Why Manson matters and what that tells us about Passio
Charlie Manson was 34-years-old when he arrived in Haight-Ashbury, a fatherless child, abandoned by a prostitute mother, in-and-out of jail his entire life. The teen hippie subculture was easily penetrated by anyone growing their hair, even those in their mid-30s, and Charlie assembled a harem of runaway girls captivated by his prison power games. Charlie had been introduced to Scientology while in jail and mastered the e-meter while developing an understanding of sexual hang-ups. Scientology was all about confronting your hang-ups. Pretty soon, the girls decided Charlie must be the second coming of Jesus Christ, something Charlie never disputed.
Charlie had been briefly housed at the notorious Boy’s Town outside Omaha, Nebraska, an orphanage employed for decades as trolling grounds for recruiting teen sex slaves for CIA entrapment schemes. (If you find that allegation hard to swallow, just google “Franklin cover-up.”) But I consider attempts to portray Charlie as an MKULTRA far-fetched. However, I do believe Charlie was splattered all across the media because the powers-that-be were seeking an evil hippie icon to derail the peaceful counterculture revolution that had been pulling teens out of their middle class homes for years.
The most enduring element of the Manson case was Charlie’s deployment of lyrics as secret message and he eventually keyed in on Paul McCartney’s proto-heavy metal Helter Skelter, Paul’s attempt to produce the rawest, loudest rock song possible. An early take lasted over 20 minutes but when they sped up the tempo, Paul’s vocals got wilder, George began walking around the studio with a flaming ashtray on his head, while Ringo threw his sticks across the room, complaining of blisters. When the song was released in the fall of 1968, Helter Skelter ignited a shift in Charlie’s raps. Suddenly the universal love rap was gone, replaced by fear as the path to enlightenment. Charlie lost a few converts, most notably his second-in-command Paul Watkins, who were smart enough to get out before the bloodbath began.
When you get to the bottom
You go back to the top of the slide
And you stop and you turn
And you go for a ride
Then you get to the bottom
Then you see me again
Helter skelter (left) is a children’s amusement ride found at English carnivals, essentially a tower with a spiral slide. Charlie convinced his flock the song was actually a secret message sent from the Beatles to Charlie, and it was his job to spark the coming race war that had been predicted by the Process Church of Final Judgment (the spookiest of the pseudo-hippie cults). The Process was pushing fear buttons just like Charlie, which is why he was so attracted to some of their dogma. But the Process was not “controlling” Charlie as hinted at by Ed Sanders and others. Charlie was running his own movie.
Post Manson it suddenly became difficult to hitch-hike, something hippie teens had been doing for years, crisscrossing America at will. Longhaired freaks were no longer harmless buffoons, but potential mass murderers in the eyes of the mainstream.
While I don’t swallow the tall tales of Manson being a robot under someone else’s control, I can’t help but notice his technique of reading secret messages in the mass media has become the go-to strategy employed by the disinfo machine keeping mud in the conspiracy waters. Back to the Future is a sterling example of this disinfo technique. Twin Pines mall, we are supposed to believe, is a reference to the Twin Towers. Is it worth noting this meme was created by Apophenia Productions and apophenia is the attempt to connect dots that don’t connect? Whenever you find ridiculous theories constructed from reading secret messages in the media (and this is the favorite technique of “researchers” like Mark Passio), rest assured you have entered the magical realms of Apophenia. If nothing else, Charlie has demonstrated how delusional that sort of thinking is.