In Part One of The Manson Web, I concentrated on occult Charles Manson synchronicities and resonances, especially as they tied in to the symbolism behind the 1968 Roman Polanski film Rosemary’s Baby. There a bunch of other connections Manson had with Hollywood and especially the music industry—but I feel they sort of need their own post outside of this series.
Instead, I’d like to switch to a number of parallels between Manson and the OTHER big story in the late Sixties: Richard M. Nixon.
The “Manson-Nixon line” is a term coined by Robin Williams, the actor and comedian, as a pun on the Mason-Dixon Line, which separated the Northern and Southern states in nineteenth century America, with the newer version separating two different states of mind. Yet I sense something more profound in Williams’ turn of the phrase: Manson and Nixon as the Alpha and Omega of a scarlet thread running through the American soul, a Great Divide separating Americans from each other, and from the rest of the world, and what they know to be good, honest, and virtuous.
That’s pretty heavy stuff—and one could very well make the argument that Nixon wasn’t nearly as heinous a person as Manson (though if we taken into account all the dead in the Vietnam War that the president purposely prolonged, the compared body counts might be interesting).
But there was something in the…energy of Nixon that made him almost the counterpart to Manson at that time period…or we could say, Manson was like the shadow-side of Nixon writ large.
And that chaotic, negative energy seemed to encompass more than just those two. You could feel it in the Beatles’ White Album, which was released on November 22, 1968…the anniversary of the assassination of John F. Kennedy.
When JFK was assassinated, it was as if much of the idealism and hope of the Sixties died with him—Nixon being the embodiment of the exact opposite of that positive energy. If we look at where the release of The White Album—which Manson treated almost as a prophetic aural document in relation to himself and his “mission,” in songs like “Helter Skelter”—falls on the timeline of 1968, some interesting resonances appear.
Only a couple of weeks before the White Album, on November 5, Nixon is elected president of the United States. Several months before that, at the beginning of the summer, the person who was seen to continue JFK’s dynasty, Robert Kennedy, was assassinated. Another couple of months before that, and Martin Luther King was assassinated.
These foreboding lyrics from “Revolution 9” really sets the mood of the time:
There was not really enough light to get down,
They may stop the funding
Place your bets
Afraid she’ll die
Great colours for the season
Number nine, number nine
Who’s to know?
Who was to know?
Of course, it was on August 9, 1969 that members of Manson’s “family” killed actress Sharon Tate and her friends…it will later be revealed that “Helter Skelter”—the name of one of the songs on “The White Album”—was the defacto “trigger word” for the killings.
Number 9, number 9…
On August 9, 1970 Nixon makes the highly unusual move of publicly announcing that Manson was “guilty”—something that, because of his position as President of the United States, could have led to a mistrial.
Number 9, number 9…
And when did Richard Nixon resign the presidency???
AUGUST 9, 1974…four years to the day of his proclamation concerning Manson, and 5 years to the day of the Tate murder.
Number 9, number 9…
Nixon saw the Manson trials and sentencing phase as a way to get the heat and attention off of him—first, to distract the public from the growing clusterfuck in Vietnam, and then to distract them from what would become Watergate.
Writes Levenda in this stunning passage from Sinister Forces:
Power, to people like Manson and Nixon, is the only reality, the only absolute. Nixon had to proclaim Manson guilty to the press; he had to address the one other man in the country who understood power, and truth, and evil, and murder the way he did. On the plane of the real world as understood by the media and the public at large, Manson was an insignificant crook compared to Nixon, the President of the United States, undeserving of the President’s attention or comment; but on another plane, Manson and Nixon were warring black magicians, fighting over airtime and the fifteen-second sound bite.
I need to pause here and note what a DARK dark energy wrapped around the United States and indeed the world during the late Sixties and early Seventies. If we consider the Aeon of Horus and Aleister Crowley connections to Manson from the first part of the Manson Web…the 1960s were supposed to be this new era of enlightenment, but the Hope (symbolized by Tate’s slain unborn baby, but also by the slain RFK) was “aborted”–
–instead, we all got The Nixon Years.
Is it any wonder that Manson was publicly connected to the Tate murders for the first time on December 1—the birth-date of Aleister Crowley? For way before the Beatles, this occultist was the uncanny predictor of the exact tone the Sixties ended up embodying—the “New Age” gone dark.
So is it any wonder, during this epic battle between “black magicians,” that Nixon himself got tripped up in Manson’s Web…within the Nines, the emblematic number of that crucial grimoire The White Album?
Now that I’ve finished this little meditation on the Manson Web, I would like to offer the following: that we are presently playing out that very same energy in 2017. Instead of the Manson killings we have…the continuing and unprecedented Hollywood scandals. There was a lot of scandalous stuff happening in the entertainment industry in the Sixties, but it never came out…it was all sort of blamed on the hippies-gone-bad…But NOW it is coming out.
It’s all coming out, and our current president hopes it will continue, to distract from everything else (including his own impending “Watergate.”).
It’s ALL Manson: the crazed alleged rapist movie moguls and Oscar-winning actors; the Nazi rallies; the cults, the talking heads, the tweets; all of it. So much so that even Manson himself saw it fit to check himself out of planet Earth once and for all.
But history—despite the inevitable synchronicities, re-cycles, and uncanny resonances—won’t quite happen that same way again.