno dei membri della Manson Family. Come specificato non si tratta affatto di una relazione sentimentale, ma di una giornalista che voleva entrare in contatto con un personaggio così controverso. La giornalista in questione è Viola Bonaldi e trovate tutti i dettagli di questa corrispondenza sul sito Salmuria.it (>> https://salmuria.it/corrispondenza-con-bobby-beausoleil/) --- Send in a voice message: https://podcasters.spotify.com/pod/show/la-case-books/message Support this podcast: https://podcasters.spotify.com/pod/show/la-case-books/support

This is the second part of the story of Kenneth Anger.  The episode begins after Kenneth parts ways with Bobby Beausoleil, and decided to leave San Francisco. His time in England was spent wooing rock stars and socialites, and establishing himself as a man of mystery, magick, and LSD. All the while he was making films and chasing the fame he refused to bend for. We also think this is the first episode we've done about someone still living- if we're wrong let us know!   music by V►LH►LL vlhll.bandcamp.com

For me one of the worst types of murder are those commmitted by a family member. In this episode six people, actually seven, murdered by the family. One of the reasons I wanted to compile this list was to illustrate that homophobic hate crimes can happen anywhere from the leafy green suburbs of Los Angeles county to a small town in Iran. A note: I say there are six cases covered but there are actually seven people. Brittney Cosby and Crystal Jackson are often referred to as a couple and I'm afraid I've done the same in the description. If you or anyone you know is in fear of bodily harm please reach out to your local law enforcement. If you are having difficulty with your family's acceptance of your sexual preference here are a few resources to reach out to for help. The Trevor Project: https://www.thetrevorproject.org/resources/article/friends-family-support-systems-for-lgbtq-youth/ Here's a state by state resource for youth: https://www.lambdalegal.org/sites/default/files/publications/downloads/fs_resources-for-lgbtq-youth-by-state_1.pdf If you'd like to watch this episode check out the link: https://youtu.be/QpXltR_c9WE Please subscribe! Please like the episode. Hugs!

