Podcasts about cielo drive

What really happened on Cielo Drive in 1969 — and who was Charles Manson really after?In this gripping episode of One Degree of Scandalous, hosts Tom Zenner and Kato Kaelin sit down with Hollywood death historian Scott Michaels (Dearly Departed Tours) to trace the terrifying legacy of the Manson Family murders. Hollywood death historian Scott Michaels takesTom and Kato explore the real locations and stories behind the Manson Family murders — from Cielo Drive to the LaBianca home to Spahn Ranch. This isn't a conspiracy — it's first-hand Hollywood crime history. Discover why Sharon Tate wasn't the intended target, how music producer Terry Melcher set the chain of events in motion, and what it was like to walk through the actual locations where history—and horror—unfolded.—

Sharon Tate was a sophisticated beauty who literally stopped traffic when she walked down the street. She began her movie career when America was becoming sexually liberated, and despite the ease with which she was made a sex symbol, she aspired to be respected as a serious actress. Decades later, however, she is perhaps best-remembered as one of the victims found brutally murdered at her Cielo Drive home, the one she shared with her husband, director Roman Polanski. Sharon and Roman welcomed regular guests to that home, including Sharon's friend, Mama Cass Elliot, who was at the center of the Manson murders and whose actions may be why the motive for the murders that America has come to accept as fact is actually false. This episode contains themes that may be disturbing to some listeners, including sexual assault and suicide. If you're thinking about suicide, or are worried about a friend or loved one, call the Suicide Prevention Lifeline at 800-273-8255. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter)  Facebook Fan Group TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Sharon Tate's entanglement with Charles Manson and her husband, filmmaker Roman Polanski, as well as her involvement in some of the long-rumored hedonistic events at her home on Cielo Drive put her at the center of a counter-narrative that explosively disrupts the supposed motive for the Manson family murders. Was Sharon Tate blissfully ignorant of the darkness that had been bubbling beneath Hollywood's shiny veneer for years? Or is there more to this story than we've been told in the past? This episode contains themes that may be disturbing to some listeners, including sexual assault. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Once Upon a Time in Hollywood was released in 2019 as Quentin Tarantino's ninth movie. The story of aging Western star Rick Dalton and his stuntman Cliff Booth, the film is an exploration of friendship and fame set to a backdrop of a changing Hollywood and one of its darkest chapters.It's Los Angeles, 1969, and ATRM are heading up Cielo Drive to talk movie cowboys, moccasins, and the Mansons. But first, anybody order fried sauerkraut?Connect with ATRM: To support what we do, access our archive and listen to exclusive episodes, become an ATRM patron:Listen on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠Listen on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠Twitter/X: ⁠⁠⁠⁠⁠⁠⁠⁠@ATRightMovies⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our channel⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠@allthe_rightmovies ⁠⁠⁠⁠⁠⁠⁠Threads: ⁠⁠⁠⁠⁠⁠@allthe_rightmovies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠Join our movie group⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky: ⁠⁠⁠⁠⁠⁠⁠⁠@alltherightmovies.com⁠⁠⁠⁠⁠⁠⁠⁠TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠@alltherightmovies⁠⁠⁠⁠⁠⁠⁠⁠Website: ⁠⁠⁠⁠⁠⁠⁠⁠alltherightmovies.com⁠

A trip to Benedict Canyon and Cielo Drive to visit David Oman and the Oman House where paranormal activity from that fateful night in 1969 abounds.https://ghostsofcielodrive.com/https://houseattheendofthedrive.com/SHOW OVERVIEW:Website: thescarymovieproject.comGet your horror movie fix with filmmaker and horror junkie Matt Lolich, as he reviews and deep dives into horror movies and other spooky topics!Now with spoilerier spoilers!https://youtu.be/Ecu-jfZNgrw

Félix Martín, fiscal de 'Si amanece', abre el Juzgado de Guardia con la cuarta y última parte de la historia de Charles Manson, el juicio después de los crímenes de Cielo Drive de 1969.

Con Félix Martín, fiscal de 'Si amanece', continuamos repasando la historia de Charles Manson y su explosión criminal. Su salida de prisión, el misterioso paralelismo de la película 'La semilla del diablo' con los crímenes de Cielo Drive en 1969 y una comunidad llamada 'La Familia'.

In questa nuova puntata di True Crime Diaries, Jacopo Pezzan e Giacomo Brunoro ospitano Fabrizio Falconi, autore del libro "La fine del sogno. Beatles, Manson, Polanski" pubblicato da Arcana Edizioni. Una lunga chiacchierata in cui Falconi esplora il tragico intreccio tra cultura pop e cronaca nera che sconvolse il mondo alla fine degli anni Sessanta. Si analizzano i collegamenti tra la musica dei Beatles, la figura inquietante di Charles Manson e l'orrore dell'omicidio di Sharon Tate, moglie del regista Roman Polanski. Tra aneddoti poco conosciuti e riflessioni che aprono a scenari inquietanti, l'episodio invita gli ascoltatori a riflettere su come l'innocenza di un'epoca sia stata brutalmente infranta, lasciando cicatrici indelebili nella storia e nella cultura pop.La fine del sogno. Beatles, Manson, PolanskiLa fine del sogno ricostruisce i fatti di due anni cruciali della nostra storia: 1969-1970, quelli che decretarono la fine della cosiddetta Summer of Love, l'Era dell'Acquario, di Woodstock, del Flower Power, della liberazione sessuale. Il sogno si infranse nel modo più tragico con la strage di Sharon Tate e dei suoi amici a Cielo Drive, Los Angeles, da parte di Charlie Manson e della sua lugubre Famiglia, ma anche con lo scioglimento dei Beatles, un trauma mondiale, dopo il travaglio seguito al celebre soggiorno in India nell'ashram di Maharishi e la preveggenza dell'orrore nei film di Roman Polanski usciti in quegli anni (tra i quali Rosemary's Baby), di cui Sharon Tate era moglie all'epoca. Il libro racconta gli inspiegabili grovigli di casualità e circostanze che legano queste vicende biografiche (soprattutto quelle dei quattro Beatles) l'una all'altra, molto strettamente, da un punto di vista del tutto particolare: il breve e folgorante periodo in cui cade l'illusione di un “noi” creativo (e rivoluzionario) rapidamente scalzato dall'emersione di un “io” narcisista e distruttivo, passaggio cruciale del contemporaneo. La fine del sogno è un incredibile intreccio di musica, cinema, esoterismo e cronaca nera, appassionante come un romanzo.FABRIZIO FALCONIGiornalista, sin da giovanissimo lavora nella radiofonia e nella televisione, prima in Rai e poi a Italia Radio e a R.T.I. Ha collaborato con alcune delle maggiori testate italiane di carta stampata (Paese Sera, Manifesto e Panorama tra gli altri). È inoltre autore di saggi, romanzi, volumi di poesia e racconti per vari editori (Fazi, Newton Compton, Castelvecchi, Gaffi). #beatles #charlesmanson #sharontate #60s #annisessanta #flowerpower #figlideifiori #cielodrive #americandream #california #truecrime #truecrimediaries #podcast #intervista #arcanaedizioni #fabriziofalconi #jacopopezzan #giacomobrunoro #8agosto1969 #labiancamurders #coincidenze #finedelsogno #denniswilson #beachboys #johnlennon #meditazionetrascendente #paulmccartney #liverpool --- Support this podcast: https://podcasters.spotify.com/pod/show/la-case-books/support

Félix Martín, fiscal de 'Si amanece', abre el Juzgado de Guardia de esta semana con la historia de Charles Manson. Autor intelectual de los crímenes de Cielo Drive en 1969, en los que fue asesinada Sharon Tate, mujer del cineasta Roman Polanski.

In the field of the paranormal, there can be spirits that stir like echoes along a Mobius twist. One such place is the Oman House located in Beverly Hills on Cielo Drive - an area where the gruesome Manson murders occurred. The more we learn about hauntings and explore them for scientific and historic purposes, we may find they are merely a stirring of echoes that appear because of information that may have a tendency to unravel and reveal all kinds of secrets about the universe and what we call the supernatural. On tonight's show, Clyde Lewis talks about ONCE UPON A TIME IN HELLYWOODOriginally Broadcast On 10/17/19 

We arrive at the central days in the story of the Manson Family. As Charles Manson feels the pressure grow, with multiple Family members arrested, the critical days begin.In this episode we hear about the Tate and LaBianca murders and the events surrounding them, in the days and nights between August 8th and August 10th, 1969.A media storm descended on the crime scene on Cielo Drive and Hollywood becomes gripped with fear as a panic took hold over these mysterious, brutal killings.There is wild speculation in the days after the murders, with everything from ritualistic slayings to Hollywood superstars being speculated about as the true cause of the crimes.And we hear how the early steps of the police investigation see detectives reject critical evidence and allow the Manson Family to slip through their fingers.And we hear about an absolutely irrelevant piece of the story that Darren and Joe become instantly obsessed with.

Explore the chilling rise of Charles Manson, from his first burglary at age 12 to the formation of the infamous Manson Family. This gripping narrative delves into Manson's escalating criminal activities, the disturbing crime scene at 10050 Cielo Drive, and the sinister methods he used to manipulate his followers. Uncover the shocking details of Manson's life, including his connections to covert government programs and his use of LSD to control and incite violence among his followers. This is a must-listen for true crime enthusiasts and anyone intrigued by the dark side of human psychology. #TrueCrime #CharlesManson #MansonFamily #CriminalMind #CultLeadership #LSD #SharonTate #HelterSkelter #Podcast #Documentary #CrimeHistory #SerialKillers #DarkHistory #CrimeScene Mentions: @TrueCrimePodcasts @HistoryChannel @CriminalMindsYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/ZeroBlog30

Il y a 55 ans, au mois de mai 1968, une jeune actrice américaine, blonde et bronzée, posait en bikini sur une plage de Cannes, invitée au 21eme Festival. Elle y accompagnait son mari, un réalisateur promis à une carrière célèbre, Roman Polanski. Un an plus tard, Sharon Tate, 26 ans, enceinte mourait lors d'une nuit de terreur à Hollywood. Sous les coups de couteaux d'adeptes guidés par le sombre gourou californien Charles Manson. L'affaire va glacer d'effroi l'Amérique et le monde. Cinq morts ce soir-là même si l'histoire ne va retenir que le visage et le nom de Sharon Tate.

En Hollywood nacen las más inspiradoras historias y estrellas, pero también se comenten los más terribles, sangrientos y trágicos crímenes que se han conocido. Este es el segundo episodio en el que conocemos algunos de los crímenes que han marcado la meca del cine, o Tinseltown, como se le llamaba hace algunos años.Les doy la bienvenida a este episodio de Lugares misteriosos lleno de true crime, investigaciones policiales y algunas actualizaciones sobre los asesinatos de Cielo Drive y Waverly Drive.Una advertencia antes de comenzar. Este episodio cuenta con detalle una serie de crímenes violentos, por lo que recomiendo tener discreción al escucharlo, especialmente con los menores de edad.No se olviden de:✔ Seguir el podcast en Spotify, AudioPlayer, Apple Podcasts, iVoox, Spreaker o en tus plataformas favoritas✔ Calificar el podcast en la app de Spotify y Apple Podcasts ⭐⭐⭐⭐⭐✔ Compartir los episodios en tus redes sociales y etiquetar a @lugaresmisteriososelpodcast✔ Darle follow al TikTok en @lugaresmpodcast ✔ Suscribirse al canal Lugares misteriosos el podcast en YouTube, regalarme un LIKE

This is a Grave Talks CLASSIC EPISODE! Decades of murder, tragedy, and sorrow seem to follow the path of Cielo Drive. History takes the dark stories all the way back to the time when Native Americans inhabited the land. As time progressed, many other souls would live their final days on Cielo Drive. Including the murder of Sharon Tate. In the late 1990s, David Oman and his father decided to call Cielo Drive home and begin building a home on this infamous road. He would soon discover that his new home may hold the spirits of a tragic past. If you enjoy our interviews and conversations about "The Dead," why not listen ad-free? Become a Premium Supporter of The Grave Talks Through Apple Podcasts or Patreon (http://www.patreon.com/thegravetalks) There, you will get: Access to every episode of our show, AD-FREE! Access to every episode of our show before everyone else! Other EXCLUSIVE supporter perks and more!

