http://www.mansonmythos.com/home.html
The Shadow over Santa Susana
by Adam Gorightly � 2000
It was nearly 3 o'clock in the morning when Beach Boy Dennis Wilson returned
home from an all night recording session to his mansion at 14400 Sunset
Boulevard. Wilson hadn't left the lights on inside, so when he pulled up in
his Ferrari, he was surprised to see the place all lit up. He stopped the
car at the rear, and as he got out, the back door swung open and out stepped
a short hippie-type fellow, with shaggy hair, dressed in a work shirt, jeans
and moccasins. Even though the little man was lurking in the shadows, Wilson
could detect a strange, almost crazed look in his eyes, and felt an
instinctive chill. Without even knowing why, Dennis heard himself ask, "Are
you going to hurt me?"
The strange little man looked wounded. "Do I look like I'm going to hurt
you, brother?" he asked. With that, the guy dropped to his knees, leaned
forward and kissed Dennis' sneakers in a reverent fashion.
"Who are you?" Wilson asked in bewilderment.
"I'm a friend," Charlie Manson replied, and invited Dennis Wilson into his
own house. As they went in through the back door. Dennis noticed a black
school bus, hidden by the trees, with the words Holywood Productions painted
sloppily on the side.
Once inside, Dennis was taken aback by the spectacle taking place under his
roof. There were about a dozen or so hippie chicks, smoking pot and
frolicking about to the sound of the stereo blasting Beatle tunes, helping
themselves to whatever food and liquor was around. Many of the girls were
topless, and not bad looking, either. In fact, Dennis recognized two of the
girls, who he had twice picked up hitchhiking in Malibu. One girl went by
the nickname of "Yeller" and the other called herself Marnie Reeves (aka
Patricia "Katie" Krenwinkel). Earlier that day, Dennis'd driven them to his
house to show-off some gold records, and ended up having sex with both of
them, bragging about the incident later that evening in the studio.
Afterwards, he would discover they had given him the clap.
That very night, Dennis was introduced to the Way of the Bus, his initiation
in the form of one of Charlie's well-orchestrated orgies. As usual, Manson
himself oversaw the holy dispensation of drugs--LSD, STP, mushrooms,
whatever was handy--always making sure that he gave himself a smaller dose,
so as to remain in control of the proceedings. Next Charlie would start to
strip, and like clockwork, the girls would follow suit (or unsuit). Everyone
would lie down on the floor and, under Charlie's direction, take twelve deep
breaths with their eyes closed, and start rubbing up against one another
until everyone was touching. Then Charlie would proceed by suggesting
positions and various sexual acts.
Needless to say, Dennis was sufficiently impressed with Charlie, not to
mention the seductive scene surrounding him. Enough so, that he asked the
Family to move in with him, thus beginning what the media would later refer
to as Manson's "Sunset Boulevard" period. During this time, Charlie was able
to plug himself into the restless world of successful rock musicians, in
addition to his continued adventures inside the interlocking circles of
young sons and daughters of prominent players in the motion picture
industry, as the Family became quite adept at crashing Hollywood parties.
Charlie counted Terry Melcher--an up and coming rock music producer--among
his many contacts established through the Wilson connection. Melcher just
happened to be the son of America's eternally virginal sweetheart, Doris
Day, and produced the early Byrds records, and later the mega-successful and
hype-ridden Paul Revere and the Raiders.
In '66, Melcher rented a secluded L.A. house at 10050 Cielo Drive, and was
living there when he met Manson in the summer of '68. Around this time,
Manson also met Greg Jakobson, a songwriter and colleague of Melcher, who
was then working for one of Melcher's music-publishing companies. In time,
Jakobson was to become quite intimate with the Family, recording Charlie
several times, and was privy to the benefits of rubbing elbows with a crazed
little guru surrounded by sexually adventurous young ladies willing to
impart certain favors to advance Charlie's career. Manson was singing his
little heart out when Melcher first met the would-be-guru-cum-rock star at
Wilson's house. Afterwards, Charlie visited Melcher's home on several
occasions, and once even borrowed Melcher's Jaguar.
According to Ed Sanders, the relationship between the Manson Family and
Terry Melcher was much more extensive than has ever been admitted.