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

Episode one hundred and forty of A History of Rock Music in Five Hundred Songs looks at “Trouble Every Day" by the Mothers of Invention, and the early career of Frank Zappa. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Christmas Time is Here Again" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources I'm away from home as I upload this and haven't been able to do a Mixcloud, but will hopefully edit a link in in a week or so if I remember. The main biography I consulted for this was Electric Don Quixote by Neil Slaven. Zappa's autobiography, The Real Frank Zappa Book, is essential reading if you're a fan of his work. Information about Jimmy Carl Black's early life came from Black's autobiography, For Mother's Sake. Zappa's letter to Varese is from this blog, which also contains a lot of other useful information on Zappa. For information on the Watts uprising, I recommend Johnny Otis' Listen to the Lambs. And the original mix of Freak Out is currently available not on the CD issue of Freak Out itself, which is an eighties remix, but on this "documentary" set. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before I begin -- there are a couple of passing references in this episode to rape and child abuse. I don't believe there's anything that should upset anyone, but if you're worried, you might want to read the transcript on the podcast website before or instead of listening. But also, this episode contains explicit, detailed, descriptions of racial violence carried out by the police against Black people, including against children. Some of it is so distressing that even reading the transcript might be a bit much for some people. Sometimes, in this podcast, we have to go back to another story we've already told. In most cases, that story is recent enough that I can just say, "remember last episode, when I said...", but to tell the story of the Mothers of Invention, I have to start with a story that I told sixty-nine episodes ago, in episode seventy-one, which came out nearly two years ago. In that episode, on "Willie and the Hand Jive", I briefly told the story of Little Julian Herrera at the start. I'm going to tell a slightly longer version of the story now. Some of the information at the start of this episode will be familiar from that and other episodes, but I'm not going to expect people to remember something from that long ago, given all that's happened since. The DJ Art Laboe is one of the few figures from the dawn of rock and roll who is still working. At ninety-six years old, he still promotes concerts, and hosts a syndicated radio show on which he plays "Oldies but Goodies", a phrase which could describe him as well as the music. It's a phrase he coined -- and trademarked -- back in the 1950s, when people in his audience would ask him to play records made a whole three or four years earlier, records they had listened to in their youth. Laboe pretty much single-handedly invented the rock and roll nostalgia market -- as well as being a DJ, he owned a record label, Original Sound, which put out a series of compilation albums, Oldies But Goodies, starting in 1959, which started to cement the first draft of the doo-wop canon. These were the first albums to compile together a set of older rock and roll hits and market them for nostalgia, and they were very much based on the tastes of his West Coast teenage listenership, featuring songs like "Earth Angel" by the Penguins: [Excerpt: The Penguins, "Earth Angel"] But also records that had a more limited geographic appeal, like "Heaven and Paradise" by Don Julian and the Meadowlarks: [Excerpt: Don Julian and the Meadowlarks, "Heaven and Paradise"] As well as being a DJ and record company owner, Laboe was the promoter and MC for regular teenage dances at El Monte Legion Stadium, at which Kip and the Flips, the band that featured Sandy Nelson and Bruce Johnston, would back local performers like the Penguins, Don and Dewey, or Ritchie Valens, as well as visiting headliners like Jerry Lee Lewis. El Monte stadium was originally chosen because it was outside the LA city limits -- at the time there were anti-rock-and-roll ordinances that meant that any teenage dance had to be approved by the LA Board of Education, but those didn't apply to that stadium -- but it also led to Laboe's audience becoming more racially diverse. The stadium was in East LA, which had a large Mexican-American population, and while Laboe's listenership had initially been very white, soon there were substantial numbers of Mexican-American and Black audience members. And it was at one of the El Monte shows that Johnny Otis discovered the person who everyone thought was going to become the first Chicano rock star, before even Ritchie Valens, in 1957, performing as one of the filler acts on Laboe's bill. He signed Little Julian Herrera, a performer who was considered a sensation in East LA at the time, though nobody really knew where he lived, or knew much about him other than that he was handsome, Chicano, and would often have a pint of whisky in his back pocket, even though he was under the legal drinking age. Otis signed Herrera to his label, Dig Records, and produced several records for him, including the record by which he's now best remembered, "Those Lonely Lonely Nights": [Excerpt: Little Julian Herrera, "Those Lonely, Lonely, Nights"] After those didn't take off the way they were expected to, Herrera and his vocal group the Tigers moved to another label, one owned by Laboe, where they recorded "I Remember Linda": [Excerpt: Little Julian Herrera and the Tigers, "I Remember Linda"]  And then one day Johnny Otis got a knock on his door from the police. They were looking for Ron Gregory. Otis had never heard of Ron Gregory, and told them so. The police then showed him a picture. It turned out that Julian Herrera wasn't Mexican-American, and wasn't from East LA, but was from Massachusetts. He had run away from home a few years back, hitch-hiked across the country, and been taken in by a Mexican-American family, whose name he had adopted. And now he was wanted for rape. Herrera went to prison, and when he got out, he tried to make a comeback, but ended up sleeping rough in the basement of the stadium where he had once been discovered. He had to skip town because of some other legal problems, and headed to Tijuana, where he was last seen playing R&B gigs in 1963. Nobody knows what happened to him after that -- some say he was murdered, others that he's still alive, working in a petrol station under yet another name, but nobody has had a confirmed sighting of him since then. When he went to prison, the Tigers tried to continue for a while, but without their lead singer, they soon broke up. Ray Collins, who we heard singing the falsetto part in "I Remember Linda", went on to join many other doo-wop and R&B groups over the next few years, with little success. Then in summer 1963, he walked into a bar in Ponoma, and saw a bar band who were playing the old Hank Ballard and the Midnighters song "Work With Me Annie". As Collins later put it, “I figured that any band that played ‘Work With Me Annie' was all right,” and he asked if he could join them for a few songs. They agreed, and afterwards, Collins struck up a conversation with the guitarist, and told him about an idea he'd had for a song based on one of Steve Allen's catchphrases. The guitarist happened to be spending a lot of his time recording at an independent recording studio, and suggested that the two of them record the song together: [Excerpt: Baby Ray and the Ferns, "How's Your Bird?"] The guitarist in question was named Frank Zappa. Zappa was originally from Maryland, but had moved to California as a child with his conservative Italian-American family when his father, a defence contractor, had got a job in Monterey. The family had moved around California with his father's work, mostly living in various small towns in the Mojave desert seventy miles or so north of Los Angeles. Young Frank had an interest in science, especially chemistry, and especially things that exploded, but while he managed to figure out the ingredients for gunpowder, his family couldn't afford to buy him a chemistry set in his formative years -- they were so poor that his father regularly took part in medical experiments to get a bit of extra money to feed his kids -- and so the young man's interest was diverted away from science towards music. His first musical interest, and one that would show up in his music throughout his life, was the comedy music of Spike Jones, whose band combined virtuosic instrumental performances with sound effects: [Excerpt: Spike Jones and his City Slickers, "Cocktails for Two"] and parodies of popular classical music [Excerpt: Spike Jones and his City Slickers, "William Tell Overture"] Jones was a huge inspiration for almost every eccentric or bohemian of the 1940s and 50s -- Spike Milligan, for example, took the name Spike in tribute to him. And young Zappa wrote his first ever fan letter to Jones when he was five or six. As a child Zappa was also fascinated by the visual aesthetics of music -- he liked to draw musical notes on staves and see what they looked like. But his musical interests developed in two other ways once he entered his teens. The first was fairly typical for the musicians of his generation from LA we've looked at and will continue to look at, which is that he heard "Gee" by the Crows on the radio: [Excerpt: The Crows, "Gee"] He became an R&B obsessive at that moment, and would spend every moment he could listening to the Black radio stations, despite his parents' disapproval. He particularly enjoyed Huggy Boy's radio show broadcast from Dolphins of Hollywood, and also would religiously listen to Johnny Otis, and soon became a connoisseur of the kind of R&B and blues that Otis championed as a musician and DJ: [Excerpt: Zappa on the Late Show, “I hadn't been raised in an environment where there was a lot of music in the house. This couple that owned the chilli place, Opal and Chester, agreed to ask the man who serviced the jukebox to put in some of the song titles that I liked, because I promised that I would dutifully keep pumping quarters into this thing so that I could listen to them, and so I had the ability to eat good chilli and listen to 'Three Hours Past Midnight' by Johnny 'Guitar' Watson for most of my junior and senior year"] Johnny “Guitar” Watson, along with Guitar Slim, would become a formative influence on Zappa's guitar playing, and his playing on "Three Hours Past Midnight" is so similar to Zappa's later style that you could easily believe it *was* him: [Excerpt: Johnny "Guitar" Watson, "Three Hours Past Midnight"] But Zappa wasn't only listening to R&B. The way Zappa would always tell the story, he discovered the music that would set him apart from his contemporaries originally by reading an article in Look magazine. Now, because Zappa has obsessive fans who check every detail, people have done the research and found that there was no such article in that magazine, but he was telling the story close enough to the time period in which it happened that its broad strokes, at least, must be correct even if the details are wrong. What Zappa said was that the article was on Sam Goody, the record salesman, and talked about how Goody was so good at his job that he had even been able to sell a record of Ionisation by Edgard Varese, which just consisted of the worst and most horrible noises anyone had ever heard, just loud drumming noises and screeching sounds. He determined then that he needed to hear that album, but he had no idea how he would get hold of a copy. I'll now read an excerpt from Zappa's autobiography, because Zappa's phrasing makes the story much better: "Some time later, I was staying overnight with Dave Franken, a friend who lived in La Mesa, and we wound up going to the hi-fi place -- they were having a sale on R&B singles. After shuffling through the rack and finding a couple of Joe Huston records, I made my way toward the cash register and happened to glance at the LP bin. I noticed a strange-looking black-and-white album cover with a guy on it who had frizzy gray hair and looked like a mad scientist. I thought it was great that a mad scientist had finally made a record, so I picked it up -- and there it was, the record with "Ionisation" on it. The author of the Look article had gotten it slightly wrong -- the correct title was The Complete Works of Edgard Varèse, Volume I, including "Ionisation," among other pieces, on an obscure label called EMS (Elaine Music Store). The record number was 401.I returned the Joe Huston records and checked my pockets to see how much money I had -- I think it came to about $3.75. I'd never bought an album before, but I knew they must be expensive because mostly old people bought them. I asked the man at the cash register how much EMS 401 cost. "That gray one in the box?" he said. "$5.95." I'd been searching for that record for over a year and I wasn't about to give up. I told him I had $3.75. He thought about it for a minute, and said, "We've been using that record to demonstrate hi-fi's with -- but nobody ever buys one when we use it. I guess if you want it that bad you can have it for $3.75."" Zappa took the record home, and put it on on his mother's record player in the living room, the only one that could play LPs: [Excerpt: Edgard Varese, "Ionisation"] His mother told him he could never play that record in the living room again, so he took the record player into his bedroom, and it became his record player from that point on. Varese was a French composer who had, in his early career, been very influenced by Debussy. Debussy is now, of course, part of the classical canon, but in the early twentieth century he was regarded as radical, almost revolutionary, for his complete rewriting of the rules of conventional classical music tonality into a new conception based on chordal melodies, pedal points, and use of non-diatonic scales. Almost all of Varese's early work was destroyed in a fire, so we don't have evidence of the transition from Debussy's romantic-influenced impressionism to Varese's later style, but after he had moved to the US in 1915 he had become wildly more experimental. "Ionisation" is often claimed to be the first piece of Western classical music written only for percussion instruments. Varese was part of a wider movement of modernist composers -- for example he was the best man at Nicolas Slonimsky's wedding -- and had also set up the International Composers' Guild, whose manifesto influenced Zappa, though his libertarian politics led him to adapt it to a more individualistic rather than collective framing. The original manifesto read in part "Dying is the privilege of the weary. The present day composers refuse to die. They have realized the necessity of banding together and fighting for the right of each individual to secure a fair and free presentation of his work" In the twenties and thirties, Varese had written a large number of highly experimental pieces, including Ecuatorial, which was written for bass vocal, percussion, woodwind, and two Theremin cellos. These are not the same as the more familiar Theremin, created by the same inventor, and were, as their name suggests, Theremins that were played like a cello, with a fingerboard and bow. Only ten of these were ever made, specifically for performances of Varese's work, and he later rewrote the work to use ondes martenot instead of Theremin cellos, which is how the work is normally heard now: [Excerpt: Edgard Varese, "Ecuatorial"] But Varese had spent much of the thirties, forties, and early fifties working on two pieces that were never finished, based on science fiction ideas -- L'Astronome, which was meant to be about communication with people from the star Sirius, and Espace, which was originally intended to be performed simultaneously by choirs in Beijing, Moscow, Paris, and New York. Neither of these ideas came to fruition, and so Varese had not released any new work, other than one small piece, Étude pour espace, an excerpt from the  larger work, in Zappa's lifetime. Zappa followed up his interest in Varese's music with his music teacher, one of the few people in the young man's life who encouraged him in his unusual interests. That teacher, Mr Kavelman, introduced Zappa to the work of other composers, like Webern, but would also let him know why he liked particular R&B records. For example, Zappa played Mr. Kavelman "Angel in My Life" by the Jewels, and asked what it was that made him particularly like it: [Excerpt: The Jewels, "Angel in My Life"] The teacher's answer was that it was the parallel fourths that made the record particularly appealing. Young Frank was such a big fan of Varese that for his fifteenth birthday, he actually asked if he could make a long-distance phone call to speak to Varese. He didn't know where Varese lived, but figured that it must be in Greenwich Village because that was where composers lived, and he turned out to be right. He didn't get through on his birthday -- he got Varese's wife, who told him the composer was in Europe -- but he did eventually get to speak to him, and was incredibly excited when Varese told him that not only had he just written a new piece for the first time in years, but that it was called Deserts, and was about deserts -- just like the Mojave Desert where Zappa lived: [Excerpt: Edgard Varese, "Deserts"] As he later wrote, “When you're 15 and living in the Mojave Desert, and you find out that the World's Greatest Composer (who also looks like a mad scientist) is working in a secret Greenwich Village laboratory on a song about your hometown (so to speak), you can get pretty excited.” A year later, Zappa actually wrote to Varese, a long letter which included him telling the story about how he'd found his work in the first place, hoping to meet up with him when Zappa travelled to the East Coast to see family. I'll read out a few extracts, but the whole thing is fascinating for what it says about Zappa the precocious adolescent, and I'll link to a blog post with it in the show notes. "Dear Sir: Perhaps you might remember me from my stupid phone call last January, if not, my name again is Frank Zappa Jr. I am 16 years old… that might explain partly my disturbing you last winter. After I had struggled through Mr. Finklestein's notes on the back cover (I really did struggle too, for at the time I had had no training in music other than practice at drum rudiments) I became more and more interested in you and your music. I began to go to the library and take out books on modern composers and modern music, to learn all I could about Edgard Varese. It got to be my best subject (your life) and I began writing my reports and term papers on you at school. At one time when my history teacher asked us to write on an American that has really done something for the U.S.A. I wrote on you and the Pan American Composers League and the New Symphony. I failed. The teacher had never heard of you and said I made the whole thing up. Silly but true. That was my Sophomore year in high school. Throughout my life all the talents and abilities that God has left me with have been self developed, and when the time came for Frank to learn how to read and write music, Frank taught himself that too. I picked it all up from the library. I have been composing for two years now, utilizing a strict twelve-tone technique, producing effects that are reminiscent of Anton Webern. During those two years I have written two short woodwind quartets and a short symphony for winds, brass and percussion. I plan to go on and be a composer after college and I could really use the counsel of a veteran such as you. If you would allow me to visit with you for even a few hours it would be greatly appreciated. It may sound strange but I think I have something to offer you in the way of new ideas. One is an elaboration on the principle of Ruth Seeger's contrapuntal dynamics and the other is an extension of the twelve-tone technique which I call the inversion square. It enables one to compose harmonically constructed pantonal music in logical patterns and progressions while still abandoning tonality. Varese sent a brief reply, saying that he was going to be away for a few months, but would like to meet Zappa on his return. The two never met, but Zappa kept the letter from Varese framed on his wall for the rest of his life. Zappa soon bought a couple more albums, a version of "The Rite of Spring" by Stravinsky: [Excerpt: Igor Stravinsky, "The Rite of Spring"] And a record of pieces by Webern, including his Symphony opus 21: [Excerpt: Anton Webern, "Symphony op. 21"] (Incidentally, with the classical music here, I'm not seeking out the precise performances Zappa was listening to, just using whichever recordings I happen to have copies of). Zappa was also reading Slonimsky's works of musicology, like the Thesaurus of Scales and Melodic Patterns. As well as this "serious music" though, Zappa was also developing as an R&B musician.  He later said of the Webern album, "I loved that record, but it was about as different from Stravinsky and Varèse as you could get. I didn't know anything about twelve-tone music then, but I liked the way it sounded. Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels (who had a song out then called "Angel in My Life"), or Webern, or Varèse, or Stravinsky. To me it was all good music." He had started as a drummer with a group called the Blackouts, an integrated group with white, Latino, and Black members, who played R&B tracks like "Directly From My Heart to You", the song Johnny Otis had produced for Little Richard: [Excerpt: Little Richard, "Directly From My Heart to You"] But after eighteen months or so, he quit the group and stopped playing drums. Instead, he switched to guitar, with a style influenced by Johnny "Guitar" Watson and Guitar Slim. His first guitar had action so bad that he didn't learn to play chords, and moved straight on to playing lead lines with his younger brother Bobby playing rhythm. He also started hanging around with two other teenage bohemians -- Euclid Sherwood, who was nicknamed Motorhead, and Don Vliet, who called himself Don Van Vliet. Vliet was a truly strange character, even more so than Zappa, but they shared a love for the blues, and Vliet was becoming a fairly good blues singer, though he hadn't yet perfected the Howlin' Wolf imitation that would become his stock-in-trade in later years. But the surviving recording of Vliet singing with the Zappa brothers on guitar, singing a silly parody blues about being flushed down the toilet of the kind that many teenage boys would write, shows the promise that the two men had: [Excerpt: Frank Zappa and Captain Beefheart, "Lost in a Whirlpool"] Zappa was also getting the chance to hear his more serious music performed. He'd had the high school band play a couple of his pieces, but he also got the chance to write film music -- his English teacher, Don Cerveris, had decided to go off and seek his fortune as a film scriptwriter, and got Zappa hired to write the music for a cheap Western he'd written, Run Home Slow. The film was beset with problems -- it started filming in 1959 but didn't get finished and released until 1965 -- but the music Zappa wrote for it did eventually get recorded and used on the soundtrack: [Excerpt: Frank Zappa, "Run Home Slow Theme"] In 1962, he got to write the music for another film, The World's Greatest Sinner, and he also wrote a theme song for that, which got released as the B-side of "How's Your Bird?", the record he made with Ray Collins: [Excerpt: Baby Ray and the Ferns, "The World's Greatest Sinner"] Zappa was able to make these records because by the early sixties, as well as playing guitar in bar bands, he was working as an assistant for a man named Paul Buff. Paul Buff had worked as an engineer for a guided missile manufacturer, but had decided that he didn't want to do that any more, and instead had opened up the first independent multi-track recording studio on the West Coast, PAL Studios, using equipment he'd designed and built himself, including a five-track tape recorder. Buff engineered a huge number of surf instrumentals there, including "Wipe Out" by the Surfaris: [Excerpt: The Surfaris, "Wipe Out"] Zappa had first got to know Buff when he had come to Buff's studio with some session musicians in 1961, to record some jazz pieces he'd written, including this piece which at the time was in the style of Dave Brubeck but would later become a staple of Zappa's repertoire reorchestrated in a  rock style. [Excerpt: The PAL Studio Band, "Never on Sunday"] Buff really just wanted to make records entirely by himself, so he'd taught himself to play the rudiments of guitar, bass, drums, piano, and alto saxophone, so he could create records alone. He would listen to every big hit record, figure out what the hooks were on the record, and write his own knock-off of those. An example is "Tijuana Surf" by the Hollywood Persuaders, which is actually Buff on all instruments, and which according to Zappa went to number one in Mexico (though I've not found an independent source to confirm that chart placing, so perhaps take it with a pinch of salt): [Excerpt: The Hollywood Persuaders, "Tijuana Surf"] The B-side to that, "Grunion Run", was written by Zappa, who also plays guitar on that side: [Excerpt: The Hollywood Persuaders, "Grunion Run"] Zappa, Buff, Ray Collins, and a couple of associates would record all sorts of material at PAL -- comedy material like "Hey Nelda", under the name "Ned and Nelda" -- a parody of "Hey Paula" by Paul and Paula: [Excerpt: Ned and Nelda, "Hey Nelda"] Doo-wop parodies like "Masked Grandma": [Excerpt: The PAL Studio Band, "Masked Grandma"] R&B: [Excerpt: The PAL Studio Band, "Why Don't You Do Me Right?"] and more. Then Buff or Zappa would visit one of the local independent label owners and try to sell them the master -- Art Laboe at Original Sound released several of the singles, as did Bob Keane at Donna Records and Del-Fi. The "How's Your Bird" single also got Zappa his first national media exposure, as he went on the Steve Allen show, where he demonstrated to Allen how to make music using a bicycle and a prerecorded electronic tape, in an appearance that Zappa would parody five years later on the Monkees' TV show: [Excerpt: Steve Allen and Frank Zappa, "Cyclophony"] But possibly the record that made the most impact at the time was "Memories of El Monte", a song that Zappa and Collins wrote together about Art Laboe's dances at El Monte Stadium, incorporating excerpts of several of the songs that would be played there, and named after a compilation Laboe had put out, which had included “I Remember Linda” by Little Julian and the Tigers. They got Cleve Duncan of the Penguins to sing lead, and the record came out as by the Penguins, on Original Sound: [Excerpt: The Penguins, "Memories of El Monte"] By this point, though, Pal studios was losing money, and Buff took up the offer of a job working for Laboe full time, as an engineer at Original Sound. He would later become best known for inventing the kepex, an early noise gate which engineer Alan Parsons used on a bass drum to create the "heartbeat" that opens Pink Floyd's Dark Side of the Moon: [Excerpt: Pink Floyd, "Speak to Me"] That invention would possibly be Buff's most lasting contribution to music, as by the early eighties, the drum sound on every single pop record was recorded using a noise gate. Buff sold the studio to Zappa, who renamed it Studio Z and moved in -- he was going through a divorce and had nowhere else to live. The studio had no shower, and Zappa had to just use a sink to wash, and he was surviving mostly off food scrounged by his resourceful friend Motorhead Sherwood. By this point, Zappa had also joined a band called the Soots, consisting of Don Van Vliet, Alex St. Clair and Vic Mortenson, and they recorded several tracks at Studio Z, which they tried to get released on Dot Records, including a cover version of Little Richard's “Slippin' and Slidin'”, and a song called “Tiger Roach” whose lyrics were mostly random phrases culled from a Green Lantern comic: [Excerpt: The Soots, "Tiger Roach"] Zappa also started writing what was intended as the first ever rock opera, "I Was a Teenage Maltshop", and attempts were made to record parts of it with Vliet, Mortenson, and Motorhead Sherwood: [Excerpt: Frank Zappa, "I Was a Teenage Maltshop"] Zappa was also planning to turn Studio Z into a film studio. He obtained some used film equipment, and started planning a science fiction film to feature Vliet, titled "Captain Beefheart Meets the Grunt People". The title was inspired by an uncle of Vliet's, who lived with Vliet and his girlfriend, and used to urinate with the door open so he could expose himself to Vliet's girlfriend, saying as he did so "Look at that! Looks just like a big beef heart!" Unfortunately, the film would not get very far. Zappa was approached by a used-car salesman who said that he and his friends were having a stag party. As Zappa owned a film studio, could he make them a pornographic film to show at the party? Zappa told him that a film wouldn't be possible, but as he needed the money, would an audio tape be acceptable? The used-car salesman said that it would, and gave him a list of sex acts he and his friends would like to hear. Zappa and a friend, Lorraine Belcher, went into the studio and made a few grunting noises and sound effects. The used-car salesman turned out actually to be an undercover policeman, who was better known in the area for his entrapment of gay men, but had decided to branch out. Zappa and Belcher were arrested -- Zappa's father bailed him out, and Zappa got an advance from Art Laboe to pay Belcher's bail. Luckily "Grunion Run" and "Memories of El Monte" were doing well enough that Laboe could give Zappa a $1500 advance. When the case finally came to trial, the judge laughed at the tape and wanted to throw the whole case out, but the prosecutor insisted on fighting, and Zappa got ten days in prison, and most of his tapes were impounded, never to be returned. He fell behind with his rent, and Studio Z was demolished. And then Ray Collins called him, asking if he wanted to join a bar band: [Excerpt: The Mothers, "Hitch-Hike"] The Soul Giants were formed by a bass player named Roy Estrada. Now, Estrada is unfortunately someone who will come up in the story a fair bit over the next year or so, as he played on several of the most important records to come out of LA in the sixties and early seventies. He is also someone about whom there's fairly little biographical information -- he's not been interviewed much, compared to pretty much everyone else, and it's easy to understand why when you realise that he's currently half-way through a twenty-five year sentence for child molestation -- his third such conviction. He won't get out of prison until he's ninety-three. He's one of the most despicable people who will turn up in this podcast, and frankly I'm quite glad I don't know more about him as a person. He was, though, a good bass player and falsetto singer, and he had released a single on King Records, an instrumental titled "Jungle Dreams": [Excerpt, Roy Estrada and the Rocketeers, "Jungle Dreams"] The other member of the rhythm section, Jimmy Carl Black, was an American Indian (that's the term he always used about himself until his death, and so that's the term I'll use about him too) from Texas. Black had grown up in El Paso as a fan of Western Swing music, especially Bob Wills, but had become an R&B fan after discovering Wolfman Jack's radio show and hearing the music of Howlin' Wolf and Sonny Boy Williamson. Like every young man from El Paso, he would travel to Juarez as a teenager to get drunk, see sex shows, and raise hell. It was also there that he saw his first live blues music, watching Long John Hunter, the same man who inspired the Bobby Fuller Four, and he would always claim Hunter as the man whose shows taught him how to play the blues. Black had decided he wanted to become a musician when he'd seen Elvis perform live. In Black's memory, this was a gig where Elvis was an unknown support act for Faron Young and Wanda Jackson, but he was almost certainly slightly misremembering -- it's most likely that what he saw was Elvis' show in El Paso on the eleventh of April 1956, where Young and Jackson were also on the bill, but supporting Elvis who was headlining. Either way, Black had decided that he wanted to make girls react to him the same way they reacted to Elvis, and he started playing in various country and R&B bands. His first record was with a group called the Keys, and unfortunately I haven't been able to track down a copy (it was reissued on a CD in the nineties, but the CD itself is now out of print and sells for sixty pounds) but he did rerecord the song with a later group he led, the Mannish Boys: [Excerpt: Jimmy Carl Black and the Mannish Boys, "Stretch Pants"] He spent a couple of years in the Air Force, but continued playing music during that time, including in a band called The Exceptions which featured Peter Cetera later of the band Chicago, on bass. After a brief time working as lineman in Wichita, he moved his family to California, where he got a job teaching drums at a music shop in Anaheim, where the bass teacher was Jim Fielder, who would later play bass in Blood, Sweat, and Tears. One of Fielder's friends, Tim Buckley, used to hang around in the shop as well, and Black was at first irritated by him coming in and playing the guitars and not buying anything, but eventually became impressed by his music. Black would later introduce Buckley to Herb Cohen, who would become Buckley's manager, starting his professional career. When Roy Estrada came into the shop, he and Black struck up a friendship, and Estrada asked Black to join his band The Soul Giants, whose lineup became Estrada, Black, a sax player named Davey Coronado, a guitarist called Larry and a singer called Dave. The group got a residency at the Broadside club in Ponoma, playing "Woolly Bully" and "Louie Louie" and other garage-band staples. But then Larry and Dave got drafted, and the group got in two men called Ray -- Ray Collins on vocals, and Ray Hunt on guitar. This worked for a little while, but Ray Hunt was, by all accounts, not a great guitar player -- he would play wrong chords, and also he was fundamentally a surf player while the Soul Giants were an R&B group. Eventually, Collins and Hunt got into a fistfight, and Collins suggested that they get in his friend Frank instead. For a while, the Soul Giants continued playing "Midnight Hour" and "Louie Louie", but then Zappa suggested that they start playing some of his original material as well. Davy Coronado refused to play original material, because he thought, correctly, that it would lose the band gigs, but the rest of the band sided with the man who had quickly become their new leader. Coronado moved back to Texas, and on Mother's Day 1965 the Soul Giants changed their name to the Mothers. They got in Henry Vestine on second guitar, and started playing Zappa's originals, as well as changing the lyrics to some of the hits they were playing: [Excerpt: The Mothers, "Plastic People"] Zappa had started associating with the freak crowd in Hollywood centred around Vito and Franzoni, after being introduced by Don Cerveris, his old teacher turned screenwriter, to an artist called Mark Cheka, who Zappa invited to manage the group. Cheka in turn brought in his friend Herb Cohen, who managed several folk acts including the Modern Folk Quartet and Judy Henske, and who like Zappa had once been arrested on obscenity charges, in Cohen's case for promoting gigs by the comedian Lenny Bruce. Cohen first saw the Mothers when they were recording their appearance in an exploitation film called Mondo Hollywood. They were playing in a party scene, using equipment borrowed from Jim Guercio, a session musician who would briefly join the Mothers, but who is now best known for having been Chicago's manager and producing hit records for them and Blood, Sweat, and Tears. In the crowd were Vito and Franzoni, Bryan Maclean, Ram Dass, the Harvard psychologist who had collaborated with Timothy Leary in controversial LSD experiments that had led to both losing their jobs, and other stalwarts of the Sunset Strip scene. Cohen got the group bookings at the Whisky A-Go-Go and The Trip, two of the premier LA nightclubs, and Zappa would also sit in with other bands playing at those venues, like the Grass Roots, a band featuring Bryan Maclean and Arthur Lee which would soon change its name to Love. At this time Zappa and Henry Vestine lived together, next door to a singer named Victoria Winston, who at the time was in a duo called Summer's Children with Curt Boettcher: [Excerpt: Summer's Children, "Milk and Honey"] Winston, like Zappa, was a fan of Edgard Varese, and actually asked Zappa to write songs for Summer's Children, but one of the partners involved in their production company disliked Zappa's material and the collaboration went no further. Zappa at this point was trying to incorporate more ideas from modal jazz into his music. He was particularly impressed by Eric Dolphy's 1964 album "Out to Lunch": [Excerpt: Eric Dolphy, "Hat and Beard"] But he was also writing more about social issues, and in particular he had written a song called "The Watts Riots Song", which would later be renamed "Trouble Every Day": [Excerpt: The Mothers of Invention, "Trouble Every Day"] Now, the Watts Uprising was one of the most important events in Black American history, and it feels quite wrong that I'm covering it in an episode about a band made up of white, Latino, and American Indian people rather than a record made by Black people, but I couldn't find any way to fit it in anywhere else. As you will remember me saying in the episode on "I Fought the Law", the LA police under Chief William Parker were essentially a criminal gang by any other name -- they were incompetent, violent, and institutionally racist, and terrorised Black people. The Black people of LA were also feeling particularly aggrieved in the summer of 1965, as a law banning segregation in housing had been overturned by a ballot proposition in November 1964, sponsored by the real estate industry and passed by an overwhelming majority of white voters in what Martin Luther King called "one of the most shameful developments in our nation's history", and which Edmund Brown, the Democratic governor said was like "another hate binge which began more than 30 years ago in a Munich beer hall". Then on Wednesday, August 11, 1965, the police pulled over a Black man, Marquette Frye, for drunk driving. He had been driving his mother's car, and she lived nearby, and she came out to shout at him about drinking and driving. The mother, Rena Price, was hit by one of the policemen; Frye then physically attacked one of the police for hitting his mother, one of the police pulled out a gun, a crowd gathered, the police became violent against the crowd, a rumour spread that they had kicked a pregnant woman, and the resulting protests were exacerbated by the police carrying out what Chief Parker described as a "paramiltary" response. The National Guard were called in, huge swathes of south central LA were cordoned off by the police with signs saying things like "turn left or get shot". Black residents started setting fire to and looting local white-owned businesses that had been exploiting Black workers and customers, though this looting was very much confined to individuals who were known to have made the situation worse. Eventually it took six days for the uprising to be put down, at a cost of thirty-four deaths, 1032 injuries, and 3438 arrests. Of the deaths, twenty-three were Black civilians murdered by the police, and zero were police murdered by Black civilians (two police were killed by other police, in accidental shootings). The civil rights activist Bayard Rustin said of the uprising, "The whole point of the outbreak in Watts was that it marked the first major rebellion of Negroes against their own masochism and was carried on with the express purpose of asserting that they would no longer quietly submit to the deprivation of slum life." Frank Zappa's musical hero Johnny Otis would later publish the book Listen to the Lambs about the Watts rebellion, and in it he devotes more than thirty pages to eyewitness accounts from Black people. It's an absolutely invaluable resource. One of the people Otis interviews is Lily Ford, who is described by my copy of the book as being the "lead singer of the famous Roulettes". This is presumably an error made by the publishers, rather than Otis, because Ford was actually a singer with the Raelettes, as in Ray Charles' vocal group. She also recorded with Otis under the name "Lily of the Valley": [Excerpt: Lily of the Valley, "I Had a Sweet Dream"] Now, Ford's account deserves a large excerpt, but be warned, this is very, very difficult to hear. I gave a content warning at the beginning, but I'm going to give another one here. "A lot of our people were in the street, seeing if they could get free food and clothes and furniture, and some of them taking liquor too. But the white man was out for blood. Then three boys came down the street, laughing and talking. They were teenagers, about fifteen or sixteen years old. As they got right at the store they seemed to debate whether they would go inside. One boy started a couple of times to go. Finally he did. Now a cop car finally stops to investigate. Police got out of the car. Meanwhile, the other two boys had seen them coming and they ran. My brother-in-law and I were screaming and yelling for the boy to get out. He didn't hear us, or was too scared to move. He never had a chance. This young cop walked up to the broken window and looked in as the other one went round the back and fired some shots and I just knew he'd killed the other two boys, but I guess he missed. He came around front again. By now other police cars had come. The cop at the window aimed his gun. He stopped and looked back at a policeman sitting in a car. He aimed again. No shot. I tried to scream, but I was so horrified that nothing would come out of my throat. The third time he aimed he yelled, "Halt", and fired before the word was out of his mouth. Then he turned around and made a bull's-eye sign with his fingers to his partner. Just as though he had shot a tin can off a fence, not a human being. The cops stood around for ten or fifteen minutes without going inside to see if the kid was alive or dead. When the ambulance came, then they went in. They dragged him out like he was a sack of potatoes. Cops were everywhere now. So many cops for just one murder." [Excerpt: The Mothers of Invention, "Trouble Every Day"] There's a lot more of this sort of account in Otis' book, and it's all worth reading -- indeed, I would argue that it is *necessary* reading. And Otis keeps making a point which I quoted back in the episode on "Willie and the Hand Jive" but which I will quote again here -- “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. (Just a reminder, the word “Negro” which Otis uses there was, in the mid-sixties, the term of choice used by Black people.) And it's this which inspired "The Watts Riot Song", which the Mothers were playing when Tom Wilson was brought into The Trip by Herb Cohen: [Excerpt: The Mothers of Invention, "Trouble Every Day"] Wilson had just moved from Columbia, where he'd been producing Dylan and Simon and Garfunkel, to Verve, a subsidiary of MGM which was known for jazz records but was moving into rock and roll. Wilson was looking for a white blues band, and thought he'd found one. He signed the group without hearing any other songs. Henry Vestine quit the group between the signing and the first recording, to go and join an *actual* white blues band, Canned Heat, and over the next year the group's lineup would fluctuate quite a bit around the core of Zappa, Collins, Estrada, and Black, with members like Steve Mann, Jim Guercio, Jim Fielder, and Van Dyke Parks coming and going, often without any recordings being made of their performances. The lineup on what became the group's first album, Freak Out! was Zappa, Collins, Estrada, Black, and Elliot Ingber, the former guitarist with the Gamblers, who had joined the group shortly before the session and would leave within a few months. The first track the group recorded, "Any Way the Wind Blows", was straightforward enough: [Excerpt: The Mothers of Invention, "Any Way the Wind Blows"] The second song, a "Satisfaction" knock-off called "Hungry Freaks Daddy", was also fine. But it was when the group performed their third song of the session, "Who Are The Brain Police?", that Tom Wilson realised that he didn't have a standard band on his hands: [Excerpt: The Mothers of Invention, "Who Are the Brain Police?"] Luckily for everyone concerned, Tom Wilson was probably the single best producer in America to have discovered the Mothers. While he was at the time primarily known for his folk-rock productions, he had built his early career on Cecil Taylor and Sun Ra records, some of the freakiest jazz of the fifties and early sixties. He knew what needed to be done -- he needed a bigger budget. Far from being annoyed that he didn't have the white blues band he wanted, Wilson actively encouraged the group to go much, much further. He brought in Wrecking Crew members to augment the band (though one of them. Mac Rebennack, found the music so irritating he pretended he needed to go to the toilet, walked out, and never came back). He got orchestral musicians to play Zappa's scores, and allowed the group to rent hundreds of dollars of percussion instruments for the side-long track "Return of the Son of Monster Magnet", which features many Hollywood scenesters of the time, including Van Dyke Parks, Kim Fowley, future Manson family member Bobby Beausoleil, record executive David Anderle, songwriter P.F. Sloan, and cartoonist Terry Gilliam, all recording percussion parts and vocal noises: [Excerpt: The Mothers of Invention, "Return of the Son of Monster Magnet"] Such was Wilson's belief in the group that Freak Out! became only the second rock double album ever released -- exactly a week after the first, Blonde on Blonde, by Wilson's former associate Bob Dylan. The inner sleeve included a huge list of people who had influenced the record in one way or another, including people Zappa knew like Don Cerveris, Don Vliet, Paul Buff, Bob Keane, Nik Venet, and Art Laboe,  musicians who had influenced the group like Don & Dewey, Johnny Otis, Otis' sax players Preston Love and Big Jay McNeely, Eric Dolphy, Edgard Varese, Richard Berry, Johnny Guitar Watson, and Ravi Shankar, eccentric performers like Tiny Tim, DJs like Hunter Hancock and Huggy Boy, science fiction writers like Cordwainer Smith and Robert Sheckley, and scenesters like David Crosby, Vito, and Franzoni. The list of 179 people would provide a sort of guide for many listeners, who would seek out those names and find their ways into the realms of non-mainstream music, writing, and art over the next few decades. Zappa would always remain grateful to Wilson for taking his side in the record's production, saying "Wilson was sticking his neck out. He laid his job on the line by producing the album. MGM felt that they had spent too much money on the album". The one thing Wilson couldn't do, though, was persuade the label that the group's name could stay as it was. "The Mothers" was a euphemism, for a word I can't say if I want this podcast to keep its clean rating, a word that is often replaced in TV clean edits of films with "melon farmers", and MGM were convinced that the radio would never play any music by a band with that name -- not realising that that wouldn't be the reason this music wouldn't get played on the radio. The group needed to change their name. And so, out of necessity, they became the Mothers of Invention.