This is a Grave Talks CLASSIC EPISODE! Decades of murder, tragedy, and sorrow seem to follow the path of Cielo Drive. History takes the dark stories all the way back to the time when Native Americans inhabited the land. As time progressed, many other souls would live their final days on Cielo Drive. Including the murder of Sharon Tate. In the late 1990s, David Oman and his father decided to call Cielo Drive home and begin building a home on this infamous road. He would soon discover that his new home may hold the spirits of a tragic past. This is Part Two of our conversation. If you enjoy our interviews and conversations about "The Dead," why not listen ad-free? Become a Premium Supporter of The Grave Talks Through Apple Podcasts or Patreon (http://www.patreon.com/thegravetalks) There, you will get: Access to every episode of our show, AD-FREE! Access to every episode of our show before everyone else! Other EXCLUSIVE supporter perks and more!

THE CHARLES MANSON EFFECT Charles Manson was born Charles Wilson Milles Maddox on November 12, 1934, to Kathleen Maddox, a 16-year-old girl alcoholic prostitute. In 1945 she married William Manson a low level petty theif and in short order the marriage ended. Little Charlie was placed in a boys reform school at the age of 12. Rejected in his attempts to return to his mother, Charles was soon living on the streets and getting by through petty crime. Still just a teenager, in 1951, Manson began spending time in prison. Early on, before he discovered the benefits of being a “model” prisoner, he was considered dangerous. He would eventually spend half of the first 32 years of his life behind bars. When he wasn't incarcerated, he also attended reform schools. Manson was described by probation reports as suffering from a “marked degree of rejection, instability, and psychic trauma” and “constantly striving for status and securing some kind of love.” Other descriptions included “unpredictable” and “safe only under supervision.” His various offenses included pimping and passing stolen checks, and in 1961, he was sent to McNeil Island prison in Washington State for 10 years. It was while he was incarcerated that Manson learned how to read music and play the guitar. He was released from prison on March 21, 1967, and moved to San Francisco. The Manson Family Cult “The Family” was a group of around 100 followers of Manson who shared his passion for an unconventional lifestyle and habitual use of hallucinogenic drugs, such as LSD and magic mushrooms. The Manson Family eventually moved from San Francisco to a deserted ranch in the San Fernando Valley. Manson's followers also included a small, hard-core unit of impressionable young girls. They began to believe, without question, Manson's claims that he was Jesus and his prophecies of a race war. Charles Manson and "Helter Skelter" Manson was influenced not only by drugs, but also by art works and music of the time, most notably The Beatles song “Helter Skelter” from their 1968 White Album. Helter Skelter: The True Story of the Manson Murders was later the title of a best-selling book about Manson and his crimes. Paul McCartney has said that the playground slide in “Helter Skelter” was a metaphor for the rise and fall of the Roman Empire. Manson, however, interpreted the song's lyrics as incitation to begin a race war. He turned to the album and lyrics to justify his scheme and guide his followers to murder. The Manson Family—including Manson and his young, loyal disciples—is thought to have carried out some 35 murders. Most of their cases were never tried, in part for lack of evidence. The perpetrators had also already been sentenced to life for brutally killing seven people—actor Sharon Tate and wealthy supermarket executive Leno LaBianca and his wife, Rosemary, among them—on back-to-back nights in August 1969. On August 9, 1969, Manson gathered a group of followers to carry out his massacre among Hollywood's elite and “beautiful people.” The first of Manson's victims was murdered at the home director Roman Polanski had rented, located at 10050 Cielo Drive in Benedict Canyon, an area just north of Beverly Hills. Polanski was away in London shooting a film, and four soon-to-be victims had just returned home from dinner when they were attacked. Although Manson himself took no part in the actual killings, he directed four of his most obedient followers—Charles “Tex” Watson, Susan Atkins, Patricia Krenwinkel, and Linda Kasabian—to the address and directed them to kill everyone. According to one of the Family member's statements, the Polanski household had been targeted because it represented the showbiz world that had rejected Manson. Charles Manson died in prison on November 19, 2019 One Week after his 83rd Birthday. November 12, 1934,  

Santa Rosa is located in Sonoma County, California. During the late 60s and early 70s it was close enough to be caught up in the vortex of the hippie movement in San Francisco which was only a few miles south from the town.In 1968 the Zodiac Killer was making the headlines and the Manson family were caught in the brutal slayings of several persons on Cielo Drive in the Hollywood Hills. During a time and place where murder was rife, the news of the discovery of the nude, tortured bodies of young [...]

DAVID OMAN (Producer/Creator/Co-Writer) A native of Los Angeles, Oman has been intrigued by the paranormal from his early childhood and has been curious about the Spirit World ever since. In 1999 Oman with his father started to build the house on Cielo Drive, just down the drive from the infamous Sharon Tate Murders aka the Manson Murders – after 2 years of living in the house he created a story based upon his experiences in the home with the activity, titled House at the End of the Drive. It was shot on location at his home and brought his story to life. Since he moved into the house the activity has been quite apparent so much so that the Oman house has been on 8 paranormal reality shows, Ghost Hunters, Dead Famous Live, Searching for Satan, My Ghost Story, Haunted History, Paranormal Witness, Ghost Adventures, Ghost Adventures After Shocks. All of these shows on the Oman House have been on have been the highest-rated episodes to date for these series. He ran the Nielsen Ratings reports on the shows and in 14 years they have aired over 500 times. He has also been featured on Larry King Live, EXTRA, TMZ, and CBS News. His house has also been visited by Lisa Williams and James Van Praagh Since then he has recorded a plethora of evidence of the paranormal activity here. He's just finsihed writing his first book on his experiences at The Oman House called, Ghosts of Cielo Drive, the afterlife of Sharon Tate and other spirits of the Oman House. 

The generous hearts at Mold Brain Corp have a new offering of top shelf entertainment for your hungry minds. How will our three handsome hosts fair against the new Westside Gunn release, "And Then You Pray For Me"? Tune in, fuck around, and find out. It's better than watching another episode of "Independent Thinking." Recorded live at 10050 Cielo Drive for Old Heart Radio For more DJ Pi$$ check out The OK Gatsby here: https://open.spotify.com/album/7kxYBqhzk20cQBBhNSBuF7?si=hw_IdV5lT969bTsoZQusYA

In our continuing journey of the Six Degrees of Robert Evans, this week we explore his time in the 1960s in Hollywood, firmly ensconced at Paramount Studios. Included in this episode, Evans marries and divorces his second wife, Camilla Sparv. He acquires his legendary Beverly Hills home, Woodland Estates, leading John Elgin Woolf's Hollywood Regency style. Woodland's guest list includes all the greats – whether they are coming to take a meeting, have dinner, play tennis on the famous courts or watch dailies in the screening room. In this time, Evans will also have a little run in with the FBI, land his first studio success with The Odd Couple, give Cary Grant some advice on love, and cause the divorce of Mia Farrow and Frank Sinatra with a little film called Rosemary's Baby directed by Roman Polanski. This episode takes Robert Evans through the mid-1960s to the terrible events of August 1969, with the murders on Cielo Drive. All sources can be found at doneanddunne.com. Continue your investigation with ad-free and bonus episodes on Patreon! To advertise on Done & Dunne, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/DoneDunne. Learn more about your ad choices. Visit podcastchoices.com/adchoices

REDIFF - Il y a 55 ans, au mois de mai 1968, une jeune actrice américaine, blonde et bronzée, posait en bikini sur une plage de Cannes, invitée au 21eme Festival. Elle y accompagnait son mari, un réalisateur promis à une carrière célèbre, Roman Polanski. Un an plus tard, Sharon Tate, 26 ans, enceinte mourait lors d'une nuit de terreur à Hollywood. Sous les coups de couteaux d'adeptes guidés par le sombre gourou californien Charles Manson. L'affaire va glacer d'effroi l'Amérique et le monde. Cinq morts ce soir-là même si l'histoire ne va retenir que le visage et le nom de Sharon Tate. Retrouvez tous les jours en podcast le décryptage d'un faits divers, d'un crime ou d'une énigme judiciaire par Jean-Alphonse Richard, entouré de spécialistes, et de témoins d'affaires criminelles.

An End Year Conversation With David Oman, author of "Ghosts Of Cielo Drive"

David Oman has appeared in several paranormal TV shows which featured the alleged ghostly activity at his home on Cielo Drive in Beverly Hills, Ca. The house is located next to the property that held the Sharon Tate house where Tate, Abigail Folger, Jay Sebring, Wojciech Frykowski and Steven Parent were murdered by the infamous Manson Family in August of 1969. Oman helped his father build the house in 1999 and it didn't take long before he started experiencing alleged paranormal activity in every room and every floor of the house. He wrote “House at the End of the Drive," a book based on his experiences in the house. Now, known as the Oman house, the property has been featured on Ghost Hunters, Haunted History, Dead Famous Live, My Ghost Story, Searching for Satan, Ghost Adventures and Paranormal Witness. It has also been featured on Larry King Live, EXTRA and TMZ and CBS News LA. Before building the home, Oman attended college in Northern California. He became a private investigator and in 1998 he opened a restaurant.Websites youtube.com/user/davidomantheomanhouse,comdewittmurders.com houseattheendofthedrive.com

It's that spooky time of year again. Etalk Radio's Haunted Marothon 2023 is here. Join Dave and Russ as they speak to the one and only David Oman of the Oman House. It was a spook-tacular funfilled episode. Stay Spooky! DAVID OMAN (Producer/Creator/Co-Writer) A native of Los Angeles, Oman has been intrigued by the paranormal from his early childhood and has been curious about the Spirit World ever since. In 1999 Oman with his father started to build the house on Cielo Drive, just down the drive from the infamous Sharon Tate Murders aka the Manson Murders – after 2 years of living in the house he created a story based upon his experiences in the home with the activity, titled House at the End of the Drive.

The headlines all over the world echoed that the murders committed by the Manson Family were ritualist. My special guest David Oman sits down to discuss the horrors of that day and the chilling paranormal activity experienced on Cielo Drive years later. In 1999, David started helping his father build 'the house' on Cielo Drive, next to the infamous Sharon Tate Murders aka the Manson Murders - after 2 years of living in the house, Oman created a story based upon his experiences called "House at the End of the Drive." Every floor and every room has spirits and visitors...and some have said that it's almost like a giant spirit party. The Oman house has been on featured on Ghost Hunters, Dead Famous Live, Searching for Satan, My Ghost Story, Haunted History, Ghost Adventures and Paranormal Witness. David and the Oman House have also been featured on Larry King Live, EXTRA and TMZ and CBS News LA.   It's super easy to access our archives!   Here's how:   iPhone Users: Access Mysterious Radio from Apple Podcasts and become a subscriber there or if you want access to even more exclusive content join us on Patreon.   Android Users: Enjoy over 800 exclusive member-only posts to include ad-free episodes, case files and more when you join us on Patreon.    Copy and Paste our link in a text message to all your family members and friends! We'll love you forever! (Check out Mysterious Radio!)

Today on the Rarified Heir Podcast we are talking, for a second time to Eric Bonerz, son of actor/director Peter Bonerz. We spoke to Eric a while back and what started out as a fun connection to our time together as kids at the Oakwood School became a pop culture potpourri of 1970s LA, celebrity, movies, film, trivia, television, music, weird video stores and more. In fact, there was so much to talk about, we didn't get to all of it so on this episode, we were able to go back to some of the things we missed. Like what you ask? How about dinner and a movie with cartoonist Chuck Jones at your house? Or being the drummer for Kim Gordon's band Free Kitten in 1993 as part of the Lalapalooza tour? Or how about the time Nine Inch Nails Trent Reznor mixed a track for one of Eric's projects in the living room of that infamous house on Cielo Drive? Got your attention? We thought so. We loved talking with Eric about car culture in LA, crowbar wielding truckers, the Wonderland Avenue murders, befriending a school librarian, driving Peter Bonerz AMC Eagle station wagon, befriending a young director Harmony Korine, interrupting De La Soul and A Tribe Called Quest's pre-show doobie, an unmade version of Blade Runner starring his father and directed by Martin Scorsese and much more. So sit back, wind down and listen to our latest conversation with Eric Bonerz for this latest episode of the podcast. Somehow Bob Newhart and Friends never gets brought up…until Josh confuses the TV show with the movie Kids. It's all here on the today's episode of the Rarified Heir Podcast. Everyone has a story.