Furthermore, it was Sanders' contention that an "area of silence" had been
erected around the whole sordid Manson/Melcher association. As one can well
imagine, such negative publicity revolving around a relationship between
Manson, and the son of America's #1 sweetheart, was something that needed to
be squelched at all costs. All it would take was one scandalous headline in
the tabloid press to shave precious Nielson rating points off of Doris Day's
then highly rated CBS sit-com.
Due to Dennis Wilson's enormous generosity, Charlie helped himself to
anything and everything within his mini rock n' roll empire: cars, clothes,
money, food--not to mention ten gold records, which Manson later gave away
for no good reason to passerbys on the corner of Hollywood and Vine.
Because, after all, what did gold records mean to a true spiritual man?
Dennis underwrote everything during his time with the Mansonoids. In return,
he was waited on hand and foot by the girls, and allowed to participate in
Charlie's well orchestrated orgies. Afterwards--when Charlie was at Spahn
Ranch--he was continually sending Dennis a steady stream of chicks to keep
him sucked and fucked.
Before long, Dennis' entire wardrobe had been added to the grungy communal
Manson Family clothing pile. On one occasion, Manson ordered the girls to
cut everything up into large swatches and sew them into robes for everyone
to wear. "One day Dennis walked into our house in Benedict Canyon," his
estranged wife Carol recalled. "I'll never forget him coming down the dark
hallway. He was barefoot and wearing a robe they had made for him out of
patches of clothing." It appeared to Carol, that ever since Dennis fell in
with this motley mob, he was continually in a drugged stupor, as though
completely overwhelmed by his new friends. The Family became such an
integral part of Dennis' scene, that once during the summer he took some of
the girls--Snake, Squeaky and Ruth Ann Morehouse (aka Ouish)--with him to
Colorado for a music festival, at which the Beach Boys performed.
Another benefit of taking refuge at the Wilson house was that it afforded
Manson the great privilege of using the address--with his parole officer--as
a place of residence. For a free wheeling vagabond with a busload of
underage girls, this facade became a necessity. Even after Dennis let the
lease run out--and had given Charlie and his girls the boot--Manson still
used the address on his I.D.
While they were living in grand style at Dennis', much of the Family's
habits remained the same, such as their dumpster diving proclivities, this
despite the enormous deliveries to the Wilson house each by the Alta Dena
Dairy, as well as Dennis' generous cash supplements to buy additional food.
Nevertheless, Manson would still pile his girls in Wilson's Rolls Royce in
the middle of the night and go crawling through supermarket garbage bins in
search of edible treasures cast off by a wasteful "piggie" society. Dennis
thought these food runs were big fun, and even went on a few himself,
sometimes driving the girls a hundred miles an hour up and down Sunset
Boulevard in his flashy silver Ferrari.
Manson and Family drained Wilson of well over $100,000 that summer,
including bills for wrecking Dennis' uninsured $21,000 Mercedes-Benz, not to
mention constant doctor's visits to cure the Family of the clap, in what
Wilson referred to as probably "The largest gonorrhea bill in history." Due
to heavy drug use and general neglect, many of the Family member's teeth
were in constant disrepair, and as a result of this, Dennis also paid for
thousands of dollars of dental work. All in all, the Family managed to
fritter away the substance of Dennis' immediate wealth in the course of a
few months.
Susan Atkins has told many people about the type of gonorrhea she contracted
during this period, which affected her feet so badly that she couldn't wear
shoes. Later--while scuffling with the Tate murder victims--she broke open
these sores. Asked about the extent of the gonorrhea, Sadie replied: "I'll
tell you one thing, it was the most God awful smell and the most horrible
green stuff" coming out of her vagina. The reason they were barefoot the
night of the killing was because Sadie and so many others in the Family had
sores on their feet as a result of venereal disease, and that it hurt too
much to wear shoes. It was with these oozing green feet that Sadie tracked
bloody prints on the porch and sidewalk at 10050 Cielo Drive.
As Gregg Jakobson recounted in Steven Gaines' Heroes and Villains: The True
Story of the Beach Boys: "One day Dennis called me up and said, 'Hey, Gregg,
you should have been down here. Some guy pulled in with a big black
bus...and he's got about thirty girls'." The following night, Jakobson went
to Dennis' house and was blown-away by the scene before him: a gaggle of
subservient and half naked young women, waiting hand and foot on Charlie and
Dennis. Jakobson perceived Manson as someone who "could discuss almost any
subject, just like he said (later, in court) he had a 'thousand hats' and he
could put on any hat at any time. In another situation he would have been
capable of being a president of a university..."