Hope everyone's having a wonderful Thanksgiving weekend, Junkies. The boys ate too much so now they have to take off their pants and slip into so comfortable shorts. Short films, that is! Up first, legendary underground short filmmaker Kenneth Anger brings us his occult, psychedelic opus Lucifer Rising from 1972/1980. Featuring music by infamous Manson Family murderer Bobby Beausoleil and starring Marianne Faithfull, Chris Jagger and Jimmy Page this Satanic-themed trip has become quite notorious for its visual style and troubled history. Then, in 1979 ABC aired an hour long prime-time special entitled Playboy's Roller Disco & Pajama Party. Hosted by Family Feud's Richard Dawson, the special featured live performances by The Chuck Mangione Quartet and The Village People as well as cameos by Jim Brown, James Caan, Ruth Buzzi and of course, a whole lot of Playboy Playmates. Finally, we take a look at a 2008 short film by filmmaker Denis Villeneuve (Dune, Blade Runner 2049) about a group of rich people eating a ridiculous meal and falling through several floors of a high rise building in Next Floor.All this plus Thanksgiving meal ideas, Sean's financial issues, Goof Lumps, new footage of The Stuff found, multiple cuts of Phantom of the Mall, the guy from American Werewolf sings "Makin' It" and so much more.LISTEN NOW:MP3 Direct DonloydAlso, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll roller disco our way to the top with your love and support.

The murder of Gary Hinman by Bobby Beausoleil

Join us for Vol. 2 of The Manson Family, the final subject of TEET's limited series The UnHoly Trinity of Cults. In 1967 Charles Manson, a troubled little man with a very big personality and very dangerous ideas, was released from prison (where he had already spent half his life) and began to amass a cult following of troubled youth in Los Angeles, which eventually, and infamously, became known as the murderous Manson Family. In this second and final volume, we dig into Tom O'Neill's mind bender of a book, CHAOS: Charles Manson, the CIA, and the Secret History of the Sixties. We will also do the full treatment on the Bobby Beausoleil copycat theory as well as the controversies around Lotsapoppa. We offer some extremely creepy audio from Manson and the Girls and we round things out with final thoughts on all things Manson. Don't Cease to Exist! Be here, right now, with us!

In part two of our series on the Manson Family, we continue with Beausoleil in the act of roughing up Hinman over supposed money he had acquired, with Manson cutting off Hinman's ear and cheek, leaving Beausoleil and the two female accomplices in a panic. What happened to Hinman? Plus we look into Bobby Beausoleil's life leading up to him joining the family, how the LAPD messed up the Tate-LaBianca murders, was Manson really at the scene of the crimes, and more.[FOLLOW US ON SOCIAL MEDIA]TWITTER: www.twitter.com/PodcastAfraidINSTAGRAM: www.instagram.com/PodcastAfraidYOUTUBE: https://tinyurl.com/3mwr54tb[PATREON]Do you need more Even the Podcast is Afraid content, and would like to help support the show in the process? You can join our 'Elbow Deep Club' for just $5 per month and get exclusive content like ad-free & early access episodes, access to the after show, and more.PATREON: www.patreon.com/ordisstudios[WATCH OUR TV SHOW ON PODTV]TV SHOW: https://www.podtv.live/Download the PodTV app on your iOS, Android, Google Play, Amazon Appstore, and ROKU to watch our video podcast, EXCLUSIVE to PodTV. Just search PodTV Live in your app store.[ORDIS STUDIOS PODCAST NETWORK]WEBSITE: www.ordisstudios.comORDIS STUDIOS TWITTER: www.twitter.com/ordisstudiosORDIS STUDIOS INSTAGRAM: www.instagram.com/ordis.studios[MUSIC USED IN THIS EPISODE]Music from https://filmmusic.io"In Your Arms" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)[THANKS & MENTIONS FOR THIS EPISODE]Stephanie Kemmerer, researcher & writer for Even the Podcast is Afraid, conducted all the writing and research for this series on Charles Manson & the Manson Family."Even the Podcast is Afraid" (ETPIA) is created & produced by Jared Ordis, an original Ordis Studios Production.Even the Podcast is Afraid is part of the Ordis Studios Podcast Network.Copyright © 2021 by Ordis Studioswww.ordisstudios.com

This musician moved to LA and became involved with the infamous Manson Family. Two years later, he was charged for the murder of fellow artist Gary Hinman.  