1.179 Beyond the Veil: Navigating Other Dimensions & Murder Cases with our Paranormal Expert   Step into the mysterious world of the paranormal with our guest, Barbara Nelson, a seasoned Paranormal Investigator and Intuitive. Join us in this captivating episode of the Voice of Intuition podcast as Barbara unravels the secrets of energy, frequency, and vibration, and their profound impact on other dimensions. Delve into high-profile murder investigations that delve into the unseen realms, where Barbara's unique insights shed light on the cases of "Jaws" house in Hollywood and the infamous Cielo Drive house. Discover how to safeguard your energy from oppression and combat negative spiritual forces that attach themselves to you. Barbara delves into the intriguing field of Psychotronics and DNA transceivers, illuminating their connection to our intuitive gifts. Learn how consciousness transcends the body, and uncover ways to nurture both your physical vessel and your spiritual essence. Barbara's intuitive prowess in communicating with spirit energy during investigations offers a new perspective on the supernatural. Don't miss this enlightening conversation that bridges the gap between intuition and the unexplained, offering valuable insights and guidance for your own journey of paranormal exploration. ParanormalInvestigation #BeyondTheVeil #EnergyFrequencyVibration #IntuitiveInsights #SpiritualExploration How to connect with Barbara: www.marknelsonmedium.com Want to connect with Susan: https://intuitivenature.com.au/ Share and Subscribe: https://www.podbean.com/pu/pbblog-t4wim-aa6031

Charles Manson and his "Family" needs little introduction  - on the night of Aug 9, 1969  manson famiy members would basically bring down the 1960's motto of peace and love with their vicious killing of Sharon Tate, Jay Sebring, Steve Parent and Sharon's friends in the house of Terry Melcher of 10050 Cielo Drive making it infamous for something No One would want their house famous for  - the murders were so vicious that it would send shock waves through Los Angeles and remain shocking up until this day 2023 almost 55 years laterThe next night supermarket mogul Leno LaBianca and his wife Rosemary would be killed in much the same way, this night, a young girl by the name of Leslie Van Houten would be a part of this nightmarish decent into murder hell - except out of all of thee members (Charles Manson included) all of them would be sentenced to death - except for Van Houten who would ultimately receive 7 to life but would not be paroled until 2023 - I do an overview of the manson family and Van Houten - the Right Shoe may expand on this at a later date

This episode of Books for Men features Once Upon a Time in Hollywood by Quentin Tarantino. A novelization of the award-winning film of the same name that intersects two narratives in 1969—aging actor Rick Dalton's transition into New Hollywood with the Tate-LaBianca murders at the hands of members of the Manson Family. It goes much deeper than the film. Listen for more!If you enjoyed this episode, please consider supporting the podcast. Any of the three things below will help provide awareness for the initiative—inspiring (more) men to read and bringing together men who do. (Ladies, of course, you're always welcome!)Share with a friend or on social mediaSubscribe or follow on your favorite podcast platformLeave a rating or reviewVisit BooksforMen.org to sign up for the Books for Men newsletter, a monthly round-up of every episode with full book and author info, all the best quotes, and newsletter-only book recommendations!

We're back from another fun-filled Michigan Paracon! We talk about the friends, the laughs, the whole thing. Jess was unknowingly robbed 37 days ago, The house at 10050 Cielo Drive was haunted BEFORE the Manson Murders?? Also the door to the Cielo Drive house is up for auction?? Plus you could buy a Close Encounters alien?? New revelations about Dennis Rader aka serial killer BTK, The new HBO Max docuseries Telemarketers, The Golden Bachelor, And some random spicy yelling at each other. We're tired ok, it's all love. Be a dummy or a dumpster by supporting the podcast on our Patreon:http://patreon.com/whatsupweirdo Call the show and leave a message! 313-444-5170 Follow us!Twitter: @johneltenney @JessicaKnapikInsta: @johneltenney @openmyeyestoblue @wuwpod Adam Berry: Books, Merch, & MoreOrder his new book Goodbye Hello: Processing Grief and Understanding Death through the Paranormal at http://AdamBerryBooks.comIG: @adamberryTwitter: @adamjberry A huge thank you to our sponsors:Old Town Roasting – IG: @oldtownroasting https://oldtownroasting.com

Leslie Van Houten was 19 at the time of the crime that she committed under the coercive control of arguably the most infamous cult leader of all time, Charles Manson. She has spent 54 years in prison for stabbing a dead or dying woman. We are not negating the brutality of the crimes committed by the Manson Family, and do not wish to diminish the atrocities that were inflicted on the victims.One important fact that is often misreported is that Leslie was not present at the infamous Tate murders on Cielo Drive. Many myths surround the "Manson Girls", and after reading Karlene Faith's book Leslie Van Houten's Long Prison Journey, Ash felt the need to tell Leslie's story as it happened, and not how it's been sensationalized by the media.Again, we implore you to listen to these episodes with an open heart and mind. Make sure to listen to part I first!This episode is brought to you by BetterHelp. Start your mental health journey today and give online therapy a try at betterhelp.com/thatsso. Using our code will get you 10% off of your first month!-Join us for as little as $5 a month on Patreon!-We'd love to see you in our Discord, come hang out!-We have really fun merch, go take a look!-Follow us on Instagram and Twitter!-Research assistance by Kesha Epperson and Janny W.-Audio editing by River Innes.-Sources:https://www.amazon.com/Long-Prison-Journey-Leslie-Houten/dp/1555534813https://www.cnn.com/2023/07/11/us/leslie-van-houten-manson-family-released/index.htmlCielodrive.comhttps://www.aenetworks.tv/#:~:text=Outside%2C%20his%20followers%20passed%20around,carved%20on%20their%20foreheads%2C%20too.https://en.wikipedia.org/wiki/Category:Cultural_depictions_of_Charles_Mansonhttps://www.womensaid.org.uk/This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4523794/advertisement

Jessica is finally back from a 22 day road trip and she's more tired and weird than ever. Tenney joined the crew for 9 days of sweating in the desert and viewing famous UFO things. Topics include: Road trip animal sightings, Visiting famous horror movie locations, The haunted Queen Mary! Visiting damn near every Beverly Hills 90210 filming location, Giant Rock, The Very Large Antenna Array, The Travis Walton UFO abduction recovery site, Roswell, New Mexico, Socorro UFO things, The Oppenheimer/Trinity site, How we BOTH saw a ghost at our haunted Vrbo house in L.A., Cielo Drive, Joshua Tree, UFO McDonald's, True Crime docs, And Just Like That…, Saying hi to Lemmy's ghost at The Rainbow, Sarah Silverman, Superman, and one MILLION more things, so buckle in! And if a cop asks you anything say “No habla penis…” Be a dummy or a dumpster by supporting the podcast on our Patreon:http://patreon.com/whatsupweirdo Call the show and leave a message! 313-444-5170 Follow us!Twitter: @johneltenney @JessicaKnapikInsta: @johneltenney @openmyeyestoblue @wuwpod A huge thank you to our sponsors:Old Town Roasting – IG: @oldtownroasting https://oldtownroasting.com Adam Berry Apparel – IG: @adamberry https://adamberrymerch.com

On the night of August 8th into the early morning of August 9th, 1969,  Sharon Tate Polanski,  Paul Richard Polanski, Jay Sebring, Wojciech Frykowski, Abigail Folger and Steven Parent fell victim to the vicious attacks by members of the Manson Family  at 10050 Cielo Drive, Beverly Hills, Ca. Dennis Hearst is the bike delivery boy who delivered an exchanged bike for Abigail Folger that very night.  He dropped off one bike and picked up another in the exchange.  In doing so, Dennis rang the doorbell and had a small conversation with Jay Sebring. Mr. Hearst's arrival on the premises helped to establish a timeline of the tragic events there that night.  He was also a key witness at the trial the following year. It is arguably the most infamous True Crime incident in American History. Visual Version: https://youtu.be/uJO-0yVK3UQ

David Oman of the Oman house and author of "ghosts of Cielo Drive"

This is a Grave Talks CLASSIC EPISODE! Decades of murder, tragedy, and sorrow seem to follow the path of Cielo Drive. History takes the dark stories all the way back to the time when Native Americans inhabited the land. As time progressed, many other souls would live their final days on Cielo Drive, including the murder of Sharon Tate. In the late 1990s, David Oman and his father decided to call Cielo Drive home and begin building a home on this infamous road. He would soon discover that his new home may hold the spirits of a tragic past. This is Part Two of our conversation. If you enjoy our interviews and conversations about "The Dead," why not listen ad-free? Become a Premium Supporter of The Grave Talks Through Apple Podcasts or Patreon (http://www.patreon.com/thegravetalks) There, you will get: Access to every episode of our show, AD-FREE! Access to every episode of our show before everyone else! Other EXCLUSIVE supporter perks and more!

This is a Grave Talks CLASSIC EPISODE! Decades of murder, tragedy, and sorrow seem to follow the path of Cielo Drive. History takes the dark stories all the way back to the time when Native Americans inhabited the land. As time would progress, many other souls would live their final days on Cielo Drive. Including the murder of Sharon Tate. In the late 1990s, David Oman and his father decided to call Cielo Drive home and begin building a home on this infamous road. He would soon discover that his new home may hold the spirits of a tragic past. If you enjoy our interviews and conversations about "The Dead," why not listen ad-free? Become a Premium Supporter of The Grave Talks Through Apple Podcasts or Patreon (http://www.patreon.com/thegravetalks) There, you will get: Access to every episode of our show, AD-FREE! Access to every episode of our show before everyone else! Other EXCLUSIVE supporter perks and more!

Il y a 55 ans, au mois de mai 1968, une jeune actrice américaine, blonde et bronzée, posait en bikini sur une plage de Cannes, invitée au 21eme Festival. Elle y accompagnait son mari, un réalisateur promis à une carrière célèbre, Roman Polanski. Un an plus tard, Sharon Tate, 26 ans, enceinte mourait lors d'une nuit de terreur à Hollywood. Sous les coups de couteaux d'adeptes guidés par le sombre gourou californien Charles Manson. L'affaire va glacer d'effroi l'Amérique et le monde. Cinq morts ce soir-là même si l'histoire ne va retenir que le visage et le nom de Sharon Tate. Retrouvez tous les jours en podcast le décryptage d'un faits divers, d'un crime ou d'une énigme judiciaire par Jean-Alphonse Richard, entouré de spécialistes, et de témoins d'affaires criminelles. Ecoutez L'heure du Crime du 15 mai 2023 avec Jean-Alphonse Richard.