One night Dennis and Gregg accompanied Charlie and some of the girls to the
famed Whiskey A Go Go, and were treated to a magical spectacle out on the
dance floor. "Charlie started dancing, and I swear to God, within a matter
of minutes the dance floor would be empty and Charlie would be dancing by
himself. It was almost as if sparks were flying off the guy." Jakobson
thought if he could only capture this psychedelic whirling dervish on film,
the whole world would then see the infinite beauty and wild energy of
Manson. Charlie was "like fire, a raw explosion, a mechanical toy that
suddenly went crazy."
Wilson was so in awe of Manson that he bragged about his friendship in an
issue of the English rock magazine Rave. "Fear is nothing but awareness,"
spake Dennis in the interview, mimicking Manson's guru-driven mumbo-jumbo.
"Sometimes the Wizard frightens me--Charlie Manson, who says he is God and
the devil! He sings, plays, and writes poetry..." Dennis thought he'd made a
great musical discovery in Charlie, and because of this tried to get
Manson's musical career off the ground by planning to record him on the
Beach Boy's own label, Brother Records.
According to Beach Boys manager Nick Grillo: "Charlie was a very bright guy,
and his major concern was public acceptance of his music...Dennis was
enamored with Charlie, and the other members of the (Beach Boys) were
enamored with the fact that he had twelve or thirteen women. The other guys
were looking to get laid..." Grillo called Steve Despar, the new engineer at
Brian Wilson's house on Bellagio Road, and arranged for a session. "Crazy
Dennis has some friend he wants to record, " said Grillo. "You can work at
night. Dennis will bring him in and they'll work till two or three in the
morning, and it shouldn't take too long."
During the 14400 Sunset Boulevard period, Dean Morehouse arrived in Los
Angeles once again, trying to regain possession of his fourteen year old
daughter, Ruth Ann. After awhile, though, it appears Morehouse had a change
of heart, and began living with the Family at Wilson's estate, staying in
the guest house and securing employment as a groundskeeper.
Morehouse--former proselytizing minister, who had earlier sentenced Charlie
to eternal damnation for defiling his daughter--underwent a sudden and
illuminating transformation, apparently facilitated by a paradigm-shattering
dose of acid, on top of an even bigger dose of Charlie-anity. Soon Dean was
rapping the word of Man's Son, as his white hair grew long and hippie-like,
gobbling acid on a daily basis and declaring to the world that he was both
Christ and Devil ala Manson, which after awhile got on Charlie's nerves,
because their could be only one Christ/Devil, and that was Charlie's bag.
Now that Morehouse was officially another one of Charlie's acid eating
apostles, he began recruiting others into the fold, such as a young Texan
named Brooks Posten, a talented musician who would later become famous in
the legend of Family lore as being able, upon command, to put himself into a
trance. As was the custom for new recruits to bestow all of their worldly
goods unto the Church of Charlie, Posten did just that, forking over a
credit card belonging to his mother that was used extensively during Family
travels throughout '68. As legend has it, Posten quickly grew to believe
that Charlie was Jesus Christ.
Another infamous Mansonite who came on to the scene at this time was Charles
Denton Watson aka "Tex". Tex was born in Copeville, Texas in 1946, and from
all appearances led a normal life for a boy growing up in central Texas.
Watson was a high school athlete, starred on the football team, and at one
time held the Texas high hurdles track and field record. A foreboding
episode from this period happened one night when Tex and two friends--Ronnie
Webb and Tom Carraway--got ahold of an Ouija board, and came to class the
next day laughing. When a friend asked what was so doggone funny, they said
that the Ouija board informed them that by the time they were twenty-five
years old, one of them would become a doctor, one would be dead, and another
would in prison. As fate would have it, Ronnie Webb became a doctor, Tommy
Carraway was killed in Vietnam and Watson is now serving a life sentence in
prison.
For a couple years, Watson attended North Texas State College, but dropped
out in '66 and moved to Los Angeles in early '67, where he attended college
for a semester, then dropped out again for good. Prior to hooking up with
the Family, Tex worked for awhile as a wig dealer with a buddy named Rich
from his hometown, operating a popular hair store called Love Locs on La
Cienega Boulevard in Hollywood. The two young entrepreneurs also
supplemented their income by dealing grass on the side. During this period,
Watson has been described as a "mod", due to the attire and hair fashion he
wore, not to mention dating a stewardess from Chicago. He and Rich lived in
an upscale pad in Malibu and affected the mod lifestyle of "swingers". Soon,
this was all to change.