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ This Time Dad You're Wrong by Arthur Russell on Love Is Overtaking Me (Audika) 2′49″ A Dog's Age by Jeffrey Silverstein on You Become the Mountain (Arrowhawk) 7′06″ Northwest by Gunn-Truscinksi Duo on Soundkeeper (Three Lobed Recordings) 10′28″ Measuring the Immeasureable by Eleh on Radiant Intervals (Important) 20′37″ Part I by Bobby Beausoleil on Lucifer Rising OST (Lethal ) 24′42″ Cowboys in Cuba by Chris & Cosey on Trance (Conspiracy International) 32′46″ Beatrix by Chas Smith on Cold Blue (Cold Blue) 36′54″ My Escape by Dead Moon on Unknown Passage (Tombstone) 40′05″ Land of No Junction by Aoife Nessa Frances on Land of No Junction (Ba Da Bing) 46′02″ Horologic by Louise Bock on Sketch for Winter VII - Abyss: For Cello (Geographic North) 52′51″ A Kaval Playing by Women's Choir of Sofia on The Mysterious Voices of Bulgaria (LaserLight) 58′00″ Tell Me What Is True Love? by Bert Jansch on Rosemary Lane (Transatlantic) Check out the full archives on the website.

Charles MansonManson was born to a 15 or 16 year old (depending on the source) girl in Cincinnati Oh. on Nov 12,1934. His Mother, Kathleen Maddox, did not even bother to give him a real name on his birth certificate. On it he is listed as No Name Maddox. There is not 100% surety who his father is, but most likely it is a man named Colonel Scott Sr. When Kathleen told him she was pregnant he told her he'd been called away on army business, which he lied to her about being in, and after several months she realized he was not returning.  It is assumed this is the father as Kathleen brought a paternity suit against Scott and this lead to an agreed judgement in 1937, which is basically a settlement between the two without Scott having to admit to being the father. Within the first few weeks Kathleen decided on the name Charles Milles after her father. Kathleen, then had a short lived marriage to a man named William Eugene Manson. The marriage lasted around three years, during which time Kathleen often went on drinking benders with her brother Luther. She would leave Charles with different babysitters all the time. This obviously caused issues with William and he filed for divorce citing “gross neglect of duty” on the part of Kathleen. Charles would retain the last name of Manson after the divorce as he was born after the two married. During one of her drinking sprees she had taken Charles with her to a cafe. The waitress commented about how cute Charles was and that she wanted kids of her own. Kathleen said to the waitress “ pitcher of beer and he’s yours.” The waitress obviously presumed she was kidding but brought her an extra pitcher of beer anyway to be nice. Well, true to her word, Kathleen finished her pitcher and left, leaving the boy there. Days later Manson's uncle would track him down and bring him home. What. The. Fuck!         When he was 5 years old, his mother and her brother Luther were arrested for robbing a man. Mother of the year, folks! Reportedly, Luther pressed a ketchup bottle filled with salt into The man's back, pretending it was a gun. He then smashed the bottle over The man’s head, and the siblings stole $27 before fleeing. Police caught up to the pair shortly after and arrested the two. Kathkleen received 5 years in prison and Luther 10. Charles was sent to live with his aunt and uncle in west virginia. Biographer Jeff Guinn related a story about Manson's childhood. When Manson was 5 years old and living with his family in West Virginia, his uncle reportedly forced him to wear his cousin Jo Ann's dress to school as punishment for crying in front of his first-grade class. In the biography, Guinn shares his perspective:  “It didn't matter what some teacher had done to make him cry; what was important was to do something drastic that would convince Charlie never to act like a sissy again.”   In first grade, Manson persuaded girls to beat up the boys he didn't like. When the principal questioned him, Manson offered the same defense he would later use after influencing his Family to commit the Tate-LaBianca murders:  “It wasn't me; they were doing what they wanted.” In 1942, the prison released Manson’s mother, Kathleen, on parole after she served three years. When she returned home, she gave Manson a hug. He later described this as his only happy memory from childhood. A few weeks after this homecoming, the family would move to Charleston WV. Here Manson would constantly be truant from school and his mother continued her hard drinking ways. His mother was again arrested for theft but was not convicted. After this the family would move again, this time to Indianapolis. While in Indianapolis his mother met an alcoholic with the last name Lewis while attending AA meetings. The two would marry in 1943. That same year Manson claims to have set his school on fire at the age of 9.  *christmas present story*       At the age of 13 Manson was placed into the Gibault School for Boys in Terre Haute Indiana. The school was for delinquent boys and run by strict catholic priests. There were severe punishments for even minor infractions, obviously. These included beating with a wooden paddle or lashes from a leather strap. Manson escaped the school and slept in the woods, under bridges and pretty much anywhere he could find shelter. He made his way back home and spent Christmas of 1947 with his aunt and uncle back in WV. After this his mother sent him back to the school where he would escape, yet again ten  months later and headed back to Indy. There, in 1948 he would commit his first known crime. He would rob a grocery store looking for something to eat, but came across a box containing around 100 dollars. He would take this and get a hotel room in a shitty part of town and buy food as well.        After this robbery he tried to get on the straight and narrow by getting a job delivering messages for Western Union. The straight path he was on would not last long though, as he started to supplement his income with petty theft. He was caught and in 1949 a judge sent him to Boys Town, a juvenile facility in Omaha, Nebraska. After spending a whopping 4 days at Boys Town, Manson and a fellow student named Blackie Nielson obtained a gun and stole a car. The boys decided to head to Nielson’s uncle's house in Peoria IL. Along the way they would commit two armed robberies. When they got to the uncle’s, who was a professional thief, they were recruited as apprentices in thievery. Manson was arrested a couple weeks  later as part of a raid and during the subsequent investigation was linked to the two earlier armed robberies. He was then sent to the Indiana School For Boys, another very strict reform school.       At the reform school Manson alleged to have been raped by other students at the urging of a staff member. He was also beaten very often and ran away from the school 18..count em...18 times! Manson developed what he called “the insane game” as a form of self defense while at the school.  When he was physically unable to defend himself, he would start screaming and screeching, making faces and grimacing, and waving his arms all over the place in an attempt to make his attackers think he was insane! After all of his failed attempts at running away and escaping, he finally succeeded in escaping with two other boys in february of 1951. The three boys decided to head to california, stealing cars and robbing gas stations along the way. They ended up getting arrested in Utah and Manson was sent to the National Training Center for Boys in  washington dc for the federal crime of driving a stolen car across state lines. When he got to the center he was given a test that determined he was illiterate even though he showed a slightly above average IQ of 109. Average in the US is around 98-100. Hise caseworker also deemed him “aggressively antisocial” When Charlie was being considered for a transfer to Natural Bridge Honor Camp, a minimum security institution, a psychiatric evaluation was required.On October 24 1951, Charlie was transferred to the Natural Bridge Honor Camp in Petersburg, Virginia. His parole hearing was scheduled for February 1952. On October 24, 1951, when his Aunt Joanne visited, she promised Charlie and the authorities that when he was released, she and his Uncle Bill would look after him, provide him with a place to live, and a job.Psychiatrist Dr. Block, explained in a prison and probation report that his life of abuse, rejection, instability, and emotional pain had turned him into a slick but extremely sensitive boy:        "[Manson] Tries to give the impression of trying hard although actually not putting forth any effort ... marked degree of rejection, instability and psychic trauma ... constantly striving for status ... a fairly slick institutionalized youth who has not given up in terms of securing some kind of love and affection from the world ... dangerous ... should not be trusted across the street ... homosexual and assaultative [sic] tendencies ... safe only under supervision ... unpredictable ... in spite of his age he is criminally sophisticated and grossly unsuited for retention in an open reformatory type institution.”In January 1952, less than a month before his parole date, Charlie sodomized a boy with a razor to his throat. He was reclassified him as dangerous and transferred to a tougher, higher security, lock up facility; the Federal Reformatory at Petersburg, Virginia,.By August 1952, he had eight major violations including three sexual assaults. He was classified as a dangerous offender and characterized as "defiantly homosexual, dangerous, and safe only under supervision" and as having "assaultive tendencies."September 22 1952, Charlie was transferred to the Federal Reformatory in Chillicothe, Ohio, a higher security institution. He was a "model prisoner." There was a major improvement in his attitude. He learned to read and understand math. On January 1, 1954, he was honored with a Meritorious Service Award for his scholastic accomplishments and his work in the Transportation Unit for maintenance and repair of institution vehicles.While incarcerated at Chillicothe, Charlie met the notorious American Syndicate gangster, Frank Costello, aka "Prime Minister of the Underworld," a close associate of the powerful underworld boss, Lucky Luciano.In the book, Manson: In His Own Words (1986), by Nuel Emmons, Manson, obviously impressed by with Costello's professional crime background states:"When I walked down the halls with him [Costello] or sat at the same table for meals, I probably experienced the same sensation an honest kid would get out of being with Joe DiMaggio or Mickey Mantel: admiration bordering on worship. To me, if Costello did something, right or wrong, that was the way it was supposed to be... Yeah, I admired Frank Costello, and I listened to and believed everything he said."Charlie's parole on May 8, 1954, stipulated that he live with Aunt Joanne and Uncle Bill in McMechen, West Virginia. Now at nineteen years-old, for the first time since his mother gave him up when he was 12, Charlie was legally free .Soon after Manson gained his freedom, his mother was released from prison. She moved to nearby Wheeling, West Virginia and soon Charlie moved in with her.In January 1955, Manson married a hospital waitress named Rosalie Jean Willis. Around October, about three months after he and his pregnant wife arrived in Los Angeles in a car he had stolen in Ohio, Manson was again charged with a federal crime for taking the vehicle across state lines. After a psychiatric evaluation, he was given five years' probation. Manson's failure to appear at a Los Angeles hearing on an identical charge filed in Florida resulted in his March 1956 arrest in Indianapolis. His probation was revoked; he was sentenced to three years' imprisonment at Terminal Island, San Pedro, California.While Manson was in prison, Rosalie gave birth to their son Charles Manson Jr. During his first year at Terminal Island, Manson received visits from Rosalie and his mother, who were now living together in Los Angeles. In March 1957, when the visits from his wife ceased, his mother informed him Rosalie was living with another man. Less than two weeks before a scheduled parole hearing, Manson tried to escape by stealing a car. He was given five years' probation and his parole was denied.Manson received five years' parole in September 1958, the same year in which Rosalie received a decree of divorce. By November, he was pimping a 16-year-old girl and was receiving additional support from a girl with wealthy parents. In September 1959, he pleaded guilty to a charge of attempting to cash a forged U.S. Treasury check, which he claimed to have stolen from a mailbox; the latter charge was later dropped. He received a 10-year suspended sentence and probation after a young woman named Leona, who had an arrest record for prostitution, made a "tearful plea" before the court that she and Manson were "deeply in love ... and would marry if Charlie were freed".  Before the year's end, the woman did marry Manson, possibly so she would not be required to testify against him.Manson took Leona and another woman to New Mexico for purposes of prostitution, resulting in him being held and questioned for violating the Mann Act. Though he was released, Manson correctly suspected that the investigation had not ended. When he disappeared in violation of his probation, a bench warrant was issued. An indictment for violation of the Mann Act followed in April 1960. Following the arrest of one of the women for prostitution, Manson was arrested in June in Laredo, Texas, and was returned to Los Angeles. For violating his probation on the check-cashing charge, he was ordered to serve his ten-year sentence.Manson spent a year trying unsuccessfully to appeal the revocation of his probation. In July 1961, he was transferred from the Los Angeles County Jail to the United States Penitentiary at McNeil Island, Washington. There, he took guitar lessons from Barker–Karpis gang leader Alvin "Creepy" Karpis, and obtained from another inmate a contact name of someone at Universal Studios in Hollywood, Phil Kaufman.  According to Jeff Guinn's 2013 biography of Manson, his mother moved to Washington State to be closer to him during his McNeil Island incarceration, working nearby as a waitress.Although the Mann Act charge had been dropped, the attempt to cash the Treasury check was still a federal offense. Manson's September 1961 annual review noted he had a "tremendous drive to call attention to himself", an observation echoed in September 1964.  In 1963, Leona was granted a divorce. During the process she alleged that she and Manson had a son, Charles Luther. According to a popular urban legend, Manson auditioned unsuccessfully for the Monkees in late 1965; this is refuted by the fact that Manson was still incarcerated at McNeil Island at that time.In June 1966, Manson was sent for the second time to Terminal Island in preparation for early release. By the time of his release day on March 21, 1967, he had spent more than half of his 32 years in prisons and other institutions. This was mainly because he had broken federal laws. Federal sentences were, and remain, much more severe than state sentences for many of the same offenses. Telling the authorities that prison had become his home, he requested permission to stay. In 1967, 32-year-old Charles Manson was released from prison once again (this time, from a correctional facility in the state of Washington). He then made his way to San Francisco and quickly found a home in the counter-culture movement there.Manson created a cult around himself called the "Family" that he hoped to use to bring about Armageddon through a race war. He named this scenario "Helter Skelter," after the 1968 Beatles song of the same name.Living mostly by begging, Manson soon became acquainted with Mary Brunner, a 23-year-old graduate of the University of Wisconsin–Madison. Brunner was working as a library assistant at the University of California, Berkeley, and Manson moved in with her. According to a second-hand account, he overcame her resistance to his bringing other women in to live with them. Before long, they were sharing Brunner's residence with eighteen other women.Manson established himself as a guru in San Francisco's Haight-Ashbury district, which during 1967's "Summer of Love" was emerging as the signature hippie locale. Manson appeared to have borrowed his philosophy from the Process Church of the Final Judgment, whose members believed Satan would become reconciled to Christ and they would come together at the end of the world to judge humanity. Manson soon had the first of his groups of followers, which have been called the "Manson Family", most of them female. Manson taught his followers that they were the reincarnation of the original Christians, and that the Romans were the establishment. He strongly implied that he was Christ; he often told a story envisioning himself on the cross with the nails in his feet and hands. Sometime around 1967, he began using the alias "Charles Willis Manson." He often said it very slowly ("Charles's Will Is Man's Son")—implying that his will was the same as that of the Son of Man.Before the end of the summer, Manson and eight or nine of his enthusiasts piled into an old school bus they had re-wrought in hippie style, with colored rugs and pillows in place of the many seats they had removed. They roamed as far north as Washington state, then southward through Los Angeles, Mexico, and the American Southwest. Returning to the Los Angeles area, they lived in Topanga Canyon, Malibu, and Venice—western parts of the city and county.Having learned how to play guitar in prison he did his best to wow artists like Neil Young and The Mamas and Papas, his idiosyncratic folk music failed to generate enthusiasm until he was introduced to Dennis Wilson of the Beach Boys, who saw talent in Manson's playing.  Wilson allowed Manson and several of "his girls" — who had by now begun coalescing around him because they believed he was a  guru with prophetic powers — to stay with him at his mansion in June 1968. Wilson eventually kicked them out after they began causing trouble, but Manson later accused the Beach Boys of reworking one of his songs and including it on their 1969 album "20/20" without crediting him. In 1967, Brunner became pregnant by Manson and, on April 15, 1968, gave birth to a son she named Valentine Michael (nicknamed "Pooh Bear") in a condemned house in Topanga Canyon, assisted during the birth by several of the young women from the Family. Brunner (like most members of the group) acquired a number of aliases and nicknames, including: "Marioche", "Och", "Mother Mary", "Mary Manson", "Linda Dee Manson" and "Christine Marie Euchts". Manson established a base for the Family at the Spahn Ranch in August 1968 after Wilson's landlord evicted them. It had been a television and movie set for Westerns, but the buildings had deteriorated by the late 1960s and the ranch's revenue was primarily derived from selling horseback rides. Female Family members did chores around the ranch and, occasionally, had sex on Manson's orders with the nearly blind 80 year-old owner George Spahn. The women also acted as seeing-eye guides for him. In exchange, Spahn allowed Manson and his group to live at the ranch for free.  Lynette Fromme acquired the nickname "Squeaky" because she often squeaked when Spahn pinched her thigh.Charles Watson, a small-town Texan who had quit college and moved to California, soon joined the group at the ranch. He met Manson at Wilson's house; Watson had given Wilson a ride while Wilson was hitchhiking after his car was wrecked. Spahn nicknamed him "Tex" because of his pronounced Texas drawl. Manson follower Dianne Lake (just 14 when she met Manson) detailed long nights of lectures, in which Manson instructed others at the ranch to take LSD and listen to him preach about the past, present and future of humanity.  With his “family” coming together, manson began his work with Helter Skelter. The following excerpt about Helter Skelter is taken from wikipedia, Sources were double check for accuracy and we just figured this would be a quick review. We have added a few things to fill it out...so don't @ us bros ;) In the first days of November 1968, Manson established the Family at alternative headquarters in Death Valley's environs, where they occupied two unused or little-used ranches, Myers and Barker.[20][25] The former, to which the group had initially headed, was owned by the grandmother of a new woman (Catherine Gillies) in the Family. The latter was owned by an elderly local woman (Arlene Barker) to whom Manson presented himself and a male Family member as musicians in need of a place congenial to their work. When the woman agreed to let them stay if they'd fix things up, Manson honored her with one of the Beach Boys' gold records,[25] several of which he had been given by Wilson.[26]While back at Spahn Ranch, no later than December, Manson and Watson visited a Topanga Canyon acquaintance who played them the Beatles' recently released double album, The Beatles (also known as the "White Album").[20][27][28] Manson became obsessed with the group.[29] At McNeil Island prison, Manson had told fellow inmates, including Karpis, that he could surpass the group in fame;[7]:200–202, 265[30] to the Family, he spoke of the group as "the soul" and "part of the hole in the infinite".[28]For some time, Manson had been saying that racial tensions between blacks and whites were about to erupt, predicting that blacks would rise up in rebellion in America's cities.[31][32] On a bitterly cold New Year's Eve at Myers Ranch, as the Family gathered outside around a large fire, Manson explained that the social turmoil he had been predicting had also been predicted by the Beatles.[28] The White Album songs, he declared, foretold it all in code. In fact, he maintained (or would soon maintain), the album was directed at the Family, an elect group that was being instructed to preserve the worthy from the impending disaster.[31][32]In early January 1969, the Family left the desert's cold and moved to a canary-yellow home in Canoga Park, not far from the Spahn Ranch.[7]:244–247[28][33] Because this locale would allow the group to remain "submerged beneath the awareness of the outside world",[7]:244–247[34] Manson called it the Yellow Submarine, another Beatles reference. There, Family members prepared for the impending apocalypse, which around the campfire Manson had termed "Helter Skelter", after the song of that name.By February, Manson's vision was complete. The Family would create an album whose songs, as subtle as those of the Beatles, would trigger the predicted chaos. Ghastly murders of whites by blacks would be met with retaliation, and a split between racist and non-racist whites would yield whites' self-annihilation. The blacks' triumph, as it were, would merely precede their being ruled by the Family, which would ride out the conflict in "the bottomless pit", a secret city beneath Death Valley. At the Canoga Park house, while Family members worked on vehicles and pored over maps to prepare for their desert escape, they also worked on songs for their world-changing album. When they were told Melcher was to come to the house to hear the material, the women prepared a meal and cleaned the place. However, Melcher never arrived.  Crimes of the Family On May 18, 1969, Terry Melcher visited Spahn Ranch to hear Manson and the women sing. Melcher arranged a subsequent visit, not long thereafter, during which he brought a friend who possessed a mobile recording unit, but Melcher did not record the group.By June, Manson was telling the Family they might have to show blacks how to start "Helter Skelter". When Manson tasked Watson with obtaining money, supposedly intended to help the Family prepare for the conflict, Watson defrauded a black drug dealer named Bernard "Lotsapoppa" Crowe. Crowe responded with a threat to wipe out everyone at Spahn Ranch. The family countered on July 1, 1969, by shooting Crowe at Manson's Hollywood apartment.Manson's belief that he had killed Crowe was seemingly confirmed by a news report of the discovery of the dumped body of a Black Panther in Los Angeles. Although Crowe was not a member of the Black Panthers, Manson concluded he had been and expected retaliation from the Panthers. He turned Spahn Ranch into a defensive camp, with night patrols of armed guards.] "If we'd needed any more proof that Helter Skelter was coming down very soon, this was it," Tex Watson would later write. "Blackie was trying to get at the chosen ones." Gary Allen Hinman The murder of Gary Hinman committed by Bobby Beausoleil forever changed the course of the now-infamous cult; at one time sold to followers as the embodiment of free love, the incident set Manson’s cult on a path for the unparalleled brutality and violence that continues to captivate the world nearly 50 years after the fact.New murder minutiaeBeausoleil provided new details about the murder that started it all as part of a two-hour Fox special “Inside the Manson Cult: The Lost Tapes" that aired in 2018. As part of the jailhouse interview, Beausoleil detailed Hinman's relationship to the Family, the circumstances around the 34-year-old musician's death, and why Beausoleil felt he "had no way out" other than going forward with his brutal act."Fear is not a rational emotion and when it sets in. Things get out of control—as they certainly did with Charlie and me," he said during the special.Hinman, a talented piano player who once played at Carnegie Hall, was described by his cousin as a "lost artistic soul,” according to People magazine—one who would wind up falling in with the wrong crowd and befriending the Manson Family. "Gary was a friend. He didn't do anything to deserve what happened to him and I am responsible for that," Beausoleil said from the California Medical Facility, a male prison, where he's serving a life sentence.According to Dianne Lake, who also participated in the TV special to discuss her time as a Manson devotee, Family members had been to Hinman's house several times before his murder. Beausoleil had purchased drugs from Hinman during the summer of 1969. He sold them to another person, who then complained about their quality, causing Beausoleil to need his money back. "Bobby was driven over there to make it right with two girls that knew Gary very well. In fact, I think he had slept with both of them: Susan Atkins and Mary Brunner," former follower Catherine "Gypsy" Share said during the special. But Hinman didn't have the money. After Beausoleil, an aspiring actor and musician, roughed Gary up a bit, they called Manson, who decided to come to the house with a samurai sword. When he arrived, Manson took the sword and made a swipe across Hinman's face from his ear down his cheek. "It was bleeding a lot," John Douglas, a retired FBI agent who later interviewed Manson, said in the special. Beausoleil asked Manson why he had cut the man's face. "He said, 'To show you how to be a man.' His exact words," Beausoleil said. "I will never forget that."According to Beausoleil, who at one time was given the nickname "Cupid" for his good looks, he tried to patch the wound up and "make things right." Hinman, however, insisted on receiving medical attention—which is when things took a fatal turn."I knew if I took him, I'd end up going to prison. Gary would tell on me, for sure, and he would tell on Charlie and everyone else," Beausoleil said in the interview "It was at that point I realized I had no way out."According to the San Diego Union Tribune, Hinman was tortured over three days before he was killed. Beausoleil, for  his part, admitted to stabbing Hinman twice in the chest. The family reportedly used Hinman’s blood to scribble the words “Political Piggy” on the wall after the murder, according to CBS News, and also included a panther paw to try and pin the slaying on the Black Panthers (Manson was known for his desire to incite a race war).Beausoleil, along with Bruce Davis, was later arrested for  the murder.The murder catapulted the Manson family into a new level of violence. Although they had been training and preparing for a supposed race war for some time at Spahn Ranch, they had now become the aggressors and instigators of violence."This is when things start getting really dire, I mean really murderous," Lake said during the Fox program. Several weeks later, Manson Family followers would go on to murder Tate, writer Wojciech Frykowski, coffee heiress Abigail Folger, celebrity hair stylist Jay Sebring, and Steven Parent, who had come to  visit the gardener on Polanski’s property. The next night, the group would break into the home of Leno and Rosemary LaBianca and kill the couple. Beausoleil was sentenced to death for his role in Hinman’s murder, but the sentence was later commuted to life in prison. In January of 2019, he was recommended for parole during his 19th appearance before a parole board, according to CNN. His attorney Jason Campbell argued that he should be released from prison because he hasn't been a danger to society in decades. "He has spent the last 50 years gradually growing and improving himself and in particular, over the last few decades, he's been pretty much a model inmate," he said.However, California Gov. Gavin Newsom later overruled the recommendation, keeping Beusoleil behind bars, the Associated Press reports.As he sat in his cell and reflected on his past crime, Beausoleil told the team behind the Fox special that he is filled with regret over the death of his one-time friend."What I've wished a thousand times is that I had faced the music,” he said. “Instead, I killed him.”Tate- Labianca murdersOn the night of August 8, 1969, Charles "Tex" Watson, Susan Atkins, Patricia Krenwinkel, and Linda Kasabian were sent by Charlie to the old home of Terry Melcher at 10050 Cielo Drive. Their instructions were to kill everyone at the house and make it appear like Hinman's murder, with words and symbols written in blood on the walls. As Charlie Manson had said earlier in the day after choosing the group, "Now is the time for Helter Skelter."What the group did not know was that Terry Melcher was no longer residing in the home and that it was being rented by film director Roman Polanski and his wife, actress Sharon Tate. Tate was two weeks away from giving birth and Polanski was delayed in London while working on his film, The Day of the Dolphin. Because Sharon was so close to giving birth, the couple arranged for friends to stay with her until Polanski could get home.After dining together at the El Coyote restaurant, Sharon Tate, celebrity hairstylist Jay Sebring, Folger coffee heiress Abigail Folger and her lover Wojciech Frykowski, returned to the Polanski's home on Cleo Drive at around 10:30 p.m. Wojciech fell asleep on the living room couch, Abigail Folger went to her bedroom to read, and Sharon Tate and Sebring were in Sharon's bedroom talking.Steve ParentJust after midnight, Watson, Atkins, Krenwinkel, and Kasabian arrived at the house. Watson climbed a telephone pole and cut the phone line going to the Polanski's house. Just as the group entered the estate grounds, they saw a car approaching. Inside the car was 18-year-old Steve Parent who had been visiting the property's caretaker, William Garreston.As Parent approached the driveway's electronic gate, he rolled down the window to reach out and push the gate's button, and Watson descended on him, yelling at him to halt. Seeing that Watson was armed with a revolver and knife, Parent began to plead for his life. Unfazed, Watson slashed at Parent, then shot him four times, killing him instantly.The Rampage InsideAfter murdering Parent, the group headed for the house. Watson told Kasabian to be on the lookout by the front gate. The other three family members entered the Polanski home. Charles "Tex" Watson went to the living room and confronted Frykowski who was asleep. Not fully awake, Frykowski asked what time it was and Watson kicked him in the head. When Frykowski asked who he was, Watson answered, "I'm the devil and I'm here to do the devil's business."Susan Atkins went to Sharon Tate's bedroom with a buck knife and ordered Tate and Sebring to go into the living room. She then went and got Abigail Folger. The four victims were told to sit on the floor. Watson tied a rope around Sebring's neck, flung it over a ceiling beam, then tied the other side around Sharon's neck. Watson then ordered them to lie on their stomachs. When Sebring voiced his concerns that Sharon was too pregnant to lay on her stomach, Watson shot him and then kicked him while he died.Knowing now that the intent of the intruders was murder, the three remaining victims began to struggle for survival. Patricia Krenwinkel attacked Abigail Folger and after being stabbed