Follow The Looking Glass on iHeartRadio - https://ihr.fm/3LG5QTZFollow on Apple Podcasts - https://apple.co/3B0WQE6Follow Everywhere Else - https://bit.ly/3M27WPsIn the pre-dawn hours of February 17, 1970, military police on the Fort Bragg army base, in North Carolina, received a panicked phone call from a man identifying himself as Cpt. Jeffrey MacDonald. Struggling to get the words out, MacDonald haltingly and breathlessly repeated his address –– 544 Castle Drive –– along with the word “stabbed.” When the MPs arrived at 544 Castle Drive minutes later, they encountered a scene of staggering brutality. MacDonald's wife and two young daughters had been hacked and beaten to death in their respective bedrooms, there was blood on the walls and ceiling of the apartment, and someone had written the word “PiG,” in blood, on the headboard of the bed in the master bedroom. On seeing that word, “PiG,” military investigators all had the same thought: “PiG” is what had been written in blood on Sharon Tate's front door six months earlier, after the Manson Family had slaughtered Tate and her houseguests on Cielo Drive, in Los Angeles. Had the Manson Family come to North Carolina?If Jeffrey MacDonald was to be believed, perhaps they had. MacDonald told investigators that a group of at least three men and one woman had broken into the apartment and attacked him and his family. Although these assailants had stabbed and beaten MacDonald, leaving him with a partially collapsed lung, they had left him alive after knocking him unconscious.Was the story MacDonald told investigators true? How should we go about answering that question? Follow us through the door of these questions and into the wild world of the Jeffrey MacDonald case, where things are not always as they seem. Welcome to The Looking Glass.Season 1 episodes drop every Tuesday.SUBSCRIBEApple Podcasts – https://podcasts.apple.com/us/podcast/the-looking-glass/id1661874262Stitcher – https://www.stitcher.com/show/1050203Pandora – https://www.pandora.com/podcast/the-looking-glass/PC:1001050203Spotify – https://open.spotify.com/show/30KamFriUpJePEkhgbq9WD?si=11a015b9806142b5Amazon Music and Audible – https://music.amazon.com/podcasts/da7a9044-c5ab-49aa-862b-ddc7cd10e920/the-looking-glassPlayer FM – https://player.fm/series/series-3430565Deezer – https://www.deezer.com/us/show/5558397RSS Feed – https://mathew-kelly.podomatic.com/rss2.xmlEPISODE 1 CASTChad Donella as Dr. Jeffrey MacDonald – https://www.imdb.com/name/nm0232414/Xano Alexander as Specialist Kenneth Mica – https://www.imdb.com/name/nm7446792/Michael Hensley as Sergeant Richard Tevere - https://www.instagram.com/michaelv.hensley/SCORE AND SOUND DESIGN - DUSTIN MORGAN - https://www.imdb.com/name/nm4082792/Follow Dustin onInstagram – https://www.instagram.com/dustinmorganofficial/Facebook – https://www.facebook.com/dustin.morgan.5815HOST - MATTHEW KRAIG KELLYFollow Matthew onInstagram – https://www.instagram.com/matthewkraigkelly/Facebook – https://www.facebook.com/matthewkraig.kelly.9LinkedIn – https://www.linkedin.com/in/matthew-kraig-kelly-0b9b75127/CONTACTthelookingglasspodcast@protonmail.com

Charles Manson the Music Man, the tale of Trent Reznor's time in the Cielo Drive murder house, and Jake's latest takes on All Quiet on the Western Front, White Lotus, and your listener messages. Leave your own message at 617-906-6638 and join the After Party! This episode contains themes that may be disturbing to some listeners, including domestic violence and graphic descriptions of violence and sexual assault.

Charles Manson the Music Man, the tale of Trent Reznor's time in the Cielo Drive murder house, and Jake's latest takes on All Quiet on the Western Front, White Lotus, and your listener messages. Leave your own message at 617-906-6638 and join the After Party!This episode contains themes that may be disturbing to some listeners, including domestic violence and graphic descriptions of violence and sexual assault.To hear all episodes of Disgraceland for free, visit amazon.com/disgraceland. Show notes are available at disgracelandpod.com. Follow us @disgracelandpod on Instagram, Twitter, and Facebook for music news, bonus episodes, and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On August 9, 1969, the Manson Family murdered Sharon Tate and her companions at 10050 Cielo Drive in the most infamous killings of the 1960s.This episode sounds better without shitty ads: [ https://patreon.com/TalkMurder ] (WE CAN'T CONTROL ADS, WE HATE THEM TOO!)Apple users

On August 9, 1969, the Manson Family murdered Sharon Tate and her companions at 10050 Cielo Drive in the most infamous killings of the 1960s.APPLE PODCAST USERS!! Look out for our ad-free version coming this week! No more dumb effin ads for y'all!This episode sounds better without shitty ads: [ https://patreon.com/TalkMurder ] (WE CAN'T CONTROL ADS, WE HATE THEM TOO!)

This is a classic episode of The Grave Talks, from deep in the archive! Part 2 is EXCLUSIVE TO GRAVE KEEPERS! Become one here: http://www.patreon.com/thegravetalks Please support us on Patreon and get access to our AD-FREE ARCHIVE, ADVANCE EPISODES & MORE at http://www.patreon.com/thegravetalks

