Manson: The Life and Times of Charles Manson Hardcover Read online

  Nobody at Brother Records was impressed with Dennis’s new discovery. The original concept of the company had been that all the members of the Beach Boys would seek out new talent, and that they each had the right to record whom they chose, but the recently canceled tour had cost a lot of money and the rest of the band had little faith in Dennis’s judgment. He was told that Charlie couldn’t be signed to a deal just on Dennis’s say-so. Charlie didn’t help at all; he made a terrible first impression and a worse one in the days that followed. When he came to the office he acted like he owned the place; he was filthy and smelled bad. The staff privately nicknamed him “Pig Pen” after a character in the popular Peanuts comic strip. Charlie sat around Brother Records for hours, strumming his guitar and convincing everyone within hearing distance that, despite his pretensions about being a supremely gifted musician, he actually knew very few chords.

  Dennis ignored the pointed lack of enthusiasm. He went out of his way to talk Charlie up to the rest of the Beach Boys, to his other music industry pals, and even to the media. In an interview with Rave, a British magazine, Wilson repeated some of the philosophy that Charlie had shared with him: “Fear is nothing but awareness. I was only frightened as a child because I did not understand fear, the dark, being lost, what was under the bed. It came from within.” Wilson elaborated that his new friend Charles Manson, whom he’d nicknamed “the Wizard,” calls himself “God and the Devil. He sings, plays, and writes poetry and may be another artist for Brother Records.” Charlie was anxious for Wilson’s prediction to come true, but the other Beach Boys and Brother Records’ management dug in and delayed. They hadn’t heard anything in Charlie’s primitive songs that persuaded them he could make the label money if they did sign him. If they could just avoid making any commitment to Charlie for a while, maybe Dennis would kick him to the curb or else he’d just go away.

  Charlie had no intention of going anywhere. He and his followers didn’t always spend the night at Wilson’s—sometimes they’d retreat for a day or two to the ranch with the movie set. But they always came right back to the log mansion on Sunset Boulevard, Charlie to stay close to Wilson and the women to take advantage of the bathrooms. At the ranch, the sanitary facilities were limited to outhouses, buckets, and a hose. Besides enjoying Wilson’s hospitality, the girls genuinely liked him as a person. Charlie was smart enough not to push his songs on Wilson all of the time; he’d encourage Wilson to sit at the piano and play some of the tunes he was working on, too. Just as they did with Charlie, the girls would gather around and sing along, sharing music and friendship. Wilson seemed intimidated whenever any of the other Beach Boys came by—the Family women thought they were creeps—but when he was away from them Wilson’s playful side always shone through. He loved the Rolls-Royce given to him by his brother Brian. In L.A. it was the ride of choice for many of the city’s richest, stuffiest people. Wilson would get some of the Family girls to pile in and tear off down the freeways, looking for other Rolls-Royces and pulling up beside them. Then he’d encourage the girls to hang out his car windows, sticking out their tongues and making faces and just having silly, simple fun mocking the squares. How could the girls not adore Wilson almost as much as Charlie? But they never really thought about leaving Charlie for him—Charlie’s hold over them was much too strong for that. Besides, Charlie taught that the only time that existed was now, and right now they could be with Wilson all they wanted.

  It seemed to Gregg Jakobson that every time he came around Wilson’s place, Charlie and the others were always around, sunning themselves by the swimming pool, lounging inside with the stereo blaring, rummaging in the refrigerator for snacks. In return, Charlie set up friendly orgies for Wilson and Jakobson and any other friends. The girls would undress and then run around the property pretending to be fairies. The men chased after them and were sexually rewarded by their giggling captives. None of the women ever complained that she wasn’t in the mood. They did whatever Charlie told them to, and usually they liked it.

  People in the Brother Records office couldn’t believe it when Dennis let Charlie keep hanging around, apparently indefinitely. They hired a detective to run a background check and learned that Charlie had done hard time and was still on probation. When Dennis heard the news, he was elated rather than concerned. Sure, Charlie had told him tales of doing hard time, but lots of posers claimed to have been unfairly put in jail by the Man. Charlie really was an ex-con? To Dennis, that made him even more interesting.