Watson claims he became acquainted with Dennis Wilson one day when he picked
up The Beach Boy drummer hitch-hiking, and gave him a ride home. According
to Watson, Dennis had "wrecked his Ferrari, and his Rolls Royce, so was
having to use his thumb." Shortly thereafter, Watson--at Wilson's
invitation--moved in with him at 14400 Sunset Boulevard and obligingly
partook of the luxurious surroundings filled with drugs and chicks. It was
here that Watson met resident guru, Dean Morehouse, and in short order
became a prot�g� of the former Protestant Minister, who--from various
accounts--comes across as a half-ass psychedelic guru in the throes of a
mid-life crisis.
It was Morehouse who first introduced Watson to such profound
pseudo-mystical concepts as "ego loss", which Tex was to hear much more of
later, from Charlie and his unwashed acolytes. Watson--who, needless to say,
has his own current ecumenical axe to grind--states in his memoir, Will You
Die For Me , that Morehouse was a "kind of wandering guru, teaching a lot of
people in the film and music industries that true 'awareness' and real
'religion' came through opening yourself up with acid. When people became
aware, according to Dean, they could be free to die to themselves, to die to
their egos. Then they would understand that Charles Manson was the
reincarnation of the Son of God..."
Watson describes the scene at Dennis' pad as a lot of dope smoking, lounging
around and listening to music, not to mention the daily garbage runs with
the girls, which Tex became part of, driving them to Ralph's Market in his
'35 Dodge pickup. At Wilson's, Tex soaked up all the ever-present feel-good
vibes, especially when Charlie performed his songs of love, and his
semi-nude girls gathered around, singing angelic harmonies, and initiating
Tex into their group-gropes. Amidst all the harmonious vibes abounding, a
peculiar mix of humans came and went, including young drop-outs, drug
dealers and people in the entertainment business. At this time, it was chic
to "play the hippie game" as the children of big stars partied with resident
gurus, Dean and Charlie.
Though Watson toked plenty of dope, he'd never dabbled with acid until Dean
Morehouse took him on his first trip. To the young Texan, LSD was a sudden
revelation, as under its influence he at last saw himself as he really
was--or, at least, he thought as much. All the elements of his past--all the
incumbent hang-ups, fears and conditioned societal attitudes--were laid bare
in the searing light of truth, illuminated by the divine sacrament. There
was no fear now, as Tex just let himself go with the cosmic flow, "letting
things slip away like glass beads falling slowly through (his) fingers." He
could be at peace for the first time in his life, because nothing had to be
a hassle anymore; it was all so obvious, it was laughable. The answer was to
let go, of the past and whatever hang-ups and head-trips that'd built a
prison around his mind. Just letting it all slip away, like those crazy
glass beads--through his melting fingers--was the ultimate answer. Just to
let it go, not to fight it at all, to submit. Sure, it might hurt some to
let go of all that past conditioning, all that you had once been--but
eventually it would heal in the wash of what one was be free to become. Dig!
When Tex first started gobbling acid, he claims that Charlie was not an
important figure in his life. But friend Morehouse babbled on about Manson
constantly, and was practically an evangelist for the "gospel according to
Charlie". The Family girls--who Tex was getting to know pretty well--also
carried on the message, going on ad nauseum about overcoming one's ego, and
that the only true way to freedom of mind was to let go, and experience "ego
death". The truth was what the Beatles were singing: I am you and you are me
and we are all together. The rap was that everyone was all part of the same
organic whole, no separate me or you, everybody everywhere just cosmic
ripples in the one great wave of life. True freedom meant giving fully of
one's self, letting that musty old ego die a fitting death, so that one
could be free of the ego-self that keeps us all from one another; that which
creates the walls and barriers and prevents us from living life as it was
truly meant to be. It was like that song Charlie sang: "Cease to exist, come
say you love me." The girls on cue repeated it over and over--cease to
exist, kill your ego, die--so that once you cease to be, you can be totally
free to love, and come together.
The girls kept urging Tex to join the Family. Charlie, they said, had died
more completely than anyone on Earth, not only in his present incarnation,
but long before, on a cross. So, according to Family logic, in becoming one
with him--in dying to themselves--they could really unite with Man's Son,
and become one with love itself, with "God." With each subsequent acid trip
that Dean and Tex took together, it all started making more and more sense.