Episode one hundred and fifty-three of A History of Rock Music in Five Hundred Songs looks at “Heroes and Villains” by the Beach Boys, and the collapse of the Smile album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a sixteen-minute bonus episode available, on "I Had Too Much to Dream Last Night" by the Electric Prunes. 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 There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode. As well as the books I referred to in all the Beach Boys episodes, listed below, I used Domenic Priore's book Smile: The Story of Brian Wilson's Lost Masterpiece and Richard Henderson's 33 1/3 book on Van Dyke Parks' Song Cycle. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson by Peter Ames Carlin is the best biography of Wilson. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of “Heroes and Villains”. The box set The Smile Sessions  contains an attempt to create a finished album from the unfinished sessions, plus several CDs of outtakes and session material. Transcript [Opening -- "intro to the album" studio chatter into "Our Prayer"] Before I start, I'd just like to note that this episode contains some discussion of mental illness, including historical negative attitudes towards it, so you may want to check the transcript or skip this one if that might be upsetting. In November and December 1966, the filmmaker David Oppenheim and the conductor and composer Leonard Bernstein collaborated on a TV film called "Inside Pop: The Rock Revolution".  The film was an early attempt at some of the kinds of things this podcast is doing, looking at how music and social events interact and evolve, though it was dealing with its present rather than the past. The film tried to cast as wide a net as possible in its fifty-one minutes. It looked at two bands from Manchester -- the Hollies and Herman's Hermits -- and how the people identified as their leaders, "Herman" (or Peter Noone) and Graham Nash, differed on the issue of preventing war: [Excerpt: Inside Pop, the Rock Revolution] And it made a star of East Coast teenage singer-songwriter Janis Ian with her song about interracial relationships, "Society's Child": [Excerpt: Janis Ian, "Society's Child"] And Bernstein spends a significant time, as one would expect, analysing the music of the Beatles and to a lesser extent the Stones, though they don't appear in the show. Bernstein does a lot to legitimise the music just by taking it seriously as a subject for analysis, at a time when most wouldn't: [Excerpt: Leonard Bernstein talking about "She Said She Said"] You can't see it, obviously, but in the clip that's from, as the Beatles recording is playing, Bernstein is conducting along with the music, as he would a symphony orchestra, showing where the beats are falling. But of course, given that this was filmed in the last two months of 1966, the vast majority of the episode is taken up with musicians from the centre of the music world at that time, LA. The film starts with Bernstein interviewing Tandyn Almer,  a jazz-influenced songwriter who had recently written the big hit "Along Comes Mary" for The Association: [Excerpt: Inside Pop: The Rock Revolution] It featured interviews with Roger McGuinn, and with the protestors at the Sunset Strip riots which were happening contemporaneously with the filming: [Excerpt: Inside Pop: The Rock Revolution] Along with Frank Zappa's rather acerbic assessment of the potential of the youth revolutionaries: [Excerpt: Inside Pop: The Rock Revolution] And ended (other than a brief post-commercial performance over the credits by the Hollies) with a performance by Tim Buckley, whose debut album, as we heard in the last episode, had featured Van Dyke Parks and future members of the Mothers of Invention and Buffalo Springfield: [Excerpt: Inside Pop: The Rock Revolution] But for many people the highlight of the film was the performance that came right before Buckley's, film of Brian Wilson playing a new song from the album he was working on. One thing I should note -- many sources say that the voiceover here is Bernstein. My understanding is that Bernstein wrote and narrated the parts of the film he was himself in, and Oppenheim did all the other voiceover writing and narration, but that Oppenheim's voice is similar enough to Bernstein's that people got confused about this: [Excerpt: Inside Pop: The Rock Revolution] That particular piece of footage was filmed in December 1966, but it wasn't broadcast until April the twenty-fifth, 1967, an eternity in mid-sixties popular music. When it was broadcast, that album still hadn't come out. Precisely one week later, the Beach Boys' publicist Derek Taylor announced that it never would: [Excerpt: Brian Wilson, "Surf's Up"] One name who has showed up in a handful of episodes recently, but who we've not talked that much about, is Van Dyke Parks. And in a story with many, many, remarkable figures, Van Dyke Parks may be one of the most remarkable of all. Long before he did anything that impinges on the story of rock music, Parks had lived the kind of life that would be considered unbelievable were it to be told as fiction. Parks came from a family that mixed musical skill, political progressiveness, and achievement. His mother was a scholar of Hebrew, while his father was a neurologist, the first doctor to admit Black patients to a white Southern hospital, and had paid his way through college leading a dance band. Parks' father was also, according to the 33 1/3 book on Song Cycle, a member of "John Philip Sousa's Sixty Silver Trumpets", but literally every reference I can find to Sousa leading a band of that name goes back to that book, so I've no idea what he was actually a member of, but we can presume he was a reasonable musician. Young Van Dyke started playing the clarinet at four, and was also a singer from a very early age, as well as playing several other instruments. He went to the American Boychoir School in Princeton, to study singing, and while there he sang with Toscaninni, Thomas Beecham, and other immensely important conductors of the era. He also had a very special accompanist for one Christmas carolling session. The choir school was based in Princeton, and one of the doors he knocked on while carolling was that of Princeton's most famous resident, Albert Einstein, who heard the young boy singing "Silent Night", and came out with his violin and played along. Young Van Dyke was only interested in music, but he was also paying the bills for his music tuition himself -- he had a job. He was a TV star. From the age of ten, he started getting roles in TV shows -- he played the youngest son in the 1953 sitcom Bonino, about an opera singer, which flopped because it aired opposite the extremely popular Jackie Gleason Show. He would later also appear in that show, as one of several child actors who played the character of Little Tommy Manicotti, and he made a number of other TV appearances, as well as having a small role in Grace Kelly's last film, The Swan, with Alec Guinness and Louis Jourdain. But he never liked acting, and just did it to pay for his education. He gave it up when he moved on to the Carnegie Institute, where he majored in composition and performance. But then in his second year, his big brother Carson asked him to drop out and move to California. Carson Parks had been part of the folk scene in California for a few years at this point. He and a friend had formed a duo called the Steeltown Two, but then both of them had joined the folk group the Easy Riders, a group led by Terry Gilkyson. Before Carson Parks joined, the Easy Riders had had a big hit with their version of "Marianne", a calypso originally by the great calypsonian Roaring Lion: [Excerpt: The Easy Riders, "Marianne"] They hadn't had many other hits, but their songs became hits for other people -- Gilkyson wrote several big hits for Frankie Laine, and the Easy Riders were the backing vocalists on Dean Martin's recording of a song they wrote, "Memories are Made of This": [Excerpt: Dean Martin and the Easy Riders, "Memories are Made of This"] Carson Parks hadn't been in the group at that point -- he only joined after they'd stopped having success -- and eventually the group had split up. He wanted to revive his old duo, the Steeltown Two, and persuaded his family to let his little brother Van Dyke drop out of university and move to California to be the other half of the duo. He wanted Van Dyke to play guitar, while he played banjo. Van Dyke had never actually played guitar before, but as Carson Parks later said "in 90 days, he knew more than most folks know after many years!" Van Dyke moved into an apartment adjoining his brother's, owned by Norm Botnick, who had until recently been the principal viola player in a film studio orchestra, before the film studios all simultaneously dumped their in-house orchestras in the late fifties, so was a more understanding landlord than most when it came to the lifestyles of musicians. Botnick's sons, Doug and Bruce, later went into sound engineering -- we've already encountered Bruce Botnick in the episode on the Doors, and he will be coming up again in the future. The new Steeltown Two didn't make any records, but they developed a bit of a following in the coffeehouses, and they also got a fair bit of session work, mostly through Terry Gilkyson, who was by that point writing songs for Disney and would hire them to play on sessions for his songs. And it was Gilkyson who both brought Van Dyke Parks the worst news of his life to that point, and in doing so also had him make his first major mark on music. Gilkyson was the one who informed Van Dyke that another of his brothers, Benjamin Riley Parks, had died in what was apparently a car accident. I say it was apparently an accident because Benjamin Riley Parks was at the time working for the US State Department, and there is apparently also some evidence that he was assassinated in a Cold War plot. Gilkyson also knew that neither Van Dyke nor Carson Parks had much money, so in order to help them afford black suits and plane tickets to and from the funeral, Gilkyson hired Van Dyke to write the arrangement for a song he had written for an upcoming Disney film: [Excerpt: Jungle Book soundtrack, "The Bare Necessities"] The Steeltown Two continued performing, and soon became known as the Steeltown Three, with the addition of a singer named Pat Peyton. The Steeltown Three recorded two singles, "Rock Mountain", under that group name: [Excerpt: The Steeltown Three, "Rock Mountain"] And a version of "San Francisco Bay" under the name The South Coasters, which I've been unable to track down. Then the three of them, with the help of Terry Gilkyson, formed a larger group in the style of the New Christy Minstrels -- the Greenwood County Singers. Indeed, Carson Parks would later claim that  Gilkyson had had the idea first -- that he'd mentioned that he'd wanted to put together a group like that to Randy Sparks, and Sparks had taken the idea and done it first. The Greenwood County Singers had two minor hot one hundred hits, only one of them while Van Dyke was in the band -- "The New 'Frankie and Johnny' Song", a rewrite by Bob Gibson and Shel Silverstein of the old traditional song "Frankie and Johnny": [Excerpt: The Greenwood County Singers, "The New Frankie and Johnny Song"] They also recorded several albums together, which gave Van Dyke the opportunity to practice his arrangement skills, as on this version of  "Vera Cruz" which he arranged: [Excerpt: The Greenwood County Singers, "Vera Cruz"] Some time before their last album, in 1965, Van Dyke left the Greenwood County Singers, and was replaced by Rick Jarrard, who we'll also be hearing more about in future episodes. After that album, the group split up, but Carson Parks would go on to write two big hits in the next few years. The first and biggest was a song he originally wrote for a side project. His future wife Gaile Foote was also a Greenwood County Singer, and the two of them thought they might become folk's answer to Sonny and Cher or Nino Tempo and April Stevens: [Excerpt: Carson and Gaile, "Somethin' Stupid"] That obviously became a standard after it was covered by Frank and Nancy Sinatra. Carson Parks also wrote "Cab Driver", which in 1968 became the last top thirty hit for the Mills Brothers, the 1930s vocal group we talked about way way back in episode six: [Excerpt: The Mills Brothers, "Cab Driver"] Meanwhile Van Dyke Parks was becoming part of the Sunset Strip rock and roll world. Now, until we get to 1967, Parks has something of a tangled timeline. He worked with almost every band around LA in a short period, often working with multiple people simultaneously, and nobody was very interested in keeping detailed notes. So I'm going to tell this as a linear story, but be aware it's very much not -- things I say in five minutes might happen after, or in the same week as, things I say in half an hour. At some point in either 1965 or 1966 he joined the Mothers of Invention for a brief while. Nobody is entirely sure when this was, and whether it was before or after their first album. Some say it was in late 1965, others in August 1966, and even the kind of fans who put together detailed timelines are none the wiser, because no recordings have so far surfaced of Parks with the band. Either is plausible, and the Mothers went through a variety of keyboard players at this time -- Zappa had turned to his jazz friend Don Preston, but found Preston was too much of a jazzer and told him to come back when he could play "Louie Louie" convincingly, asked Mac Rebennack to be in the band but sacked him pretty much straight away for drug use, and eventually turned to Preston again once Preston had learned to rock and roll. Some time in that period, Van Dyke Parks was a Mother, playing electric harpsichord. He may even have had more than one stint in the group -- Zappa said "Van Dyke Parks played electric harpsichord in and out." It seems likely, though, that it was in summer of 1966, because in an interview published in Teen Beat Magazine in December 66, but presumably conducted a few months prior, Zappa was asked to describe the band members in one word each and replied: "Ray—Mahogany Roy—Asbestos Jim—Mucilage Del—Acetate Van Dyke—Pinocchio Billy—Boom I don't know about the rest of the group—I don't even know about these guys." Sources differ as to why Parks didn't remain in the band -- Parks has said that he quit after a short time because he didn't like being shouted at, while Zappa said "Van Dyke was not a reliable player. He didn't make it to rehearsal on time and things like that." Both may be true of course, though I've not heard anyone else ever criticise Parks for his reliability. But then also Zappa had much more disciplinarian standards than most rock band leaders. It's possibly either through Zappa that he met Tom Wilson, or through Tom Wilson that he met Frank Zappa, but either way Parks, like the Mothers of Invention, was signed to MGM records in 1966, where he released two solo singles co-produced by Wilson and an otherwise obscure figure named Tim Alvorado. The first was "Number Nine", which we heard last week, backed with "Do What You Wanta": [Excerpt: Van Dyke Parks, "Do What You Wanta"] At least one source I've read says that the lyrics to "Do What You Wanta" were written not by Parks but by his friend Danny Hutton, but it's credited as a Parks solo composition on the label. It was after that that the Van Dyke Parks band -- or as they were sometimes billed, just The Van Dyke Parks formed, as we discussed last episode, based around Parks, Steve Stills, and Steve Young, and they performed a handful of shows with bass player Bobby Rae and drummer Walt Sparman, playing a mix of original material, primarily Parks' songs, and covers of things like "Dancing in the Street". The one contemporaneous review of a live show I've seen talks about  the girls in the audience screaming and how "When rhythm guitarist Steve Stillman imitated the Barry McGuire emotional scene, they almost went wiggy". But The Van Dyke Parks soon split up, and Parks the individual recorded his second single, "Come to the Sunshine": [Excerpt: Van Dyke Parks, "Come to the Sunshine"] Around the time he left the Greenwood County Singers, Van Dyke Parks also met Brian Wilson for the first time, when David Crosby took him up to Wilson's house to hear an acetate of the as-yet-unreleased track "Sloop John B". Parks was impressed by Wilson's arrangement techniques, and in particular the way he was orchestrating instrumental combinations that you couldn't do with a standard live room setup, that required overdubbing and close-micing. He said later "The first stuff I heard indicated this kind of curiosity for the recording experience, and when I went up to see him in '65 I don't even think he had the voices on yet, but I heard that long rotational breathing, that long flute ostinato at the beginning... I knew this man was a great musician." [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] In most of 1966, though, Parks was making his living as a session keyboard player and arranger, and much of the work he was getting was through Lenny Waronker. Waronker was a second-generation music industry professional. His father, Si Waronker, had been a violinist in the Twentieth Century Fox studio orchestra before founding Liberty Records (the label which indirectly led to him becoming immortalised in children's entertainment, when Liberty Records star David Seville named his Chipmunk characters after three Liberty executives, with Simon being Si Waronker's full forename). The first release on Liberty Records had been a version of "The Girl Upstairs", an instrumental piece from the Fox film The Seven-Year Itch. The original recording of that track, for the film, had been done by the Twentieth Century Fox Orchestra, written and conducted by Alfred Newman, the musical director for Fox: [Excerpt: Alfred Newman, "The Girl Upstairs"] Liberty's soundalike version was conducted by Newman's brother Lionel, a pianist at the studio who later became Fox's musical director for TV, just as his brother was for film, but who also wrote many film scores himself. Another Newman brother, Emil, was also a film composer, but the fourth brother, Irving, had gone into medicine instead. However, Irving's son Randy wanted to follow in the family business, and he and Lenny Waronker, who was similarly following his own father by working for Liberty Records' publishing subsidiary Metric Music, had been very close friends ever since High School. Waronker got Newman signed to Metric Music, where he wrote "They Tell Me It's Summer" for the Fleetwoods: [Excerpt: The Fleetwoods, "They Tell Me It's Summer"] Newman also wrote and recorded a single of his own in 1962, co-produced by Pat Boone: [Excerpt: Randy Newman, "Golden Gridiron Boy"] Before deciding he wasn't going to make it as a singer and had better just be a professional songwriter. But by 1966 Waronker had moved on from Metric to Warner Brothers, and become a junior A&R man. And he was put in charge of developing the artists that Warners had acquired when they had bought up a small label, Autumn Records. Autumn Records was a San Francisco-based label whose main producer, Sly Stone, had now moved on to other things after producing the hit record "Laugh Laugh" for the Beau Brummels: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Beau Brummels  had had another hit after that and were the main reason that Warners had bought the label, but their star was fading a little. Stone had also been mentoring several other groups, including the Tikis and the Mojo Men, who all had potential. Waronker gathered around himself a sort of brains trust of musicians who he trusted as songwriters, arrangers, and pianists -- Randy Newman, the session pianist Leon Russell, and Van Dyke Parks. Their job was to revitalise the career of the Beau Brummels, and to make both the Tikis and the Mojo Men into successes. The tactic they chose was, in Waronker's words, “Go in with a good song and weird it out.” The first good song they tried weirding out was in late 1966, when Leon Russell came up with a clarinet-led arrangement of Paul Simon's "59th Street Bridge Song (Feeling Groovy)" for the Tikis, who performed it but who thought that their existing fanbase wouldn't accept something so different, so it was put out under another name, suggested by Parks, Harpers Bizarre: [Excerpt: Harpers Bizarre, "Feeling Groovy"] Waronker said of Parks and Newman “They weren't old school guys. They were modern characters but they had old school values regarding certain records that needed to be made, certain artists who needed to be heard regardless. So there was still that going on. The fact that ‘Feeling Groovy' was a number 10 hit nationwide and ‘Sit Down, I Think I Love You'  made the Top 30 on Western regional radio, that gave us credibility within the company. One hit will do wonders, two allows you to take chances.” We heard "Sit Down, I Think I Love You" last episode -- that's the song by Parks' old friend Stephen Stills that Parks arranged for the Mojo Men: [Excerpt: The Mojo Men, "Sit Down, I Think I Love You"] During 1966 Parks also played on Tim Buckley's first album, as we also heard last episode: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And he also bumped into Brian Wilson on occasion, as they were working a lot in the same studios and had mutual friends like Loren Daro and Danny Hutton, and he suggested the cello part on "Good Vibrations". Parks also played keyboards on "5D" by the Byrds: [Excerpt: The Byrds, "5D (Fifth Dimension)"] And on the Spirit of '67 album for Paul Revere and the Raiders, produced by the Byrds' old producer Terry Melcher. Parks played keyboards on much of the album, including the top five hit "Good Thing": [Excerpt: Paul Revere and the Raiders, "Good Thing"] But while all this was going on, Parks was also working on what would become the work for which he was best known. As I've said, he'd met Brian Wilson on a few occasions, but it wasn't until summer 1966 that the two were formally introduced by Terry Melcher, who knew that Wilson needed a new songwriting collaborator, now Tony Asher's sabbatical from his advertising job was coming to an end, and that Wilson wanted someone who could do work that was a bit more abstract than the emotional material that he had been writing with Asher. Melcher invited both of them to a party at his house on Cielo Drive -- a house which would a few years later become notorious -- which was also attended by many of the young Hollywood set of the time. Nobody can remember exactly who was at the party, but Parks thinks it was people like Jack Nicholson and Peter and Jane Fonda. Parks and Wilson hit it off, with Wilson saying later "He seemed like a really articulate guy, like he could write some good lyrics". Parks on the other hand was delighted to find that Wilson "liked Les Paul, Spike Jones, all of these sounds that I liked, and he was doing it in a proactive way." Brian suggested Parks write the finished lyrics for "Good Vibrations", which was still being recorded at this time, and still only had Tony Asher's dummy lyrics,  but Parks was uninterested. He said that it would be best if he and Brian collaborate together on something new from scratch, and Brian agreed. The first time Parks came to visit Brian at Brian's home, other than the visit accompanying Crosby the year before, he was riding a motorbike -- he couldn't afford a car -- and forgot to bring his driver's license with him. He was stopped by a police officer who thought he looked too poor to be in the area, but Parks persuaded the police officer that if he came to the door, Brian Wilson would vouch for him. Brian got Van Dyke out of any trouble because the cop's sister was a Beach Boys fan, so he autographed an album for her. Brian and Van Dyke talked for a while. Brian asked if Van Dyke needed anything to help his work go smoothly, and Van Dyke said he needed a car. Brian asked what kind. Van Dyke said that Volvos were supposed to be pretty safe. Brian asked how much they cost. Van Dyke said he thought they were about five thousand dollars. Brian called up his office and told them to get a cheque delivered to Van Dyke for five thousand dollars the next day, instantly earning Van Dyke's loyalty. After that, they got on with work. To start with, Brian played Van Dyke a melody he'd been working on, a melody based on a descending scale starting on the fourth: [Plays "Heroes and Villains" melody] Parks told Wilson that the melody reminded him vaguely of Marty Robbins' country hit "El Paso" from 1959, a song about a gunfighter, a cantina, and a dancing woman: [Excerpt: Marty Robbins, "El Paso"] Wilson said that he had been thinking along the same lines, a sort of old west story, and thought maybe it should be called "Heroes and Villains". Parks started writing, matching syllables to Wilson's pre-conceived melody -- "I've been in this town so long that back in the city I've been taken for lost and gone and unknown for a long, long time" [Excerpt: Brian Wilson and Van Dyke Parks, "Heroes and Villains demo"] As Parks put it "The engine had started. It was very much ad hoc. Seat of the pants. Extemporaneous values were enforced. Not too much precommitment to ideas. Or, if so, equally pursuing propinquity." Slowly, over the next several months, while the five other Beach Boys were touring, Brian and Van Dyke refined their ideas about what the album they were writing, initially called Dumb Angel but soon retitled Smile, should be. For Van Dyke Parks it was an attempt to make music about America and American mythology. He was disgusted, as a patriot, with the Anglophilia that had swept the music industry since the arrival of the Beatles in America two and a half years earlier, particularly since that had happened so soon after the deaths both of President Kennedy and of Parks' own brother who was working for the government at the time he died. So for him, the album was about America, about Plymouth Rock, the Old West, California, and Hawaii. It would be a generally positive version of the country's myth, though it would of course also acknowledge the bloodshed on which the country had been built: [Excerpt: The Beach Boys, "Bicycle Rider" section] As he put it later "I was dead set on centering my life on the patriotic ideal. I was a son of the American revolution, and there was blood on the tracks. Recent blood, and it was still drying. The whole record seemed like a real effort toward figuring out what Manifest Destiny was all about. We'd come as far as we could, as far as Horace Greeley told us to go. And so we looked back and tried to make sense of that great odyssey." Brian had some other ideas -- he had been studying the I Ching, and Subud, and he wanted to do something about the four classical elements, and something religious -- his ideas were generally rather unfocused at the time, and he had far more ideas than he knew what to usefully do with. But he was also happy with the idea of a piece about America, which fit in with his own interest in "Rhapsody in Blue", a piece that was about America in much the same way. "Rhapsody in Blue" was an inspiration for Brian primarily in how it weaved together variations on themes. And there are two themes that between them Brian was finding endless variations on. The first theme was a shuffling between two chords a fourth away from each other. [demonstrates G to C on guitar] Where these chords are both major, that's the sequence for "Fire": [Excerpt: The Beach Boys, "Mrs. O'Leary's Cow/Fire"] For the "Who ran the Iron Horse?" section of "Cabin Essence": [Excerpt: The Beach Boys, "Cabinessence"] For "Vegetables": [Excerpt: The Beach Boys, "Vegetables"] And more. Sometimes this would be the minor supertonic and dominant seventh of the key, so in C that would be Dm to G7: [Plays Dm to G7 fingerpicked] That's the "bicycle rider" chorus we heard earlier, which was part of a song known as "Roll Plymouth Rock" or "Do You Like Worms": [Excerpt: The Beach Boys, "Bicycle Rider"] But which later became a chorus for "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] But that same sequence is also the beginning of "Wind Chimes": [Excerpt: The Beach Boys, "Wind Chimes"] The "wahalla loo lay" section of "Roll Plymouth Rock": [Excerpt: The Beach Boys, "Roll Plymouth Rock"] And others, but most interestingly, the minor-key rearrangement of "You Are My Sunshine" as "You Were My Sunshine": [Excerpt: The Beach Boys, "You Were My Sunshine"] I say that's most interesting, because that provides a link to another of the major themes which Brian was wringing every drop out of, a phrase known as "How Dry I Am", because of its use under those words in an Irving Berlin song, which was a popular barbershop quartet song but is now best known as a signifier of drunkenness in Looney Tunes cartoons: [Excerpt: Daffy Duck singing "How Dry I Am" https://www.youtube.com/watch?v=Ap4MMn7LpzA ] The phrase is a common one in early twentieth century music, especially folk and country, as it's made up of notes in the pentatonic scale -- it's the fifth, first, second, and third of the scale, in that order: [demonstrates "How Dry I Am"] And so it's in the melody to "This Land is Your Land", for example, a song which is very much in the same spirit of progressive Americana in which Van Dyke Parks was thinking: [Excerpt: Woody Guthrie, "This Land is Your Land"] It's also the start of the original melody of "You Are My Sunshine": [Excerpt: Jimmie Davis, "You Are My Sunshine" https://www.youtube.com/watch?v=yYvgNEU4Am8] Brian rearranged that melody when he stuck it into a minor key, so it's no longer "How Dry I Am" in the Beach Boys version, but if you play the "How Dry I Am" notes in a different rhythm, you get this: [Plays "He Gives Speeches" melody] Which is the start of the melody to "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] Play those notes backwards, you get: [Plays "He Gives Speeches" melody backwards] Do that and add onto the end a passing sixth and then the tonic, and then you get: [Plays that] Which is the vocal *countermelody* in "He Gives Speeches": [Excerpt: The Beach Boys, "He Gives Speeches"] And also turns up in some versions of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains (alternate version)"] And so on. Smile was an intricate web of themes and variations, and it incorporated motifs from many sources, both the great American songbook and the R&B of Brian's youth spent listening to Johnny Otis' radio show. There were bits of "Gee" by the Crows, of "Twelfth Street Rag", and of course, given that this was Brian Wilson, bits of Phil Spector. The backing track to the verse of "Heroes and Villains": [Excerpt: The Beach Boys, "Heroes and Villains"] Owed more than a little to a version of "Save the Last Dance For Me" that Spector had produced for Ike and Tina Turner: [Excerpt: Ike and Tina Turner, "Save the Last Dance For Me"] While one version of the song “Wonderful” contained a rather out-of-place homage to Etta James and “The Wallflower”: [Excerpt: “Wonderful (Rock With Me Henry)”] As the recording continued, it became more and more obvious that the combination of these themes and variations was becoming a little too much for Brian.  