  Wilson was part of a rock star social set where everyone was in the habit of dropping in on everyone else. No call ahead was deemed necessary; if one celebrity pal wasn’t in, you just went on to the home of the next. Hanging around at Wilson’s, Charlie constantly met other people who might be able to get him his record deal. He kept his guitar handy and played his songs for anyone willing to listen. That wasn’t unusual; at any given time, just about all the successful L.A. musicians had protégés hanging around, hoping for their own chance at stardom. Wilson made it clear that he was sponsoring Charlie. Rocker Neil Young came by Dennis’s one day, improvised some chords to go with goofy lyrics Charlie was tossing out, and liked the results enough to suggest to Mo Ostin of Warner Brothers Records that Charlie was worth a listen. Young recalled telling Ostin, “This guy is unbelievable—he makes the songs up as he goes along, and they’re all good,” but Ostin wasn’t intrigued enough to give Charlie an audition. Charlie noticed a pattern—Dennis Wilson and Neil Young were rock stars, but neither one had been able to get him signed to a label, at least so far. Charlie needed to find and impress somebody even higher up the music business food chain, and, thanks to Dennis and Gregg, he thought that he knew just the right person.

  In 1968 Terry Melcher was one of the most powerful figures in American popular music. The son of actress-singer Doris Day and her first husband, musician Al Jorden, Melcher was formally adopted by his mother’s third husband, agent Marty Melcher. He and his stepfather, who was extremely religious and a strict disciplinarian, never got along. Melcher had some success as a teenager playing in a series of bands, but made his real mark in the industry at age twenty-two when he went to work for Columbia Records as a producer, a relatively high-level position that many thought he reached only because his mother owned so much stock in the company. In 1965 when Columbia signed the long-haired Byrds, Melcher was assigned to the band because he was the youngest producer on the label and the higher-ups thought he might be able to relate to them. Melcher did more than that, bringing in the best studio musicians and making “Mr. Tambourine Man” a huge hit. Melcher guided the Byrds to more sales success, and then proved he was more than a one-band wonder by turning a regional band called Paul Revere and the Raiders into a pop hit machine. In all, Melcher produced more than eighty chart hits for Columbia. In an industry where the only track record that counted was making money, the label gave him carte blanche in signing and producing any musicians that he liked. With plenty of Columbia’s money to spend, Melcher hired Gregg Jakobson to scout the city music scene and make recommendations.

  To Charlie, getting signed by Terry Melcher should have been a cinch. Jakobson liked Charlie, Melcher hired Jakobson to find new talent, so Jakobson would recommend Charlie to Melcher and a recording contract would follow. But it wasn’t that simple.

  Terry Melcher was now a fun-loving twenty-six-year-old who enjoyed nothing more than hanging with his buddies Dennis and Jakobson, smoking a little weed and chasing girls before going home to his cottage atop Cielo Drive and his gorgeous, live-in actress girlfriend, Candy Bergen. But unlike Dennis Wilson, eager to please and willing to talk record deals with just about anybody he met who wanted one, Melcher kept his social life separate from business. Also unlike Wilson, he was careful about the friends he made and the people he invited into his home. Having grown up as the son of a star who lived in a gated, guarded community, Melcher was wary of strangers, especially those he perceived as hustlers. Though he trusted Jakobson, Melcher would never si
gn anyone strictly on his pal’s say-so. He would want to study any recommended artists carefully and weigh their material against the strict industry bottom line—would their music make his label a lot of money? If Melcher didn’t think so, it wouldn’t matter to him if his close friend had recommended the musician or even if Melcher himself thought that someone’s songs were artistic masterpieces. Because of that, Jakobson was careful not to push anyone too hard on Melcher. He would mention someone, suggest that maybe Melcher meet the artist, and after that perhaps ask Melcher to give the person’s music a listen. Where Charlie expected instant bonding and a contract, Jakobson knew that the best possible approach would be for Melcher to get to know Charlie and then, perhaps, he’d permit some sort of audition. So when Jakobson first mentioned Charlie to Melcher, he talked about this interesting guy who had a bunch of girl followers who ate out of grocery store garbage dumps. This guy, Charlie, could order the girls to do anything and they would do it without question. By the way, Charlie wrote songs and performed them. Melcher ought to come over to Wilson’s and meet him.