multiple times, Folger broke free and attempted to run from the house. Krenwinkel followed close behind and managed to tackle Folger out on the lawn and stabbed her repeatedly.Inside, Frykowski struggled with Susan Atkins when she attempted to tie his hands. Atkins stabbed him four times in the leg, then Watson came over and beat Frykowski over the head with his revolver. Frykowski somehow managed to escape out onto the lawn and began screaming for help.While the microbe scene was going on inside the house, all Kasabian could hear was screaming. She ran to the house just as Frykowski was escaping out the front door. According to Kasabian, she looked into the eyes of the mutilated man and horrified at what she saw, she told him that she was sorry. Minutes later, Frykowski was dead on the front lawn.Watson shot him twice, then stabbed him to death.Seeing that Krenwinkel was struggling with Folger, Watson went over and the two continued to stab Abigail mercilessly. According to killer's statements later given to the authorities, Abigail begged them to stop stabbing her saying, "I give up, you've got me", and "I'm already dead". The final victim at 10050 Cielo Drive was Sharon Tate. Knowing that her friends were likely dead, Sharon begged for the life of her baby. Unmoved, Atkins held Sharon Tate down while Watson stabbed her multiple times, killing her. Atkins then used Sharon's blood to write "Pig" on a wall. Atkins later said that Sharon Tate called out for her mother as she was being murdered and that she tasted her blood and found it "warm and sticky."According to the autopsy reports, 102 stab wounds were found on the four victims.The Labianca MurdersThe next day Manson, Tex Watson, Susan Atkins, Patricia Krenwinkel, Steve Grogan, Leslie Van Houten, and Linda Kasabian went to the home of Leno and Rosemary Labianca. Manson and Watson tied up the couple and Manson left. He told Van Houten and Krenwinkel to go in and kill the LaBiancas. The three separated the couple and murdered them, then had dinner and a shower and hitchhiked back to Spahn Ranch. Manson, Atkins, Grogan, and Kasabian drove around looking for other people to kill but failed.Manson and The Family ArrestedAt Spahn Ranch rumors of the group's involvement began to circulate. So did the police helicopters above the ranch, but because of an unrelated investigation. Parts of stolen cars were spotted in and around the ranch by police in the helicopters. On August 16, 1969, Manson and The Family were rounded up by police and taken in on suspicion of auto theft (not an unfamiliar charge for Manson). The search warrant ended up being invalid because of a date error and the group was released.Charlie blamed the arrests on Spahn's ranch hand Donald "Shorty" Shea for snitching on the family. It was no secret that Shorty wanted the family off the ranch. Manson decided it was time for the family to move to Barker Ranch near Death Valley, but before leaving, Manson, Bruce Davis, Tex Watson and Steve Grogan killed Shorty and buried his body behind the ranch.The Barker Ranch RaidThe Family moved onto the Barker Ranch and spent time turning stolen cars into dune buggies. On October 10, 1969, Barker Ranch was raided after investigators spotted stolen cars on the property and traced evidence of an arson back to Manson. Manson was not around during the first Family roundup, but returned on October 12 and was arrested with seven other family members. When police arrived Manson hid under a small bathroom cabinet but was quickly discovered.The Confession of Susan AtkinsOne of the biggest breaks in the case came when Susan Atkins boasted in detail about the murders to her prison cellmates. She gave specific details about Manson and the killings. She also told of other famous people the Family planned on killing. Her cellmate reported the information to the authorities and Atkins was offered a life sentence in return for her testimony. She refused the offer but repeated the prison cell story to the grand jury. Later Atkins recanted her grand jury testimony.Investigation and TrialOn September 1, 1969, a ten-year-old boy in Sherman Oaks discovered a .22 caliber Longhorn revolver under a bush near his home. His parents notified the LAPD, who picked up the gun, but failed to make any connection between it and the Tate murders.In October, Inyo County officers raided Barker Ranch, in a remote area south of Death Valley National Monument. Twenty-four members of the Manson Family were arrested, on charges of arson and grand theft. Cult leader Charles Manson (dressed entirely in buckskins) and Susan Atkins were among those arrested.After her arrest, Atkins was housed at Dormitory 8000 in Los Angeles. On November 6, she told another inmate, Virginia Graham, an almost unbelievable tale. She told of "a beautiful cat" named Charles Manson. She told of murder: of finding Sharon Tate, in bed with her bikini bra and underpants, of her victim's futile cries for help, of tasting Tate's blood. Atkins expressed no remorse at all over the killings. She even told Graham a list of celebrities that she and other Family members planned to kill in the future, including Elizabeth Taylor, Richard Burton, Tom Jones, Steve McQueen, and Frank Sinatra. Through an inmate friend of Graham's, Ronnie Howard, word of Atkins's amazing story soon reached the LAPD.About the same time, detectives on the LaBianca case interviewed Al Springer, a member of the Straight Satan biker's group that Manson had tried to recruit into the Family. Word had leaked to police that the Straight Satans might have some knowledge about who was responsible for another recent murder with several similarities to the LaBianca killings. Springer told detectives that Manson had bragged to him in August at Spahn Ranch--after offering him his pick from among the eighteen or so "naked girls" scattered around the ranch--about "knocking off" five people. When Springer told detectives that Manson had said the Tate killers "wrote something on the...refrigerator in blood"--"something about pigs"--, the detectives knew they might be onto something. Still, it struck them as odd that anyone would confess to several murders to someone that they barely knew. It took another member of the Straight Satans, Danny DeCarlo, to move the focus of the investigation decisively to Charles Manson. DeCarlo told police he heard a Manson Family member brag, "We got five piggies," and that Manson had asked him what to use "to decompose a body."On November 18, 1969, the District Attorney and his staff selected Vincent Bugliosi to be the chief prosecutor in the Tate-LaBianca case. The choice was no doubt influenced by Bugliosi's impressive record of winning 103 convictions in 104 felony trials. The day after getting the Tate-LaBianca assignment, Bugliosi joined in a search of the Spahn Movie Ranch, where police gathered .22 caliber bullets and shell casings from a canyon used by Family members for target practice. The next day, the search party moved on to isolated Barker Ranch, the most recent home of the Family, on the edge of Death Valley. In the small house at Barker Ranch, Bugliosi saw the small cabinet under the sink where Manson was found hiding during the October raid. On an abandoned bus in a gully, investigators discovered magazines from World War II, all containing articles about Hitler.Based on Ronnie Howard's account of Susan Atkin's jailhouse confession and interviews conducted with various Manson Family members, the LAPD eventually identified the five persons who participated in the actual Tate and LaBianca murders. The suspects consisted of four women, all in their early twenties, and one man in his mid-twenties: Susan Atkins, Patricia Krenwinkel, Leslie Van Houten, Linda Kasabian, and Charles "Tex" Watson. Atkins remained in custody at Dormitory 8000. Van Houten was picked up for questioning in California. Watson was arrested by a local sheriff in Texas. Patricia Krenwinkel was apprehended in Mobile, Alabama. Kasabian voluntarily surrendered to local police in Concord, New Hampshire.Knowing that convictions of at least some defendant would require testimony from one of those persons present at the murders, the D. A.'s office first reached a deal with the attorney for Susan Atkins: a promise not to seek the death penalty in return for testimony before the Grand Jury, plus consideration of a further reduction in charges for her continued cooperation during the trial. Atkins appeared before the Grand Jury on December 5. She told the grand jury she was "in love with the reflection" of Charles Manson and that there was "no limit" to what she would do for him. In an emotionless voice, she described the horrific events in the early morning hours of August 9 at the Tate residence. She told of Tate pleading for her life: "Please let me go. All I want to do is have my baby." She described the actual murders, told of returning to the car and stopping along a side street to wash off bloody clothes with a garden house, and of Manson's reaction on their return to Spahn Ranch. Atkins said that on returning to Spahn Ranch she "felt dead." She added, "I feel dead now." After twenty minutes of deliberations, the grand jury returned murder indictments against Manson, Watson, Krenwinkel, Atkins, Kasabian, and Van Houten.THE TRIALProsecutor Vincent Bugliosi talks to the press during trialWhen efforts to extradite Tex Watson from became bogged down in local Texas politics, the District Attorney's Office decided to proceed against the four persons indicted for the Tate-LaBianca murders who were in custody in California. Jury selection began on June 15, 1970 in the eighth floor courtroom of Judge Charles Older in the Hall of Justice in Los Angeles. Manson's request to ask potential jurors "a few simple, childlike questions that are real to me in my reality" was denied. During the voir dire, Manson fixed his penetrating stare for hours, first on Judge Older and then one day on Prosecutor Bugliosi. After getting Manson's stare treatment, Bugliosi took advantage of a recess to slide his chair next to Manson and ask, "What are you trembling about Charlie? Are you afraid of me?" Manson responded, "Bugliosi, you think I'm bad and I'm not." He went on to tell Manson that Atkins was "just a stupid little bitch" who told a story "to get attention." After a month of voir dire, a jury of seven men and five women was selected. The jury knew it would be sequestered for a long time, but it didn't know how long. As it turned out, their sequestration would last 225 days, longer than any previous jury in history.Opening statements began on July 24. Manson entered the courtroom sporting a freshly cut, bloody "X" on his forehead--signifying, he said in a statement, that "I have X'd myself from your world."Bugliosi, in his opening statement for the prosecution, indicated that his "principal witness" would be Linda Kasabian, a Manson Family member who accompanied the killers to both the Tate and LaBianca residences. The prosecution turned to Kasabian, with a promise of prosecutorial immunity for her testimony, when Susan Atkins--probably in response to threats from Manson--announced that she would not testify at the trial. Bugliosi promised the jury that the evidence would show Manson had a motive for the murders that was "perhaps even more bizarre than the murders themselves."On July 27, Bugliosi announced, "The People call Linda Kasabian." Manson's attorney, fabled obstructionist Irving Kanarek, immediately sprung up with an objection, "Object, Your Honor, on the grounds this witness is not competent and is insane!" Calling Kanarek to the bench and telling him his conduct was "outrageous," Judge Older denied the objection and Kasabian was sworn as a witness. She would remain on the stand for an astounding eighteen days, including seven days of cross-examination by Kanarek.Linda KasabianKasabian told the jury that no Family member ever refused an order from Charles Manson: "We always wanted to do anything and everything for him." After describing what she saw of the Tate murders, Kasabian was asked by Bugliosi about the return to Spahn Ranch:"Was there anyone in the parking area at Spahn Ranch as you drove in the Spahn Ranch area?""Yes.""Who was there?""Charlie.""Was there anyone there other than Charlie?""Not that I know of""Where was Charlie when you arrived at the premises?""About the same spot he was in when he first drove away.""What happened after you pulled the car onto the parking area and parked the car?""Sadie said she saw a spot of blood on the outside of the car when we were at the gas station.""Who was present at that time when she said that?""The four of us and Charlie.""What is the next thing that happened?""Well, Charlie told us to go into the kitchen, get a sponge, wipe the blood off, and he also instructed Katie and I to go all through the car and wipe off the blood spots.""What is the next thing that happened after Mr. Manson told you and Katie to check out the car and remove the blood?""He told us to go into the bunk room and wait, which we did."Kasabian also offered her account of the night of the LaBianca murders. She testified that she didn't want to go, but went anyway "because Charlie asked me and I was afraid to say no."Kasabian proved a very credible witness, despite the best efforts during cross-examination of defense attorneys to make her appear a spaced-out hippie. After admitting that she took LSD about fifty times, Kasabian was asked by Kanarek, "Describe what happened on trip number 23." Other defense questions explored her beliefs in ESP and witchcraft or focused on the "vibrations" she claimed to receive from Manson.A major distraction from Kasabian's testimony came on August 3, when Manson stood before the jury and held up a copy of the Los Angeles Times with the headline, "MANSON GUILTY, NIXON DECLARES." The defense moved for a mistrial on the grounds that the headline prejudiced the jury against the defense, but Judge Older denied the motion after each juror stated under oath that he or she would not be influenced by the President's reported declaration of guilt.Testimony corroborating that of Kasabian came from several other prosecution witnesses, most notably the woman Atkins confided in at Dormitory 8000, Virginia Graham. Other witnesses described receiving threats from Manson, evidence of Manson's total control over the lives of Family members, or conversations in which Manson had told of the coming Helter Skelter.Nineteen-year-old Paul Watkins, Manson's foremost recruiter of young women, provided key testimony about the strange motive for the Tate-LaBianca murders--including its link to the Bible's Book of Revelation. Watkins testified that Manson discussed Helter Skelter "constantly." Bugliosi asked Watkins how Helter Skelter would start:"There would be some atrocious murders; that some of the spades from Watts would come up into the Bel-Air and Beverly Hills district and just really wipe some people out, just cut bodies up and smear blood and write things on the wall in blood, and cut little boys up and make parents watch. So, in retaliation-this would scare; in other words, all the other white people would be afraid that this would happen to them, so out of their fear they would go into the ghetto and just start shooting black people like crazy. But all they would shoot would be the garbage man and Uncle Toms, and all the ones that were with Whitey in the first place. And underneath it all, the Black Muslims would-he would know that it was coming down.""Helter Skelter was coming down?""Yes. So, after Whitey goes in the ghettoes and shoots all the Uncle Toms, then the Black Muslims come out and appeal to the people by saying, 'Look what you have done to my people.' And this would split Whitey down the middle, between all the hippies and the liberals and all the up-tight piggies. This would split them in the middle and a big civil war would start and really split them up in all these different factions, and they would just kill each other off in the meantime through their war. And after they killed each other off, then there would be a few of them left who supposedly won.""A few of who left?""A few white people left who supposedly won. Then the Black Muslims would come out of hiding and wipe them all out.""Wipe the white people out?""Yes. By sneaking around and slitting their throats.""Did Charlie say anything about where he and the Family would be during this Helter Skelter?""Yes. When we was [sic] in the desert the first time, Charlie used to walk around in the desert and say-you see, there are places where water would come up to the top of the ground and then it would go down and there wouldn't be no more water, and then it would come up again and go down again. He would look at that and say, 'There has got to be a hole somewhere, somewhere here, a big old lake.' And it just really got far out, that there was a hole underneath there somewhere where you could drive a speedboat across it, a big underground city. Then we started from the 'Revolution 9' song on the Beatles album which was interpreted by Charlie to mean the Revelation 9. So-""The last book of the New Testament?""Just the book of Revelation and the song would be 'Revelations 9: So, in this book it says, there is a part about, in Revelations 9, it talks of the bottomless pit. Then later on, I believe it is in 10.""Revelation 10?""Yes. It talks about there will be a city where there will be no sun and there will be no moon.""Manson spoke about this?""Yes, many times. That there would be a city of gold, but there would be no life, and there would be a tree there that bears twelve different kinds of fruit that changed every month. And this was interpreted to mean-this was the hole down under Death Valley.""Did he talk about the twelve tribes of Israel?""Yes. That was in there, too. It was supposed to get back to the 144,000 people. The Family was to grow to this number.""The twelve tribes of Israel being 144,000 people?""Yes.""And Manson said that the Family would eventually increase to 144,000 people?""Yes.""Did he say when this would take place?""Oh, yes. See, it was all happening simultaneously. In other words, as we are making the music and it is drawing all the young love to the desert, the Family increases in ranks, and at the same time this sets off Helter Skelter. So then the Family finds the hole in the meantime and gets down in the hole and lives there until the whole thing comes down.""Until Helter Skelter comes down?""Yes.""Did he say who would win this Helter Skelter?""The karma would have completely reversed, meaning that the black men would be on top and the white race would be wiped out; there would be none except for the Family.""Except for Manson and the Family?""Yes.""Did he say what the black man would do once he was all by himself?""Well, according to Charlie, he would clean up the mess, just like he always has done. He is supposed to be the servant, see. He will clean up the mess that he made, that the white man made, and build the world back up a little bit, build the cities back up, but then he wouldn't know what to do with it, he couldn't handle it.""Blackie couldn't handle it?""Yes, and this is when the Family would come out of the hole, and being that he would have completed the white man's karma, then he would no longer have this vicious want to kill.""When you say 'he,' you mean Blackie?""Blackie then would come to Charlie and say, you know, 'I did my thing, I killed them all and, you know, I am tired of killing now. It is all over.' And Charlie would scratch his fuzzy head and kick him in the butt and tell him to go pick the cotton and go be a good nigger, and he would live happily ever after."On November 16, 1970, after twenty-two weeks of testimony, the prosecution rested its case.Irving Kanarek, Manson's defense attorneyWhen the trial resumed three days later, the defense startled courtroom spectators and the prosecution by announcing, without calling a single witness, "The defense rests." Suddenly, the three female defendants began shouting that they wanted to testify. In chambers, attorneys for the women explained that although their clients wanted to testify, they were strongly opposed, believing that they would--still under the powerful influence of Manson--testify that they planned and committed the murders without Manson's help. Returning to the courtroom, Judge Older declared that the right to testify took precedence and said that the defendants could testify over the objections of their counsel. Atkins was then sworn as a witness, but her attorney, Daye Shinn, refused to question her. Returning to chambers, one defense attorney complained that questioning their clients on the stand would be like "aiding and abetting a suicide."The next day came another surprise. Charles Manson announced that he, too, wished to testify--before his co-defendants did. He testified first without the jury being present, so that potentially excludable testimony relating to evidence incriminating co-defendants might be identified before it prejudiced the jury. His over one-hour of testimony, full of digressions, fascinated observers:"I never went to school, so I never growed up to read and write too good, so I have stayed in jail and I have stayed stupid, and I have stayed a child while I have watched your world grow up, and then I look at the things that you do and I don't understand. . . ."You eat meat and you kill things that are better than you are, and then you say how bad, and even killers, your children are. You made your children what they are. . . ."These children that come at you with knives. they are your children. You taught them. I didn't teach them. I just tried to help them stand up. . ."Most of the people at the ranch that you call the Family were just people that you did not want, people that were alongside the road, that their parents had kicked out, that did not want to go to Juvenile Hall. So I did the best I could and I took them up on my garbage dump and I told them this: that in love there is no wrong. . . ."I told them that anything they do for their brothers and sisters is good if they do it with a good thought. . . ."I don't understand you, but I don't try. I don't try to judge nobody. I know that the only person I can judge is me . . . But I know this: that in your hearts and your own souls, you are as much responsible for the Vietnam war as I am for killing these people. . . ."I can't judge any of you. I have no malice against you and no ribbons for you. But I think that it is high time that you all start looking at yourselves, and judging the lie that you live in."I can't dislike you, but I will say this to you: you haven't got long before you are all going to kill yourselves, because you are all crazy. And you can project it back at me . . . but I am only what lives inside each and everyone of you."My father is the jailhouse. My father is your system. . . I am only what you made me. I am only a reflection of you."I have ate out of your garbage cans to stay out of jail. I have wore your second-hand clothes. . . I have done my best to get along in your world and now you want to kill me, and I look at you, and then I say to myself, You want to kill me? Ha! I'm already dead, have been all my life. I've spent twenty-three years in tombs that you built."Sometimes I think about giving it back to you; sometimes I think about just jumping on you and letting you shoot me . . . If I could, I would jerk this microphone off and beat your brains out with it, because that is what you deserve, that is what you deserve. . . ."These children [indicating the female defendants] were finding themselves. What they did, if they did whatever they did, is up to them. They will have to explain that to you. . . ."You expect to break me? Impossible! You broke me years ago. You killed me years ago. . . ."Mr. Bugliosi is a hard-driving prosecutor, polished education, a master of words, semantics. He is a genius. He has got everything that every lawyer would want to have except one thing: a case. He doesn't have a case. Were I allowed to defend myself, I could have proven this to you. . .The evidence in this case is a gun. There was a gun that laid around the ranch. It belonged to everybody. Anybody could have picked that gun up and done anything they wanted to do with it. I don't deny having that gun. That gun has been in my possession many times. Like the rope was there because you need rope on a ranch. . . .It is really convenient that Mr. Baggot found those clothes. I imagine he got a little taste of money for that. . . .They put the hideous bodies on [photographic] display and they imply: If he gets out, see what will happen to you. . . .[Helter Skelter] means confusion, literally. It doesn't mean any war with anyone. It doesn't mean that some people are going to kill other people. . . Helter Skelter is confusion. Confusion is coming down around you fast. If you can't see the confusion coming down around you fast, you can call it what you wish. . Is it a conspiracy that the music is telling the youth to rise up against the establishment because the establishment is rapidly destroying things? Is that a conspiracy? The music speaks to you every day, but you are too deaf, dumb, and blind to even listen to the music. . . It is not my conspiracy. It is not my music. I hear what it relates. It says "Rise," it says "Kill." Why blame it on me? I didn't write the music. . . ."I haven't got any guilt about anything because I have never been able to see any wrong. . . I have always said: Do what your love tells you, and I do what my love tells me . . . Is it my fault that your children do what you do? What about your children? You say there are just a few? There are many, many more, coming in the same direction. They are running in the streets-and they are coming right at you!"At the conclusion of Bugliosi's brief cross-examination of Manson, Older asked Manson if he now wished to testify before the jury. He replied, "I have already relieved all the pressure I had." Manson left the stand. As he walked by the counsel table, he told his three co-defendants, "You don't have to testify now."There remained one last frightening surprise of the Tate-LaBianca murder trial. When the trial resumed on November 30 following Manson's testimony, Ronald Hughes, defense attorney for Leslie Van Houten failed to show. A subsequent investigation revealed he had disappeared over the weekend while camping in the remote Sespe Hot Springs area northwest of Los Angeles. It is widely believed that Hughes was ordered murdered by Manson for his determination to pursue a defense strategy at odds with that favored by Manson. Hughes had made clear his hope to show that Van Houten was not acting independently--as Manson suggested--but was completely controlled in her actions by Manson.Manson's defense attorney, Irving Kanarek, argued to the jury that the female defendants committed the Tate and LaBianca murders out of a love of the crimes' true mastermind, the absent Tex Watson. Kanarek suggested that Manson was being persecuted because of his "life style." He argued that the prosecution's theory of a motive was fanciful. His argument lasted seven days, prompting Judge Older to call it "no longer an argument but a filibuster."Bugliosi's powerful summation described Charles Manson as "the Mephistophelean guru" who "sent out from the fires of hell at Spahn Ranch three heartless, bloodthirsty robots and--unfortunately for him--one human being, the little hippie girl Linda Kasabian." Bugliosi ended his summation with "a roll call of the dead": "Ladies and gentlemen of the jury, Sharon Tate...Abigail Folger...Voytek Frykowski...Jay Sebring...Steven Parent...Leno LaBianca...Rosemary LaBianca...are not here with us in this courtroom, but from their graves they cry out for justice."The jury deliberated a week before returning its verdict on January 25, 1971. The jury found all defendants guilty on each count of first-degree murder. After hearing additional evidence in the penalty phase of the trial, the jury completed its work by sentencing each of the four defendants to death on March 29. As the clerk read the verdict, Manson shouted, "You people have no authority over me." Patricia Krenwinkel declared, "You have judged yourselves." Susan Atkins said, "Better lock your doors and watch your own kids." Leslie Van Houten complained, "The whole system is a game." The trial was over. At over nine-months, it had been the longest and and most expensive in American history.TRIAL AFTERMATHManson at his 1992 parole hearingThe death sentences imposed by the Tate-LaBianca jury would never be imposed, thanks to a California Supreme Court ruling in 1972 declaring the state's death penalty law unconstitutional. The death sentences for the four convicted defendants, as well as for Tex Watson who had been convicted and sentenced to death in a separate trial in 1971, were commuted to life in prison. Patricia Krenwinkel, now 72, became California’s longest-serving female inmate. According to state prison officials, Krenwinkel is a model inmate involved in rehabilitative programs at the prison. She will be eligible to apply for parole again in 2022. Patricia Krenwinkel, now 70, is serving her life sentence at the California Institution for Women in Corona, prison officials say, and has been disciplinary-free her entire sentence. She is still considered to present an unreasonable threat to society. Charles “Tex” Watson, now 74, is housed at the RJ Donovan Correctional Facility in San Diego County near the Mexican border, where he walks the track “sharing my faith, relating to many men”, according to the ministry’s website. He has been denied parole 17 times. A state panel in 2016 once again found him unsuitable for release from prison for at least five more years. In prison, Watson married, divorced, fathered four children and became an ordained minister. Susan Atkins, dubbed “the scariest of all the girls” by a former prosecutor, died in prison in 2009 at age 61Charles Manson was incarcerated in a maximum security section of a state penitentiary in Concoran, California. He has been denied parole twelve times, most recently in 2012. His next parole hearing was scheduled for 2027. In prison, he had assaulted prison staff a half dozen times. A search of the prison chapel where Manson took a job in 1980 revealed his hidden cache including marijuana, one hundred feet of nylon rope, and a mail-order catalog for hot air balloons. In 1986, he published his story, Manson in His Own Words. In his book, Manson claims: "My eyes are cameras. My mind is tuned to more television channels than exist in your world. And it suffers no censorship. Through it, I have a world and the universe as my own."All three female defendants have expressed remorse for their crimes, been exemplary inmates, and offered their time for charity work. Yet none has been released by the California Parole Board, even though each of them was young and clearly under Manson's powerful influence at the time of their crimes. There is no question that but for their unfortunate connection with Charles Manson, none would have committed murder. It is sad, but undoubtedly true, that parole boards are political bodies that base decisions as much upon anticipated public reaction to their decisions as on a careful review of a parole applicant's prison record and statements.In November 2014, the California Department of Corrections announced that it had received a request for a marriage license from their famous eighty-year-old prisoner. Manson's bride-to-be was Afton Elaine Burton, nicknamed “Star” a twenty-six-year old woman who had worked for Manson's release. Turns out that the few short years before Manson’s death, “Star” Burton was actually planning to secure the legal rights to his corpse — in order to display it for curious observers in a glass crypt for profit. He never did marry her OR give his consent to display his remains.Instead of tying the knot and while stringing Star along, He was busy “making little dolls, but they were like voodoo dolls of people and he would stick needles in them, hoping to injure the live person the doll was fashioned after,” said former L.A. County prosecutor Stephen Kay who helped convict Manson in 1970. “He said his main activity was making those dolls.” The end came for Charles Manson on Sunday, November 19th, 2017 at 8:13pm, at the age of 83.  The official cause of death was “acute cardiac arrest,” “respiratory failure” and “metastatic colon cancer.” Upon his death newspapers across the country seemed to have cheered over Manson’s passing. For instance, the New York Daily News published a front cover spread that read, “BURN IN HELL, Bloodthirsty cult leader Manson dies at 83.” Others followed suit with brazen titles such as “EVIL DEAD. Make room, Satan, Charles Manson is finally going to hell” – New York Post.Four months after