In August of '68--while Dennis was on tour--Morehouse starting putting
pressure on the female guests at 14400 Sunset Boulevard to have sex with
him. When Dennis caught wind of Morehouse's unwanted advances, he promptly
gave the lecherous old guru the boot, kicking both he and Watson out.
Despite this, Morehouse remained on good terms with Wilson's buddy, Terry
Melcher. Morehouse--with Watson in tow--apparently visited Melcher on
several occasions at his residence at 10050 Cielo Drive, which Melcher
shared with the beautiful young actress, Candice Bergen. In fact, Morehouse
was a familiar sight at Melcher's parties, where he was well known as a
dirty old man. Once Melcher even lent his Jaguar and credit cards to Baba
Morehouse so that he could drive up north to face a drug charge. (Something
about giving acid to underage girls.) Melcher even let Watson use his
Standard Oil credit. After returning to L.A., Tex apparently used it to fill
up the Family bus, as well.
On Morehouse's trip north, Tex accompanied his psychedelic guru, riding
shotgun, rolling joints and rapping about "ego loss". Everywhere they
stopped along the way, Dean and Tex met many "flower children" to whom they
talked about Charlie and love, and told them if they were ever down L.A. way
to stop by Spahn Ranch, where heavy things were happening. As the two were
zooming through Atascadero they were stopped by a CHP and ticketed. As they
drove on, Tex crumpled up the piggie citation, and tossed it out the window,
since he never planned on being anywhere near Atascadero again. Little did
he know that two years later he'd back, this time as an inmate of the state
mental hospital.
On this trip up the north coast, Tex was already exhibiting a condition that
other Family members would likewise display: that of becoming one with
Charlie, or actually becoming Charlie. After all, everyone was the same as
everyone else. And since Charlie had lived and died a million times before,
then he was the perfect example of everyone who had ever lived and died on
this planet of infinite souls. This perspective might explain why Tex signed
Manson's name when buying gas with Terry Melcher's credit card during this
trip. It might also explain why Mark David Chapman signed the name of John
Lennon on the ledger during his last night at work as a security guard in
Hawaii. It all hinges on the concept of identifying with someone so heavily
that a sense of self and "ego" is totally lost in the shuffle of human
emotions. What we have left in the event of this extreme psychological
reaction is the construction of a sort of human automaton, who--like a
fucked up computer--spits out whatever garbage it has consumed, which of
course could come in many forms, one of which is murder in the first
degree...
At about the time Manson magically materialized into Dennis Wilson's life in
the form of "The Wizard", Beach Boy leader Brian Wilson was also going
through his own strange changes, becoming increasingly alienated both
mentally and physically from the group.
Throughout '66, Brian spent a lot of time alone in his home
studio--decorated with red, green, orange, pink and blue walls--composing
and recording what was to be the followup to the classic Pet Sounds album.
This project-to-be was the Smile LP. Unfortunately, when the rest of the
Beach Boys heard this would-be psychedelic masterpiece, they were
dumbfounded, thinking Brian was trying to ruin their careers with his LSD
inspired excesses. The collective decision was made to trash all the
wonderful experimental psychedelic work Brian had produced, and record more
traditional Beach Boys' music, i.e. typical surf schlock. Of course, this
approach only further alienated Brian, who was light years ahead of the rest
of the group, though they were all too short-sighted to see it. The Smile
sessions now gather dust in the Capitol vaults, although bootlegs are
available through tape trading networks. What remains of these legendary
recordings are truly impressive, and far ahead of their time.
Over the next couple of years--as on the surface The Beach Boys continued
producing, for the most part, fairly pedestrian albums--disturbed genius
Brian remained busy at work in his laboratory/home studio, concocting
revolutionary and experimental music that would never see the light of day.
But alas--as all this back scene creativity was taking place--Brian was
slowly going crackers.
Another composition Brian recorded with a mini-orchestra was called "Fire",
which he described as "weird and eerie". The song built slowly, like the
beginning of a giant conflagration, "and grew so intense it was possible to
picture the kindling catching, spreading, and being whipped by the wind into
a raging, out-of-control inferno. It created a disturbing picture that
mirrored the screams that filled my head and plagued my sleep for years."