  Melcher did, and Charlie turned on the charm. But his new target had been fawned over and pitched to by hundreds of other would-be rock stars, so Melcher wasn’t automatically impressed. He didn’t ask Charlie to go get his guitar and play for him. What he did want was to get to know Ruth Ann Moorehouse better, and Charlie was quick to get Melcher and the sexy teenager together. Melcher’s encounter with Ruth Ann went so well that he told Jakobson he thought he’d move the girl into the house at Cielo as a housekeeper. Charlie would gladly have handed Ruth Ann off to Melcher in hopes that she’d help persuade him to sign Charlie, but Candy Bergen knew what kind of housekeeping chores Terry had in mind and vetoed the plan.

  Even though Jakobson was attached to Ruth Ann himself, he didn’t resent his friend for trying to latch on to her, too. It was part of the spirit of the times—you shared everything, even girls. He was careful not to nag Melcher about Charlie; a record deal would either work out or it wouldn’t. Besides, Jakobson was still impressed with Charlie more as a character than as a musician. Maybe the guy could be a comedian. He was witty enough. Jakobson considered suggesting that Melcher fund a documentary about Charlie and his followers. It might be a hit as a movie or on TV. He tried to write down a film proposal but had trouble finding the right word to describe Charlie’s disciples. Remembering how Charlie referred to them, and how they often referred to themselves, Jakobson called them “the Family.” He used the term a couple of times to Melcher and Wilson—and to Charlie and the group members themselves. Everybody liked it and it stuck. From then on they were Charlie and his Family, or Charlie and the Manson Family.

  Try as he might, Charlie couldn’t attach himself to Melcher the way that he had with Wilson. He saw Melcher at Wilson’s house, went out sometimes with Melcher and Jakobson and Wilson, but he was never able to wangle an invitation to one of Melcher’s legendary parties at Cielo Drive, let alone get invited to hang out with Melcher and Bergen there. He heard a lot from Wilson and Jakobson about what a great place Melcher lived in; for his parties he’d usually have a live band, and even though the house itself was kind of small, guests entered through sliding glass doors into a good-sized party room and there was the great view of the city down below. Most visitors never even got into the bedrooms or any of Melcher’s private places. There was a guesthouse on the property near the main house and Rudi Altobelli, who was renting to Melcher, lived there. Melcher had some big speakers set up and the music would echo down into the canyon. Cielo Drive was actually a wild sort of place, lots of curves and hanging trees along with its steep incline and narrow road going up and down—it was tough for cars going in both directions to pass each other—and deer were everywhere. There were signs all along the high hill for drivers to watch out for them. Melcher offered out invitations sparingly, and the closest Charlie got to his house was when Wilson gave Melcher a lift home one day and Charlie tagged along in the backseat. When they got to his house Melcher didn’t invite them in, apparently because he didn’t want Charlie past his front door.

  Even when they were together at parties in other places or out on the town with Jakobson and Wilson, Melcher kept Charlie at a courteous arm’s length. He wasn’t obnoxious about it; he’d learned from his movie star mother how to seem friendly but standoffish with people you didn’t want to know better. Melcher still hadn’t listened to Charlie’s music, and Charlie felt certain that if he did he’d be won over. But Charlie was also perceptive enough to realize that Melcher wouldn’t appreciate being nagged to listen before he was ready, so he bided his time. Besides, he still had Wilson and Brother Records.

  Charlie spent the next weeks trying to bind Wilson closer to him. The Beach Boys’ drummer was invited to go along with the Family girls on their garbage runs, and Wilson got a huge kick out of wheeling his Ferrari into a supermarket back lot and watching the women dumpster-dive. Though Wilson was never overt about it, Charlie also picked up on the fact that he had a strong racist streak; they privately shared their disdain for blacks, with Charlie being careful not to let the girls overhear since this was a contradiction of his teaching that everyone was the same. Above all, Charlie played to Wilson’s wounded ego; the middle Wilson brother was certain that he could write and record more great songs if the rest of the band would only let him. They talked about writing some together. Wilson thought he might get some informal help on lyrics from a buddy; Charlie believed he was being invited to become the Beach Boys’ songwriter. He began composing new material—“Garbage Dump” in honor of the Family’s food gathering (“You could feed the world with my garbage dump/That sums it up in one big lump”), and “Cease to Exist,” a tribute to Charlie’s preaching (“Submission is a gift/So go on/Give it to your brother”). Charlie would claim later that he wrote “Cease to Exist” as a message to the rest of the Beach Boys to surrender their egos and work together as a cohesive unit, but the song is addressed to a woman, urging her to cease to exist and “come and say you love me” by giving up her world. Charlie passed the songs on to Wilson for his consideration, telling him that although the music could be changed, the lyrics had to remain as Charlie had written them.