Many of the songs he was working on were made up of individual modules that he was planning to splice together the way he had with "Good Vibrations", and some modules were getting moved between tracks, as he tried to structure the songs in the edit. He'd managed it with "Good Vibrations", but this was an entire album, not just a single, and it was becoming more and more difficult. David Anderle, who was heading up the record label the group were looking at starting, would talk about Brian playing him acetates with sections edited together one way, and thinking it was perfect, and obviously the correct way to put them together, the only possible way, and then hearing the same sections edited together in a different way, and thinking *that* was perfect, and obviously the correct way to put them together. But while a lot of the album was modular, there were also several complete songs with beginnings, middles, ends, and structures, even if they were in several movements. And those songs showed that if Brian could just get the other stuff right, the album could be very, very, special. There was "Heroes and Villains" itself, of course, which kept changing its structure but was still based around the same basic melody and story that Brian and Van Dyke had come up with on their first day working together. There was also "Wonderful", a beautiful, allusive, song about innocence lost and regained: [Excerpt: The Beach Boys, "Wonderful"] And there was CabinEssence, a song which referenced yet another classic song, this time "Home on the Range", to tell a story of idyllic rural life and of the industrialisation which came with westward expansion: [Excerpt: The Beach Boys, "CabinEssence"] The arrangement for that song inspired Van Dyke Parks to make a very astute assessment of Brian Wilson. He said later "He knew that he had to adhere to the counter-culture, and I knew that I had to. I think that he was about as estranged from it as I was.... At the same time, he didn't want to lose that kind of gauche sensibility that he had. He was doing stuff that nobody would dream of doing. You would never, for example, use one string on a banjo when you had five; it just wasn't done. But when I asked him to bring a banjo in, that's what he did. This old-style plectrum thing. One string. That's gauche." Both Parks and Wilson were both drawn to and alienated from the counterculture, but in very different ways, and their different ways of relating to the counterculture created the creative tension that makes the Smile project so interesting. Parks is fundamentally a New Deal Liberal, and was excited by the progresssive nature of the counterculture, but also rather worried about its tendency to throw the baby out with the bathwater, and to ignore the old in pursuit of the new. He was an erudite, cultured, sophisticated man who thought that there was value to be found in the works and attitudes of the past, even as one must look to the future. He was influenced by the beat poets and the avant garde art of the time, but also said of his folk music period "A harpist would bring his harp with him and he would play and recite a story which had been passed down the generations. This particular legacy continued through Arthurian legend, and then through the Middle Ages, and even into the nineteenth century. With all these songs, half of the story was the lyrics, and the folk songs were very interesting. They were tremendously thought-driven songs; there was nothing confusing about that. Even when the Kingston Trio came out -- and Brian has already admitted his debt to the Kingston Trio -- 'Tom Dooley', the story of a murder most foul 'MTA' an urban nightmare -- all of this thought-driven music was perfectly acceptable.  It was more than a teenage romantic crisis." Brian Wilson, on the other hand, was anything *but* sophisticated. He is a simple man in the best sense of the term -- he likes what he likes, doesn't like what he doesn't like, and has no pretensions whatsoever about it. He is, at heart, a middle-class middle-American brought up in suburbia, with a taste for steaks and hamburgers, broad physical comedy, baseball, and easy listening music. Where Van Dyke Parks was talking about "thought-driven music", Wilson's music, while thoughtful, has always been driven by feelings first and foremost. Where Parks is influenced by Romantic composers like Gottschalk but is fundamentally a craftsman, a traditionalist, a mason adding his work to a cathedral whose construction started before his birth and will continue after his death, Wilson's music has none of the stylistic hallmarks of Romantic music, but in its inspiration it is absolutely Romantic -- it is the immediate emotional expression of the individual, completely unfiltered. When writing his own lyrics in later years Wilson would come up with everything from almost haiku-like lyrics like "I'm a leaf on a windy day/pretty soon I'll be blown away/How long with the wind blow?/Until I die" to "He sits behind his microphone/Johnny Carson/He speaks in such a manly tone/Johnny Carson", depending on whether at the time his prime concern was existential meaninglessness or what was on the TV. Wilson found the new counterculture exciting, but was also very aware he didn't fit in. He was developing a new group of friends, the hippest of the hip in LA counterculture circles -- the singer Danny Hutton, Mark Volman of the Turtles, the writers Michael Vosse and Jules Siegel, scenester and record executive David Anderle -- but there was always the underlying implication that at least some of these people regarded him as, to use an ableist term but one which they would probably have used, an idiot savant. That they thought of him, as his former collaborator Tony Asher would later uncharitably put it, as "a genius musician but an amateur human being". So for example when Siegel brought the great postmodern novelist Thomas Pynchon to visit Brian, both men largely sat in silence, unable to speak to each other; Pynchon because he tended to be a reactive person in conversation and would wait for the other person to initiate topics of discussion, Brian because he was so intimidated by Pynchon's reputation as a great East Coast intellectual that he was largely silent for fear of making a fool of himself. It was this gaucheness, as Parks eventually put it, and Parks' understanding that this was actually a quality to be cherished and the key to Wilson's art, that eventually gave the title to the most ambitious of the complete songs the duo were working on. They had most of the song -- a song about the power of music, the concept of enlightenment, and the rise and fall of civilisations: [Excerpt: The Beach Boys, "Surf's Up"] But Parks hadn't yet quite finished the lyric. The Beach Boys had been off on tour for much of Brian and Van Dyke's collaboration, and had just got back from their first real tour of the UK, where Pet Sounds had been a smash hit, rather than the middling success it had been in the US, and "Good Vibrations" had just become their first number one single. Brian and Van Dyke played the song for Brian's brother Dennis, the Beach Boys' drummer, and the band member most in tune with Brian's musical ambitions at this time. Dennis started crying, and started talking about how the British audiences had loved their music, but had laughed at their on-stage striped-shirt uniforms. Parks couldn't tell if he was crying because of the beauty of the unfinished song, the humiliation he had suffered in Britain, or both. Dennis then asked what the name of the song was, and as Parks later put it "Although it was the most gauche factor, and although maybe Brian thought it was the most dispensable thing, I thought it was very important to continue to use the name and keep the elephant in the room -- to keep the surfing image but to sensitise it to new opportunities. One of these would be an eco-consciousness; it would be speaking about the greening of the Earth, aboriginal people, how we had treated the Indians, taking on those things and putting them into the thoughts that come with the music. That was a solution to the relevance of the group, and I wanted the group to be relevant." Van Dyke had decided on a title: "Surf's Up": [Excerpt: The Beach Boys, "Surf's Up"] As the group were now back from their tour, the focus for recording shifted from the instrumental sessions to vocal ones. Parks had often attended the instrumental sessions, as he was an accomplished musician and arranger himself, and would play on the sessions, but also wanted to learn from what Brian was doing -- he's stated later that some of his use of tuned percussion in the decades since, for example, has come from watching Brian's work. But while he was also a good singer, he was not a singer in the same style as the Beach Boys, and they certainly didn't need his presence at those sessions, so he continued to work on his lyrics, and to do his arrangement and session work for other artists, while they worked in the studio. He was also, though, starting to distance himself from Brian for other reasons. At the start of the summer, Brian's eccentricity and whimsy had seemed harmless -- indeed, the kind of thing he was doing, such as putting his piano in a sandbox so he could feel the sand with his feet while he wrote, seems very much on a par with Maureen Cleave's descriptions of John Lennon in the same period. They were two newly-rich, easily bored, young men with low attention spans and high intelligence who could become deeply depressed when understimulated and so would get new ideas into their heads, spend money on their new fads, and then quickly discard them. But as the summer wore on into autumn and winter, Brian's behaviour became more bizarre, and to Parks' eyes more distasteful. We now know that Brian was suffering a period of increasing mental ill-health, something that was probably not helped by the copious intake of cannabis and amphetamines he was using to spur his creativity, but at the time most people around him didn't realise this, and general knowledge of mental illness was even less than it is today. Brian was starting to do things like insist on holding business meetings in his swimming pool, partly because people wouldn't be able to spy on him, and partly because he thought people would be more honest if they were in the water. There were also events like the recording session where Wilson paid for several session musicians, not to play their instruments, but to be recorded while they sat in a pitch-black room and played the party game Lifeboat with Jules Siegel and several of Wilson's friends, most of whom were stoned and not really understanding what they were doing, while they got angrier and more frustrated. Alan Jardine -- who unlike the Wilson brothers, and even Mike Love to an extent, never indulged in illegal drugs -- has talked about not understanding why, in some vocal sessions, Brian would make the group crawl on their hands and knees while making noises like animals: [Excerpt: The Beach Boys, "Heroes and Villains Part 3 (Animals)"] As Parks delicately put it "I sensed all that was destructive, so I withdrew from those related social encounters." What this meant though was that he was unaware that not all the Beach Boys took the same attitude of complete support for the work he and Brian had been doing that Dennis Wilson -- the only other group member he'd met at this point -- took. In particular, Mike Love was not a fan of Parks' lyrics. As he said later "I called it acid alliteration. The [lyrics are] far out. But do they relate like 'Surfin' USA,' like 'Fun Fun Fun,' like 'California Girls,' like 'I Get Around'? Perhaps not! So that's the distinction. See, I'm into success. These words equal successful hit records; those words don't" Now, Love has taken a lot of heat for this over the years, and on an artistic level that's completely understandable. Parks' lyrics were, to my mind at least, the best the Beach Boys ever had -- thoughtful, intelligent, moving, at times profound, often funny, often beautiful. But, while I profoundly disagree with Love, I have a certain amount of sympathy for his position. From Love's perspective, first and foremost, this is his source of income. He was the only one of the Beach Boys to ever have had a day job -- he'd worked at his father's sheet metal company -- and didn't particularly relish the idea of going back to manual labour if the rock star gig dried up. It wasn't that he was *opposed* to art, of course -- he'd written the lyrics to "Good Vibrations", possibly the most arty rock single released to that point, hadn't he? -- but that had been *commercial* art. It had sold. Was this stuff going to sell? Was he still going to be able to feed his wife and kids? Also, up until a few months earlier he had been Brian's principal songwriting collaborator. He was *still* the most commercially successful collaborator Brian had had. From his perspective, this was a partnership, and it was being turned into a dictatorship without him having been consulted. Before, it had been "Mike, can you write some lyrics for this song about cars?", now it was "Mike, you're going to sing these lyrics about a crow uncovering a cornfield". And not only that, but Mike had not met Brian's new collaborator, but knew he was hanging round with Brian's new druggie friends. And Brian was behaving increasingly weirdly, which Mike put down to the influence of the drugs and these new friends. It can't have helped that at the same time the group's publicist, Derek Taylor, was heavily pushing the line "Brian Wilson is a genius". This was causing Brian some distress -- he didn't think of himself as a genius, and he saw the label as a burden, something it was impossible to live up to -- but was also causing friction in the group, as it seemed that their contributions were being dismissed. Again, I don't agree with Mike's position on any of this, but it is understandable. It's also the case that Mike Love is, by nature, a very assertive and gregarious person, while Brian Wilson, for all that he took control in the studio, is incredibly conflict-avoidant and sensitive. From what I know of the two men's personalities, and from things they've said, and from the session recordings that have leaked over the years, it seems entirely likely that Love will have seen himself as having reasonable criticisms, and putting them to Brian clearly with a bit of teasing to take the sting out of them; while Brian will have seen Love as mercilessly attacking and ridiculing the work that meant so much to him in a cruel and hurtful manner, and that neither will have understood at the time that that was how the other was seeing things. Love's criticisms intensified. Not of everything -- he's several times expressed admiration for "Heroes and Villains" and "Wonderful" -- but in general he was not a fan of Parks' lyrics. And his criticisms seemed to start to affect Brian. It's difficult to say what Brian thinks about Parks' lyrics, because he has a habit in interviews of saying what he thinks the interviewer wants to hear, and the whole subject of Smile became a touchy one for him for a long time, so in some interviews he has talked about how dazzlingly brilliant they are, while at other times he's seemed to agree with Love, saying they were "Van Dyke Parks lyrics", not "Beach Boys lyrics". He may well sincerely think both at the same time, or have thought both at different times. This came to a head with a session for the tag of "Cabinessence": [Excerpt: The Beach Boys, "Cabinessence"] Love insisted on having the line "over and over the crow flies uncover the cornfield" explained to him, and Brian eventually decided to call Van Dyke Parks and have him come to the studio. Up to this point, Parks had no idea that there was anything controversial, so when Brian phoned him up and very casually said that Mike had a few questions about the lyrics, could he come down to the studio? He went without a second thought. He later said "The only person I had had any interchange with before that was Dennis, who had responded very favorably to 'Heroes and Villains' and 'Surf's Up'. Based on that, I gathered that the work would be approved. But then, with no warning whatsoever, I got that phone call from Brian. And that's when the whole house of cards came tumbling down." Parks got to the studio, where he was confronted by an angry Mike Love, insisting he explain the lyrics. Now, as will be, I hope, clear from everything I've said, Parks and Love are very, very, *very* different people. Having met both men -- albeit only in formal fan-meeting situations where they're presenting their public face -- I actually find both men very likeable, but in very different ways. Love is gregarious, a charmer, the kind of man who would make a good salesman and who people use terms like "alpha male" about. He's tall, and has a casual confidence that can easily read as arrogance, and a straightforward sense of humour that can sometimes veer into the cruel. Parks, on the other hand, is small, meticulously well-mannered and well-spoken, has a high, precise, speaking voice which probably reads as effeminate to the kind of people who use terms like "alpha male", and the kind of devastating intelligence and Southern US attention to propriety which means that if he *wanted* to say something cruel about someone, the victim would believe themselves to have been complimented until a horrific realisation two days after the event. In every way, from their politics to their attitudes to art versus commerce to their mannerisms to their appearance, Mike Love and Van Dyke Parks are utterly different people, and were never going to mix well. And Brian Wilson, who was supposed to be the collaborator for both of them, was not mediating between them, not even expressing an opinion -- his own mental problems had reached the stage where he simply couldn't deal with the conflict. Parks felt ambushed and hurt, Love felt angry, especially when Parks could not explain the literal meaning of his lyrics. Eventually Parks just said "I have no excuse, sir", and left. Parks later said "That's when I lost interest. Because basically I was taught not to be where I wasn't wanted, and I could feel I wasn't wanted. It was like I had someone else's job, which was abhorrent to me, because I don't even want my own job. It was sad, so I decided to get away quick." Parks continued collaborating with Wilson, and continued attending instrumental sessions, but it was all wheelspinning -- no significant progress was made on any songs after that point, in early December. It was becoming clear that the album wasn't going to be ready for its planned Christmas release, and it was pushed back to January, but Brian's mental health was becoming worse and worse. One example that's often cited as giving an insight into Brian's mental state at the time is his reaction to going to the cinema to see John Frankenheimer's classic science fiction horror film Seconds. Brian came in late, and the way the story is always told, when he was sat down the screen was black and a voice said from the darkness, "Hello Mr. Wilson". That moment does not seem to correspond with anything in the actual film, but he probably came in around the twenty-four minute mark, where the main character walks down a corridor, filmed in a distorted, hallucinatory manner, to be greeted: [Excerpt: Seconds, 24:00] But as Brian watched the film, primed by this, he became distressed by a number of apparent similarities to his life. The main character was going through death and rebirth, just as he felt he was. Right after the moment I just excerpted, Mr. Wilson is shown a film, and of course Brian was himself watching a film. The character goes to the beach in California, just like Brian. The character has a breakdown on a plane, just like Brian, and has to take pills to cope, and the breakdown happens right after this: [Excerpt: Seconds, from about 44:22] A studio in California? Just like where Brian spent his working days? That kind of weird coincidence can be affecting enough in a work of art when one is relatively mentally stable, but Brian was not at all stable. By this point he was profoundly paranoid -- and he may have had good reason to be. Some of Brian's friends from this time period have insisted that Brian's semi-estranged abusive father and former manager, Murry, was having private detectives watch him and his brothers to find evidence that they were using drugs. If you're in the early stages of a severe mental illness *and* you're self-medicating with illegal drugs, *and* people are actually spying on you, then that kind of coincidence becomes a lot more distressing. Brian became convinced that the film was the work of mind gangsters, probably in the pay of Phil Spector, who were trying to drive him mad and were using telepathy to spy on him. He started to bar people who had until recently been his friends from coming to sessions -- he decided that Jules Siegel's girlfriend was a witch and so Siegel was no longer welcome -- and what had been a creative process in the studio degenerated into noodling and second-guessing himself. He also, with January having come and the album still not delivered, started doing side projects,  some of which, like his production of tracks for photographer Jasper Daily, seem evidence either of his bizarre sense of humour, or of his detachment from reality, or both: [Excerpt: Jasper Daily, "Teeter Totter Love"] As 1967 drew on, things got worse and worse. Brian was by this point concentrating on just one or two tracks, but endlessly reworking elements of them. He became convinced that the track "Fire" had caused some actual fires to break out in LA, and needed to be scrapped. The January deadline came and went with no sign of the album. To add to that, the group discovered that they were owed vast amounts of unpaid royalties by Capitol records, and legal action started which meant that even were the record to be finished it might become a pawn in the legal wrangling. Parks eventually became exasperated by Brian -- he said later "I was victimised by Brian Wilson's buffoonery" -- and he quit the project altogether in February after a row with Brian. He returned a couple of weeks later out of a sense of loyalty, but quit again in April. By April, he'd been working enough with Lenny Waronker that Waronker offered him a contract with Warner Brothers as a solo artist -- partly because Warners wanted some insight into Brian Wilson's techniques as a hit-making producer. To start with, Parks released a single, to dip a toe in the water, under the pseudonym "George Washington Brown". It was a largely-instrumental cover version of Donovan's song "Colours", which Parks chose because after seeing the film Don't Look Back, a documentary of Bob Dylan's 1965 British tour, he felt saddened at the way Dylan had treated Donovan: [Excerpt: George Washington Brown, "Donovan's Colours"] That was not a hit, but it got enough positive coverage, including an ecstatic review from Richard Goldstein in the Village Voice, that Parks was given carte blanche to create the album he wanted to create, with one of the largest budgets of any album released to that date. The result was a masterpiece, and very similar to the vision of Smile that Parks had had -- an album of clever, thoroughly American music which had more to do with Charles Ives than the British Invasion: [Excerpt: Van Dyke Parks, "The All Golden"] But Parks realised the album, titled Song Cycle, was doomed to failure when at a playback session, the head of Warner Brothers records said "Song Cycle? So where are the songs?" According to Parks, the album was only released because Jac Holzman of Elektra Records was also there, and took out his chequebook and said he'd release the album if Warners wouldn't, but it had little push, apart from some rather experimental magazine adverts which were, if anything, counterproductive. But Waronker recognised Parks' talent, and had even written into Parks' contract that Parks would be employed as a session player at scale on every session Waronker produced -- something that didn't actually happen, because Parks didn't insist on it, but which did mean Parks had a certain amount of job security. Over the next couple of years Parks and Waronker co-produced the first albums by two of their colleagues from Waronker's brains trust, with Parks arranging -- Randy Newman: [Excerpt: Randy Newman, "I Think It's Going to Rain Today"] And Ry Cooder: [Excerpt: Ry Cooder, "One Meat Ball"] Waronker would refer to himself, Parks, Cooder, and Newman as "the arts and crafts division" of Warners, and while these initial records weren't very successful, all of them would go on to bigger things. Parks would be a pioneer of music video, heading up Warners' music video department in the early seventies, and would also have a staggeringly varied career over the years, doing everything from teaming up again with the Beach Boys to play accordion on "Kokomo" to doing the string arrangements on Joanna Newsom's album Ys, collaborating with everyone from U2 to Skrillex,  discovering Rufus Wainwright, and even acting again, appearing in Twin Peaks. He also continued to make massively inventive solo albums, releasing roughly one every decade, each unique and yet all bearing the hallmarks of his idiosyncratic style. As you can imagine, he is very likely to come up again in future episodes, though we're leaving him for now. Meanwhile, the Beach Boys were floundering, and still had no album -- and now Parks was no longer working with Brian, the whole idea of Smile was scrapped. The priority was now to get a single done, and so work started on a new, finished, version of "Heroes and Villains", structured in a fairly conventional manner using elements of the Smile recordings. The group were suffering from numerous interlocking problems at this point, and everyone was stressed -- they were suing their record label, Dennis' wife had filed for divorce, Brian was having mental health problems, and Carl had been arrested for draft dodging -- though he was later able to mount a successful defence that he was a conscientious objector. Also, at some point around this time, Bruce Johnston seems to have temporarily quit the group, though this was never announced -- he doesn't seem to have been at any sessions from late May or early June through mid-September, and didn't attend the two shows they performed in that time. They were meant to have performed three shows, but even though Brian was on the board of the Monterey Pop Festival, they pulled out at the last minute, saying that they needed to deal with getting the new single finished and with Carl's draft problems. Some or all of these other issues almost certainly fed into that, but the end result was that the Beach Boys were seen to have admitted defeat, to have handed the crown of relevance off to the San Francisco groups. And even if Smile had been released, there were other releases stealing its thunder. If it had come out in December it would have been massively ahead of its time, but after the Beatles released Sgt Pepper it would have seemed like it was a cheap copy -- though Parks has always said he believes the Beatles heard some of the Smile tapes and copied elements of the recordings, though I don't hear much similarity myself. But I do hear a strong similarity in "My World Fell Down" by Sagittarius, which came out in June, and which was largely made by erstwhile collaborators of Brian -- Gary Usher produced, Glen Campbell sang lead, and Bruce Johnston sang backing vocals: [Excerpt: Sagittarius, "My World Fell Down"] Brian was very concerned after hearing that that someone *had* heard the Smile tapes, and one can understand why. When "Heroes and Villains" finally came out, it was a great single, but only made number twelve in the charts. It was fantastic, but out of step with the times, and nothing could have lived up to the hype that had built up around it: [Excerpt: The Beach Boys, "Heroes and Villains"] Instead of Smile, the group released an album called Smiley Smile, recorded in a couple of months in Brian's home studio, with no studio musicians and no involvement from Bruce, other than the previously released singles, and with the production credited to "the Beach Boys" rather than Brian. Smiley Smile has been unfairly dismissed over the years, but it's actually an album that was ahead of its time. It's a collection of stripped down versions of Smile songs and new fragments using some of the same motifs, recorded with minimal instrumentation. Some of it is on a par with the Smile material it's based on: [Excerpt: The Beach Boys, "Wonderful"] Some is, to my ears, far more beautiful than the Smile versions: [Excerpt: The Beach Boys, "Wind Chimes"] And some has a fun goofiness which relates back to one of Brian's discarded ideas for Smile, that it be a humour album: [Excerpt: The Beach Boys, "She's Going Bald"] The album was a commercial flop, by far the least successful thing the group had released to that point in the US, not even making the top forty when it came out in September, though it made the top ten in the UK, but interestingly it *wasn't* a critical flop, at least at first. While the scrapping of Smile had been mentioned, it still wasn't widely known, and so for example Richard Goldstein, the journalist whose glowing review of "Donovan's Colours" in the Village Voice had secured Van Dyke Parks the opportunity to make Song Cycle, gave it a review in the New York Times which is written as if Goldstein at least believes it *is* the album that had been promised all along, and he speaks of it very perceptively -- and here I'm going to quote quite extensively, because the narrative about this album has always been that it was panned from the start and made the group a laughing stock: "Smiley Smile hardly reads like a rock cantata. But there are moments in songs such as 'With Me Tonight' and 'Wonderful' that soar like sacred music. Even the songs that seem irrelevant to a rock-hymn are infused with stained-glass melodies. Wilson is a sound sculptor and his songs are all harmonious litanies to the gentle holiness of love — post-Christian, perhaps but still believing. 'Wind Chimes', the most important piece on the album, is a fine example of Brian Wilson's organic pop structure. It contains three movements. First, Wilson sets a lyric and melodic mood ("In the late afternoon, you're hung up on wind chimes"). Then he introduces a totally different scene, utilizing passages of pure, wordless harmony. His two-and-a-half minute hymn ends with a third movement in which the voices join together in an exquisite round, singing the words, "Whisperin' winds set my wind chimes a-tinklin'." The voices fade out slowly, like the bittersweet afternoon in question. The technique of montage is an important aspect of Wilson's rock cantata, since the entire album tends to flow as a single composition. Songs like 'Heroes and Villains', are fragmented by speeding up or slowing down their verses and refrains. The effect is like viewing the song through a spinning prism. Sometimes, as in 'Fall Breaks and Back to Winter' (subtitled "W. Woodpecker Symphony"), the music is tiered into contrapuntal variations on a sliver of melody. The listener is thrown into a vast musical machine of countless working gears, each spinning in its own orbit." That's a discussion of the album that I hear when I listen to Smiley Smile, and the group seem to have been artistically happy with it, at least at first. They travelled to Hawaii to record a live album (with Brian, as Bruce was still out of the picture), taking the Baldwin organ that Brian used all over Smiley Smile with them, and performed rearranged versions of their old hits in the Smiley Smile style. When the recordings proved unusable, they recreated them in the studio, with Bruce returning to the group, where he would remain, with the intention of overdubbing audience noise and releasing a faked live album: [Excerpt: The Beach Boys, "California Girls [Lei'd studio version]"] The idea of the live album, to be called Lei'd in Hawaii, was scrapped, but that's not the kind of radical reimagining of your sound that you do if you think you've made an artistic failure. Indeed, the group's next albu