Fortsättning på två inofficiella teman: Robert har, efter lyssnartips, lyssnat på musik på fornegyptiska och akkadiska, Love har lyssnat på brasiliansk musik om Hiroshima. Whitehouse tar oss in på mycket mörka territorier, tills vi landar i att Robert har den svaga genen. Försöket att få Love att digga extremmetal röner blygsamma framgångar via det progressiva spåret. Första försöket att få Robert att älska Kent - not so much. Bobby Beausoleil visar Varg Vikernes var fängelsemusikskåpet ska stå. Hitchcock-följetongen har kommit fram till Soft Boys återförening 2002. En annan gammal pophjälte har oväntat återuppfunnit sig i något mindre smickrande form. Love försöker spela en låt han aldrig har hört. Slutligen får Robert reparera den skada som uppstod, då han på en nyligen timad minifestival glömde spela DEN ULTIMATA MARXISTLÅTEN. Gilla, kommentera och recensera på The Facebook: https://facebook.com/musikensmaktpodcast/ Bidra till Loves fysiska överlevnad och få lite bonusmaterial: https://www.patreon.com/musikensmakt

Fortsättning på två inofficiella teman: Robert har, efter lyssnartips, lyssnat på musik på fornegyptiska och akkadiska, Love har lyssnat på brasiliansk musik om Hiroshima. Whitehouse tar oss in på mycket mörka territorier, tills vi landar i att Robert har den svaga genen. Försöket att få Love att digga extremmetal röner blygsamma framgångar via det progressiva spåret. Första försöket att få Robert att älska Kent - not so much. Bobby Beausoleil visar Varg Vikernes var fängelsemusikskåpet ska stå. Hitchcock-följetongen har kommit fram till Soft Boys återförening 2002. En annan gammal pophjälte har oväntat återuppfunnit sig i något mindre smickrande form. Love försöker spela en låt han aldrig har hört. Slutligen får Robert reparera den skada som uppstod, då han på en nyligen timad minifestival glömde spela DEN ULTIMATA MARXISTLÅTEN.

This week we venture back into the worlds of the Occult, and film-making. Brian Butler is a film-maker, Magician, and colleague to legendary director Kenneth Anger.In this weeks episode, we discuss Jack Parsons and his magickal journey, The Night of Pan, Kenneth Anger, and how the occult can influence the film-making process.Brian is screening his new film 'The Night of Pan', as well as performing live music with Death in Vegas' Richard Fearless in London this week, make sure you don't miss it - the event is free, and you can get more details here.Daddytank returns with his excellent MySpace heroes (which for some reason includes a rant by Alex Jones); this week's heroes are:Wakamiya - Pretty PrettyWaiting Life - It's In Your CourtWally Quid - Nebula(more links when I get sent them)If you have any queries, suggestions, insults etc. Please feel free to email ken@sittingnow.co.uk.Enjoy!Brian Butler Bio:Brian Butler is a musician, writer, and filmmaker living in Los Angeles.He has written on occult related subjects for numerous magazines including Dazed and Confused and Tease. His writings have been published in books such as Disinformation’s Book of Lies, which features his “Wormwood Star” article on life of Jack Parson’s wife and muse Marjorie Cameron. He has appeared on television internationally as an expert on the occult. He recently worked as a consultant for Showtime Networks Development on the biopic of Jack Parsons.He directed, wrote and produced the documentary Raising Lucifer: Story of a Cursed Film (2008), which deals with the production of Lucifer Rising, and features an exclusive interview with Manson family murderer Bobby Beausoleil from prison. Other film projects include documentary segments for the Disinformation DVD (2004) such as Satanism, Rocket Boy and Uncle Goddamn. Butler also produced and edited the Kenneth Anger film Ich Will! (2008)He has recorded and or performed music with artists such as VON LMO, Rozz Williams (Christian Death), and Moving Units. Current music projects include the experimental Clouds Without Water and Technicolor Skull — a multimedia performance collaboration with Kenneth Anger, which premiered at Donaufestival in Austria on April 30th, 2008 and has subsequently toured Europe at such instutions as the National Museum of Art in Copenhagen and The Serravales Museum in Portugal. Recent film projects include producing the Kenneth Anger film Brush of Baphomet (2009) and directing the short “Night of Pan” which features Vincent Gallo and Kenneth Anger and has screened all over the world including the Cannes Film Festival, the Athens Biennale , and the Festival Internazionale Del Film Di Roma.

Gary Parsons, film director and lecturer from Thelema Films, joins Secret Door to discuss Kenneth Angers experimental film Lucifer Rising. The story behind the film is more fascinating than the short film itself. The over 14 year journey to complete this film involved rock stars Mick Jagger, Jimmy Page, singer Marrianne Faithfull, Manson family devotee Bobby Beausoleil, and many others in strange twists of occult fate and increasing body counts. Watch Lucifer Rising:https://www.youtube.com/watch?v=4o6HIM03ozw&t=627s German Documentary:https://www.youtube.com/watch?v=mCGy-X3LhiE   Visit Gary's Links Here:http://www.thelemafilms.com/ Gary's FB: https://www.facebook.com/ThelemaFilms/ #KennethAnger #AleisterCrowley #LuciferRising     SUPPORT US ON PATREON: https://www.patreon.com/secretdoorpodcast     PODCAST AVAILABLE ON THE FOLLOWING LINKS: YOUTUBE: https://youtu.be/VocTux1_HuE iTUNES: https://podcasts.apple.com/ca/podcast/secret-door-podcast/id1381461766 STITCHER: https://www.stitcher.com/podcast/extrasensory-production/esp-drawing-out-the-spirits?refid=stpr GOOGLE PLAY: https://play.google.com/music/podcasts/portal/#p:id=playpodcast/series&a=521225174       WEBSITE: https://www.secretdoorpodcast.com/ FACEBOOK: https://www.facebook.com/secretdoorpodcast/ FB GROUP: https://www.facebook.com/groups/secretdoorpodcast/ INSTAGRAM: https://www.instagram.com/secretdoorpodcast/           Podcast Theme Music: Psychosis By Equinox

Jeb and Blake discuss the ISO episode The Mummy's Curse, and the strange and interesting facts behind the legend of "King Tut's Curse." Watch this ISO Episode on YouTube  Reference Books: The Mummy's Curse Spooky Archaeology TV Listing Feb 11, 1977:   Photo mentioned by Jeb of Evelyn Beauchamp with Carter. (Left to Right)   Arthur Mace (Metropolitan Museum) Richard Bethell (Carter's secretary) Arthur Callender Lady Evelyn Leonora Almina Beauchamp née Herbert Howard Carter George Herbert (5th Earl of Carnarvon) Alfred Lucas (chemist for Egyptian government) Harry Burton (photographer)  See several of his photos colorized here.   Dan Aykroyd used ASPR for Ghost Busters research Carter's "Saqqara Incident" described in The National:  "Such was Carter’s ascendancy in Egypt, where he soon cut his teeth as an archaeologist under the guidance of Sir William Flinders Petrie, that he was appointed chief inspector of antiquities for Upper Egypt in 1899. Carter was a surprising choice for the role given his limited archaeological experience and lack of formal qualifications, but he resigned six years later after French tourists  clashed with Egyptian monument guards at the sacred site of Saqqara.  “Loyal to his men and forever obstinate, Carter defended their actions  and refused to apologise,” Archaeology Magazine said of the incident in a story printed in 2005. Carter had accused the tourists of behaving rowdily and sided with the Egyptian workers. Ultimately, the incident prompted the Englishman to step down and spend time in self-imposed exile." MonsterTalk episode on the curse: The Call of Tuthulhu  The "Dramatization" text we discussed (which appears to be added in later during syndication):  I think it is safe to deduce from the palm tree that this graveyard is not in England. Nimoy's fashion is a light blue turtleneck and (probably) blue blazer.   Most of the curse victims are indeed tied to the curse. (22 deaths "associated" with the curse at time of this show) The suicide was a real thing, Lovecraft commented on a newspaper article about it. However, there is a longitudinal study showing people lived longer if they went into the tomb.  Unlucky Mummy - 1889, Bertram Fletcher Robinson, 1904. We briefly discuss the films of Kenneth Anger. (To be clear, these are experimental movies he was making. I'm not recommending his work, but the "play" scenes in this episode definitely reminded me of some of his work.)  The actual history of the music for the film Lucifer Rising is quite convoluted but involves Mick Jagger, Jimmy Page, and convicted murderer Bobby Beausoleil,  According to Time, Tut's penis is detached but not missing.  Steve Martin's song about King Tut.   