  Charlie also continued cultivating Gregg Jakobson. Maybe Jakobson hadn’t successfully sold Melcher on Charlie yet, but he still had connections with dozens of other producers. So Charlie let Jakobson play with Ruth Ann, and frequently shared long philosophical conversations with him, since Jakobson, too, was interested in that sort of thing. Jakobson didn’t completely buy in to Charlie’s blather. Sometimes he’d bluntly tell him, “You’re full of shit.” Charlie let it go because the rest of the Family wasn’t around to hear it, and because he still needed Jakobson. But Jakobson was with Charlie and his followers enough to notice that although the girls all worshipped Charlie, they feared him, too. They’d flinch sometimes when he corrected them for some perceived selfish or egotistical misstep. That certainly didn’t square with Charlie’s message of love and acceptance for all. In fact, Charlie was adamant about not referring to him and the Family as “hippies,” a term he disdained because of hippiedom’s inherent pacifism. Charlie sometimes hinted at a coming Armageddon when violence would sweep over the world. Hippies wouldn’t be able to deal with it. In fact, Charlie said, he and the Family were really “slippies” because they were people who’d slipped through the cracks of society. Slippies rather than hippies—Charlie was so good at word play like that. All summer, the Family treated Jakobson like one of their own. The women nicknamed him “Angel” and said Jakobson was perfect because he’d been adopted as an infant. His biological parents never had the chance to ruin him.

  To keep Charlie happy, and to get some idea of how his songs might sound on tape, Jakobson booked a quickie recording session for Charlie at a small studio in Van Nuys. Charlie brought the Family along; on some tunes the girls sang amateurish, quavery backup. Charlie ran through “Garbage Dump” and “Cease to Exist” and a dozen others.
The results were listenable but not much more. It was hard to tell whether Charlie was no more than an average musical talent or else hampered by limited studio equipment. But he was pleased with what he heard. Through Wilson and Jakobson, Charlie now knew quite a few people in the L.A. music scene and he offered the tapes to anyone willing to listen and help him get signed to a label. John Phillips of the Mamas and the Papas and mega-agent Rudi Altobelli, whose client list included popular folk singer Buffy Sainte-Marie, both heard the tapes and passed. Charlie’s faith in himself remained unshaken. If people like Phillips and Altobelli turned him down, that reflected poorly on their judgment, not his music. He hung on to the tapes in case anyone else important might be persuaded to listen to them. More than ever, he was determined that Dennis Wilson had to come through for him with Brother Records. They were friends, so Wilson owed it to him.

  Charlie and the Family weren’t the only strays who found their way to Wilson’s place that spring and early summer. Wilson retained his habit of inviting over lots of people that he’d just met. One day while he was out hitchhiking—just about everybody young in L.A. did it, even rock stars; it was part of the friendly Love Generation lifestyle—Dennis was picked up by a tall, lanky twenty-one-year-old in a battered pickup truck. Charles Watson was a Texas native, originally hailing from the tiny hamlet of Copeville outside Dallas. Copeville, where Watson’s parents ran a dinky gas station/grocery, was so small that the few kids from there went to high school in nearby Farmersville, whose two thousand or so residents qualified it as a metropolis compared to Watson’s hometown. Watson was a standout at Farmersville High, starring on all the sports teams (honorable mention All-District running back for two straight years in football), working on the school newspaper and in the drama club, even winning an award for a fire prevention poster. Girls gushed about his blue eyes and bristly crew cut. During the summer Watson and his buddies worked in Farmersville produce sheds sorting onions and water-skied on a nearby lake during their time off. When Watson went about fifty miles to college in Denton, everybody thought he had about as promising a future as a kid from Copeville could hope for. Most guys either got married or joined the Army once they graduated high school.