The following day--after recording "Fire"--Brian learned that a building
next door to the studio had burned down the same night as the recording
session. Several days later, he was informed that after the session an
unusual number of fires had broken out all across L.A. Now all that remains
of this music is roughly two minutes of material, locked safely away in the
Capitol vaults, per Brian's request. As he later explained, "I was dabbling
into some kind of musical witchcraft. I can't let it happen again. It's too
scary."
During the winter of '68, Brian started getting heavy into cocaine, becoming
less a part of the Beach Boys, as they recorded their latest effort 20/20
down in the basement recording studio of his house. Occasionally, he would
hear something from his bed, then run downstairs to the studio to give the
guys a suggestion. He also snuck down to the studio when no one was there.
Brian's engineer, Steve Despar, had rented all sorts of instruments for him.
Working furiously, so as not to lose his inspiration, Brian recorded tons of
songs during this period, playing all the parts himself. But after
recording, he usually became dissatisfied and destroyed the tapes. Despar
once complained that he had erased more Brian Wilson songs than most people
ever heard. Brian's involvement with 20/20 followed this same pattern.
Perhaps the oddest cut on 20/20 was a song Dennis supplied, entitled, "Never
Learn Not To Love." Though Dennis was credited as composer, it actually owed
itself to his strange new friend, Charlie. The tune was originally entitled
"Cease To Exist" and he pushed to record it as a favor to Manson. All told,
Dennis swung a deal to acquire the rights of two Manson songs: "Cease To
Exist", and another tune entitled "Be With Me" for an unspecified amount of
cash and a BSA motorcycle. Of this deal, Charlie was later to write: "Dennis
Wilson's brotherhood took my songs and changed the words. His own devils
grabbed his legs and pulled and held him under water."
When Dennis brought Manson and the girls to Brian's newly reconstructed
studio to record, Brian himself never interacted with them, due to the bad
vibes that filled the house, forcing the musical genius to lock himself in
his bedroom, semi-secluded from the high weirdness he felt oscillating
around him in paranoiac waves.
It was no secret that Brian's wife Marilyn detested the whole freaky lot of
Mansonoids. To her, they all had weird names, and were a dirty bunch,
showing little respect for her husband's property. Knowing Dennis got the
clap from sleeping with one of Charlie's girls, Marilyn had the toilets in
the house disinfected, and thoroughly scoured several times. The Family also
ransacked the Wilson's kitchen, and Tex Watson borrowed one of their cars
without asking permission.
Out of this session at Brian's, Dennis and Charlie made a demo tape.
According to Despar, the plan was that Charlie's demo would be shopped
around by American Productions. It was also assumed--by Charlie at
least---that Terry Melcher would help him get a recording contract.
When Manson showed up for his first session, he was totally unprepared. "He
brought nothing," Despar remembered, "except a half dozen girls, and they
stayed in the studio with him and smoked dope. I guess I got on Charlie's
good side, because the first thing that happened was he pulled out a
cigarette and didn't have a match, so I went to the kitchen and got a match
for him. He was very impressed that someone would actually go to the trouble
just for him. He made a big deal about that."
Eventually, though, Manson's true nature started to manifest, and Despar
became uneasy. "What struck me odd was the stare he gave you. It was scary.
We were in there two or three nights, and then he got pretty weird. (He)
pulled a knife on me, just for no reason really, just pulled the knife out
and would flash it around while he was talking. I called Grillo (the Beach
Boy manager) and said, 'Look, this guy is psychotic, I don't think without a
producer you're going to get anything on him. And the guy is just too weird
for me. I don't know if I'm going to say something that's going to tick him
off and he's going to pull a switchblade on me."
Grillo told Despar that the eight songs recorded thus far were enough, and
called off any further sessions. In the meantime, Grillo hired someone to
look into Manson's background, and soon information came trickling in
detailing Charlie's checkered past. These revelations, combined with the
changes that Brian saw in his brother, deeply disturbed the elder Wilson,
and he became convinced that Manson was experimenting with evil powers. He
sent word to Dennis that neither Manson nor any of his extended "Family" was
to ever set foot on his property again. Later, when Vince Bugliosi was
investigating the Tate/LaBianca murders, he expressed interest in hearing
the tapes that Manson had recorded. Dennis Wilson claimed that he had
destroyed the tapes in question, because "the vibrations connected with them
don't belong to this earth."
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