Audiodrome returns with its third season! Musician Simon Tornby has once again compiled a series of mixtapes, each one focusing on a single film composer. We kick off this third season with a 'best of'-mixtape of tracks from a range of composers – from Bobby Beausoleil to Denny Zeitlin – who haven't got a soundtrack catalog large enough to get their own episode, but still have written some really great film music. All for you, right here. Tracklist: 1. Libra - The Schock - Shock (Mario Bava, 1977) 2. Roberto Donati - NYC Main Title - Cannibal Ferox (Umberto Lenzi, 1981) 3. Jean Daniel Mercier - Après Noël - Au Revoir... À Lundi (Maurice Dugowson,1979) 4. Christophe - Sunny Road to Salina - Road to Salina (Georges Lautner, 1970) 5. Manfred Hubler & Siegfried Schwab, We Don't Care - She Killed in Ecstacy (Jess Franco,1971) 6. Claudio Gizzi - Old Age of Dracula - Blood For Dracula (Paul Morrisey, 1974) 7. The Cyrkle - Kites - The Minx (Raymond Jacobs, 1969) 8. Denny Zeitlin - Love Theme - Invasion of the Body Snatchers (Phillip Kaufman, 1978) 9. Bill Wyman & Terry Taylor - The Valley - Phenomena (Dario Argento, 1985) 10. Jimmy Page - Ice Cream - Death Wish 3 (Michael Winner, 1985) 11. Dave Richmond - Confunktion - The Opening of Misty Beethoven (Radley Metzger, 1974) 12. Delia Derbyshire & Brian Hodgson - The End - The Legend of Hell House (John Hough, 1973) 13. Robert McNaughton - Henry End Of Theme - Henry, Portrait of a Serial Killer (John McNaughton, 1986) 14. Sandro Brugnolini - Aggressione - L'uomo dagli occhiali a specchio (Mario Foglietti, 1975) 15. Acanthus - The Shiver of the Vampires, title - Shiver of the Vampires (Jean Rollin, 1971) 16. Bobby Beausoleil - Lucifer Rising 1 - Lucifer Rising (Kenneth Anger, 1972) 17. Don Gere - Main theme - Werewolves on Wheels (Michel Levesque, 1971) 18. Guy Pedersen - Chasse Á L'homme - Celeste - (Michel Gast, 1970) 19. Pierre Cavalli - Chasse A L'homme - Un Soir Chez Norris (Various, 1971) 20. I Marc 4 & Peppino De Luca - Corsa Mortale - The Man with Icy Eyes (Alberto de Martino, 1971) 21. David A. Hughes & Martin Cooper - Truck Burns, End Title - C.H.U.D. (Douglas Cheek, 1984) 22. Colin Towns - Full Circle, main theme - The Haunting of Julia (Richard Loncraine, 1977) 23. Trans Europa Express - Il Gatto Dagli Occhi Di Giada, Seq 1 - Watch Me When I Kill (Antonio Gido, 1977) 24. Franco Falsini - Cold Nose Part 2 - Naso Freddo (Filippo Milani, 1985) 25. Rick Ulfik - Viper Theme - Street Trash (J. Michael Muro, 1987) 26. Rick Wakeman - The Burning (End Title Theme) (Tony Maylam, 1981) 27. Maurizio Vandelli - Ipnosi - Madeline, Study of a Nightmare (Roberto Mauri, 1974) 28. Peter Ivers - In Heaven - Eraserhead (David Lynch, 1977)

Bertrand Burgalat et Yves son frigo, Fabrice Gaignault nous compte Bobby Beausoleil, Victorine en Candy, les cinematographiques voitures de Devy et Guillaume, et Stéphane Lecanu (Kinomad Land). la Mezcal Pop de Omar Jr

We talk about the death of Walt Disney, and also about the Disney theme parks, with a special guest who played characters at Walt Disney World! We also discuss Yvette Vickers, the Black Dahlia, and more! Video: See Scott explore the home of Yvette Vickers before it was torn down! Link: Check out the channel for Ask A Mortician. Video: Watch actor Dick Miller tell Corey Feldman to shut the %#@! up. Video: The cousin of Manson murder victim Gary Hinman speaks out against his killer, Bobby Beausoleil, getting released from prison.  The former Silver Spoon Restaurant, now gone Guns N' Roses at Canter's Deli (photo credit Reckless Road via Rolling Stone's website) Buy: Get Marc Canter's book Reckless Road: Guns N' Roses and the Making of Appetite for Destruction! Building where Kurt Cobain rented an apartment on Spaulding Ave. in Los Angeles,a few blocks east of Canter's Deli Link: Check out Scott's Black Dahlia Mystery Tour! Buy: Black Dahlia Avenger by Steve Hodel ...AND Exquisite Corpse: Surrealism and the Black Dahlia Murder ...AND Black Dahlia, Red Rose by Piu Eatwell! Watch: The Boys: The Sherman Brothers' Story about Walt Disney's music writing duo. Article: Read about the guy who played Jack Sparrow at Disneyland (the original article has disappeared). Watch: Escape from Tomorrow, the indie film shot guerrilla-style at Disneyland without permission. Watch: Scott takes someone else's tour and calls it out (starts about 3 1/2 minutes in). Watch: The dragon burns at Walt Disney World!

Scott and Mike discuss The Addams Family and the deaths of cast members Carolyn Jones, Jackie Coogan, Ted Cassidy, and Ken Weatherwax. We also talk a little about Carol Channing, the Manson Family, the famous Hollywood Forever Cemetery, and more! Video: Watch a short video of Dearly Departed Tours and Museum's Sharon Tate Birthday Party, with their newly acquired personal effects (Link) Link: Check out LA Woman Tours! Article: Read about Manson follower Bobby Beausoleil getting recommended for parole (Link) Video: There used to be a recording online of Beausoleil and fellow former Manson follower Clem Grogan playing in a band together in prison (probably Beausoleil's "Freedom Orchestra" band) where we're pretty sure Beausoleil called Grogan out by name, but the link appears to have been taken down. However, this live video of the band from 1978 appears to show the two of them performing together (Link) Link: Support Justice for Homicide Victims Buy: In Morticia's Shadow: The Life & Career of Carolyn Jones ...and Addams Chronicles: An Altogether Ooky Look at the Addams Family by Stephen Cox Some of the cremains of Ken Weatherwax (Pugsley)on display at Dearly Departed Tours and Museum in Hollywood Link: Check out the Hollywood Forever Cemetery Article: Judy Garland's remains moved to LA (Link) Article: Read about the man buried in the crypt over Marilyn Monroe (Link) Video: Amazing newsreel footage about the lynching of the accused murderers of Jackie Coogan's college friend, Brooke Hart (Link) Jackie Coogan's roadster after the crash that killed both his fatherand his best friend, fellow actor Junior Durkin Article: An interesting blog post about the crash and Coogan's friendship with Durkin (Link) Dearly Departed Podcast co-host Mike Dorsey with Batman series actor Burt Ward (Robin) in 2012

Who wears short shorts!? Join the Dead Beat Film Society as we discuss 3 short films starting with sploodge in the moon's eye, Georges Méliès descent into poverty, piracy, Thomas Edison, colonization, and the birth of sci-fi then on to slice an eyeball open, Old Anty Hands, Salvador Dalí, Luis Buñuel, masculinity, power, surrealism, the unconcious mind and armpit hair, and finally a hodge podge of egyptian mythology, the occult, sex magic, Kenneth Anger, Aleister Crowley, Bobby Beausoleil and the Manson Family, satanism, queer cinema, and good butts! Smash that play button for an in depth A Trip to the Moon, Un Chien Andalou & Lucifer Rising film analysis! (Special Guest: Ex Rated Movies) Click here to subscribe to Ex Rated Movies podcast for more great film talk!  

James Day   James Day and I talk about Charles Manson, crime, criminals and psychopaths, prison as a state of mind, history, alternate facts, his new film and why the truth can sometimes be really ugly.   Trailer   Synopsis   Narrated by musician and director Rob Zombie, the documentary focuses on the Manson family murders told from Manson’s perspective using never-before-seen case files, pictures and exclusive interviews with Manson himself from inside California State Prison. Charles Manson: The Final Words includes Manson’s eerie and disturbing conversations about modern society, justice, his decades behind bars, the Bernard Crowe shooting and the murders along with digitally restored audio recordings from the original investigations to reconstruct a path of events that led to the brutal slayings of movie star Sharon Tate and four of her friends on August 8, 1969 in addition to the murders of Gary Hinman and Donald “Shorty” Shea. The documentary also includes compelling new interviews with members of the Manson family which reveal never-before-heard details that help uncover the real story and motives behind the grisly murder spree. Viewers will hear from accused Manson family members Bobby Beausoleil, Barbara Hoyt and Catherine “Cappi” Gillies along with prosecutor Stephen Kay, defense attorney Gary Fleischman, music producer Phil Kaufman as well as other investigators and authors. Biography James Buddy Day is the writer and director of Manson: The Voice Of Madness narrated by Rob Zombie. Manson: The Voice Of Madness is an official selection of the Red Rock Film Festival, Cuff Docs, and the winner of Best Dramatic Documentary at the Atlanta International Film Festival. As a writer/director James’ other feature credits include the character driven documentaries Goalie: Life And Death In The Crease (2015) and The Salvation Of Todd Bentley (2014). James is the Showrunner of true crime series The Shocking Truth (2017-2018) featuring the shocking true stories behind some of the most famous movies of all times. The Shocking Truth can be seen on REELZ throughout the US, and other platforms throughout the world. James’ extensive production experience includes travelling throughout the world as a writer/director/producer for the series Expedition Earth (Nat Geo Wild), as well as travelling throughout North America as the Showrunner and director of the food adventure series Best In Chow for CMT Canada and Cooking Channel (USA). He was served as Showrunner and director for Wild Obsession (Animal Planet), World Of Hurt With Rowdy Roddy Piper, The Big Pitch (CBC), Cultureville (CBC), Culture Secrets (CBC), and the The Screaming Room (SCREAM TV) among many other projects. James holds a Bachelor of Nursing and Health Studies (BN) from Mount Royal University, and a Post-Baccalaureate Diploma of Counselling Psychology from the Graduate Centre for Applied Psychology at Athabasca University. ---------- For more information about my podcasting, writing and public speaking please visit my site here. Image Copyright: Pyramid Productions. Used with permission. With thanks to producer Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

California Devils: Rock, Evil, Sex and Death in 60s America. Trebuchet talks with Writer and Musician Stephen 'Snips' Parsons. They came for the light and stayed when it got dark. It got very dark. Under the California sun are children of the moon; strange drifters on dark tides and Servants of the Death Ray. Bobby BeauSoleil, John Phillips,The Beach Boys, Phil Spector, Charles Manson, Heidi Fleiss, Anton Le Vey, Phillip K Dick, Jack Parsons, Trent Reznor, Kenneth Anger, Marjorie Cameron, Jim Morrison and L. Ron Hubbard are among those who rode the wild surf to shadowy destinations.Recorded live at the Troubadour, London, Nov. 2017www.trebuchet-magazine.com

California Devils: Rock, Evil, Sex and Death in 60s America. Trebuchet talks with Writer and Musician Stephen 'Snips' Parsons. They came for the light and stayed when it got dark. It got very dark. Under the California sun are children of the moon; strange drifters on dark tides and Servants of the Death Ray. Bobby BeauSoleil, John Phillips,The Beach Boys, Phil Spector, Charles Manson, Heidi Fleiss, Anton Le Vey, Phillip K Dick, Jack Parsons, Trent Reznor, Kenneth Anger, Marjorie Cameron, Jim Morrison and L. Ron Hubbard are among those who rode the wild surf to shadowy destinations.Recorded live at the Troubadour, London, Nov. 2017www.trebuchet-magazine.com

The first person to go to jail for a Charles Manson-associated murder was Bobby Beausoleil, a charismatic would-be rock star who had put in time as a muse to Kenneth Anger -- child actor-turned-occultist experimental filmmaker and author. Originally released in 2015. Learn more about your ad choices. Visit megaphone.fm/adchoices

John and myself(Chris) join returning guest researcher, Nino Tuewheneaghx for part six of our continuing discussion on the Punk Rock Scene. Topics include: Warsaw, Joy Division, Tony Wilson, Factory Records, The Situationist International (SI), Lady GaGa Nazi Outfit, The Hacienda(Ranch),"Why It's Kicking Off Everywhere": The New Global Revolutions By Paul Mason, New Order,Bernard Sumner,Yorkshire Ripper, Summer of Sam, Mental Illness, Kathleen Hanna, Bobby Beausoleil , Aleister Crowley,The Process Church, Marina Abramovic, William Peter Blatty, The Exorcist, The Jesuits, Royal Heritage, Ritual Magic, Hose Barrera, The (S)elections, 1984. Outro Music: Dreams Never End by New Order

In Minute 24 of The Whole Shebang, Jenny, Mike, and Brant talk about the character of Cecil, Brian Slade's manager, the meaning of Cecil's hospital stay in the context of the 1980s, AIDS, conversion therapy, and gay-bashing, Cecil's real-life inspirations in the forms of Noel Coward and Ken Pitt, gay mentorship, young David Bowie's propensity for walking around naked, Bobby Beausoleil and Joe Orton, and Velvet Goldmine's desire to show us its characters' origins and whether or not they're truly important. Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.

The Total Tutor Neil Haley will interview Jeff Ward Star Of Lifetime TV's (Manson's Lost Girls). LOS ANGELES, CA (January 4, 2016) – The psychedelic summer of 1969 comes to life in the Lifetime Original Movie, Manson's Lost Girls, featuring the next generation of Hollywood stars MacKenzie Mauzy, (Into the Woods), Eden Brolin (I Dream Too Much), Greer Grammer (Awkward) and Christian Madsen (Divergent). Premiering Saturday, February 6 at 8pm ET/PT, the film paints a new picture of Charles Manson's (Jeff Ward, The Mentalist) world, as told through the stories of Linda Kasabian (Mauzy) and the other women who fell under his demonic spell to create one of the most famous cults of all time. Brolin stars as Susan Atkins, Grammer is Leslie Van Houten, Madsen portrays Tex Watson, Grace Victoria Cox (Under the Dome) is Lynnette “Squeaky” Fromme, Isabel Shill (Orange is the New Black) stars as Patricia Krenwinkel and Garrett Coffey (Battle for Skyark) is Bobby Beausoleil.  

The first person to go to jail for a Charles Manson-associated murder was Bobby Beausoleil, a charismatic would-be rock star who had put in time as a muse to Kenneth Anger -- child actor-turned-occultist experimental filmmaker and author. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode 3 with the girl from Ipanema, Judy G and a haunted beach party. 1. Ernie Freeman Combo - Rockhouse 2. The Pandoras - Haunted Beach Party 3. Jerry Rayson - My New York Woman 4. Denny Mclain - Girl from Ipanema 5. Overture 6. Judy Garland - Come Rain or Shine 7. Bobby Beausoleil - untitled 8. Poisonous Relationship - Sad Song 9. Patience & Prudence - Tonight You Belong to Me 10. Clara Rockmore - Berceuse 11. The Forbidden Five - Enchanted Farm 12. Untitled - Untitled