Part 2 of 2.  On the morning of August 9, 1969, a housekeeper arrived at her job to find a horrific scene. There were five dead bodies in the home on 10050 Cielo Drive on Benedict Canyon in Beverly Hills. The victims were actress Sharon Tate and several of her friends, as well as a teenager who had been visiting the house's caretaker. Scrawled on the front door in blood was one word: PIG. The following night, a wealthy couple was brutally massacred in their LA home. There were several more words written in blood on the walls of the couple's home, most notably a phrase on the refrigerator that read “Helter Skelter”. This made seven brutal murders in less than 48 hours. It wasn't long before investigators connected the two attacks, along with an earlier murder, tracing them all back to a cult-like group called the family. The family was led by a single individual, who exhibited control over all of them. The man was Charles Manson. Investigators had a hard time believing that one man could have such an influence over others that they would murder for him, yet after meeting Manson, they learned that he was no ordinary person.  **ALL OF THE TRIGGER WARNINGS**  Murder, brutality, torture, murder of a pregnant woman, sexual assault of adults and children, drug use, racism, and cults.  Hang with us: Follow Us on Instagram Like Us on Facebook Join our Case Discussion Group on Facebook Get Killer Queens Merch Bonus Episodes Support Our AMAZING Sponsors: Hello Fresh: Go to HelloFresh.com/killerqueens16 and use code killerqueens16 for 16 free meals across 7 boxes AND 3 free gifts! BetterHelp: Our listeners get 10% off their first month at BetterHelp.com/Queens. Prose: Prose is the healthy hair regimen with your name all over it. Take your FREE in-depth hair consultation and get 15% off your first order today! Go to Prose.com/QUEENS. © 2022 Killer Queens Podcast. All Rights Reserved Audio Production by Wayfare Recording Music provided by Steven Tobi Logo designed by Sloane Williams of The Sophisticated Crayon

Part 1 of 2. Want Part 2 right away??? Join our Patreon to get it a week early! Plus you get all of our past episodes ad-free as well!a On the morning of August 9, 1969, a housekeeper arrived at her job to find a horrific scene. There were five dead bodies in the home on 10050 Cielo Drive on Benedict Canyon in Beverly Hills. The victims were actress Sharon Tate and several of her friends, as well as a teenager who had been visiting the house's caretaker. Scrawled on the front door in blood was one word: PIG. The following night, a wealthy couple was brutally massacred in their LA home. There were several more words written in blood on the walls of the couple's home, most notably a phrase on the refrigerator that read “Helter Skelter”. This made seven brutal murders in less than 48 hours. It wasn't long before investigators connected the two attacks, along with an earlier murder, tracing them all back to a cult-like group called the family. The family was led by a single individual, who exhibited control over all of them. The man was Charles Manson. Investigators had a hard time believing that one man could have such an influence over others that they would murder for him, yet after meeting Manson, they learned that he was no ordinary person. **ALL OF THE TRIGGER WARNINGS** Murder, brutality, torture, murder of a pregnant woman, sexual assault of adults and children, drug use, racism, and cults.  Hang with us: Follow Us on Instagram Like Us on Facebook Join our Case Discussion Group on Facebook Get Killer Queens Merch Bonus Episodes Support Our AMAZING Sponsors: Lumi: Microdose is available nationwide. To learn more about microdosing THC just do a quick search online or go to Microdose.com and use code: QUEENS to get free shipping & 30% off your first order. Credit Karma: Ready to apply? Head to creditkarma.com/loanoffers to see personalized offers. Prose: Try your own custom hair supplements and you'll get 15% off! Get yours at Prose.com/QUEENS. Best Fiends: Download your new favorite getaway, BEST FIENDS, for FREE today on the App Store or Google Play. You'll even get $5 worth of in-game rewards when you reach Level 5. © 2022 Killer Queens Podcast. All Rights Reserved Audio Production by Wayfare Recording Music provided by Steven Tobi Logo designed by Sloane Williams of The Sophisticated Crayon

As we look ahead to the new year, we want to take one last chance to say thank you for the year that was — and present our "Best of 2021"! Please enjoy this episode from our fan-favorite podcast, Solved Murders. In August 1969, actress Sharon Tate was living the Hollywood dream. Until it turned into the bloodiest kind of Hollywood nightmare.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

As we look ahead to the new year, we want to take one last chance to say thank you for the year that was — and present our "Best of 2021"! Please enjoy this episode from our fan-favorite podcast, Solved Murders. In August 1969, actress Sharon Tate was living the Hollywood dream. Until it turned into the bloodiest kind of Hollywood nightmare.  Learn more about your ad choices. Visit podcastchoices.com/adchoices