https://en.wikipedia.org/wiki/Tate%E2%80%93LaBianca_murders
most people are familiar with the tate stuff but what's this about the next day
The Wikipedia article confirms that the murders occurred over two consecutive nights, with the LaBianca murders taking place on the second night (August 10, 1969).
While the first night involved Charles Manson Family members murdering five people (including Sharon Tate) at 10050 Cielo Drive, the next day's events focused on two victims at a different location:
Victims: Supermarket executive Leno LaBianca and his wife, Rosemary LaBianca, were murdered at their home at 3301 Waverly Drive in the Los Feliz section of Los Angeles.
Perpetrators: Charles Manson drove the four participants from the previous night (Tex Watson, Susan Atkins, Patricia Krenwinkel, and Linda Kasabian), plus new members Leslie Van Houten and Clem Grogan, to the area.
Manson's Involvement: Manson, allegedly displeased with how the first night's murders went, first entered the house and tied up the couple. He then left, instructing Tex Watson, Patricia Krenwinkel, and Leslie Van Houten to carry out the killings.
Method: Leno LaBianca was stabbed multiple times, and the word "WAR" was carved into his abdomen. Rosemary LaBianca was also stabbed multiple times.
The "Sign": Krenwinkel used the victims' blood to write "Rise" and "Death to pigs" on the walls and "Helter Skelter" on the refrigerator door. She also left a carving fork in Leno LaBianca's stomach and a steak knife in his throat.
what were the motives for the first night's murders.. why there
The motives for the first night's murders (the Tate murders) were complex and driven by Charles Manson's cult ideology and personal grudges.
Motive: Starting "Helter Skelter" The primary motive, as interpreted by the prosecution and widely believed, was Manson's apocalyptic vision known as "Helter Skelter." Manson believed a race war was imminent and that the murders would serve as a catalyst, making it appear as though Black militants were killing wealthy white people. He hoped this would spark the race war, after which he and the Family would emerge from hiding to rule the world. The messages written in the victims' blood (like "pig" on the door of the Tate residence and "Death to pigs" and "Helter Skelter" at the LaBianca residence the next night) were intended to look like they were committed by Black Panther-style militants.
The Specific Location: 10050 Cielo Drive The house was targeted primarily because of the previous occupant, not the victims themselves.
The home was the former residence of music producer Terry Melcher, the son of Doris Day, who had previously shown interest in recording Charles Manson's music but ultimately refused to sign him to a record deal.
Manson had a personal grievance against Melcher and the Hollywood establishment he felt rejected him. Sending his followers to that specific address was an act of violence intended to strike out at the "establishment" and the people he blamed for his failures.
Although Melcher had moved out by August 1969, Manson sent his followers to the house to "totally destroy everyone inside," carrying out a punitive and symbolic attack.
what were the motives for the next day murders.. why there and why those people?
The motive for the LaBianca murders on the second night (August 10, 1969) was directly linked to the broader, chaotic vision of Charles Manson.
The key factors for the second night were:
- Re-Committing to "Helter Skelter" Manson was reportedly displeased with the chaotic and messy nature of the Tate murders the night before. He felt his followers had lost control and didn't leave a clear enough "sign" to start the apocalyptic race war he called "Helter Skelter."
Manson's Goal: He decided to accompany the group to show them "how to do it" and ensure a more gruesome, symbolic, and convincing crime that could be blamed on "Black militants."
The Signs Left: In the LaBianca home, Manson's followers wrote messages in the victims' blood that were much more explicit than the previous night's: "DEATH TO PIGS," "RISE," and the misspelled "HEALTER SKELTER" on the refrigerator. Leno LaBianca also had the word "WAR" carved into his abdomen and a carving fork left protruding from his stomach. These details were meant to be more sensational and incendiary.
- Why That Location and Those People? Unlike the Tate residence, which was chosen due to a personal grudge against the former occupant (Terry Melcher), the LaBianca residence and its occupants were seemingly randomly chosen to fulfill the "Helter Skelter" mandate.
Random Victims of the "Establishment": Leno LaBianca (a grocery store executive) and his wife Rosemary were targeted primarily because they were affluent, white, and successful—fitting Manson's general description of "pigs" or members of the "establishment" he wanted killed.
The Location's Significance: The house at 3301 Waverly Drive was located next door to a home where Manson and Family members had attended a party the previous year. Manson may have had a familiarity with the area, or simply directed the group to cruise the neighborhoods until a suitable target was found. The LaBiancas themselves had no connection to Manson or his followers.
In summary, the LaBianca murders were a second, more directed attempt by Charles Manson to execute his twisted vision and initiate the "Helter Skelter" race war by creating a copycat crime scene that police would attribute to a different group.
Looking at the place next door.. what is this cross design?
(Had uploaded file, but adding whatever I uploaded to imgur so you can see what I'm talking about)
https://i.imgur.com/XnAAOaL.jpeg
The cross design visible in the aerial view of the property next door to the former LaBianca house (3301/3311 Waverly Drive) is a simplified Maltese Cross.
While the LaBianca victims were not connected to this symbol, the design itself is globally recognized and has specific associations:
Maltese Cross: The symbol is characterized by four 'V' shapes joining at the center, with eight points in total.
Primary Association: Today, the Maltese Cross is most famously recognized as the symbol of the fire service and firefighters around the world. Its association with firefighting dates back to the Knights Hospitaller during the Crusades.
In the context of the Los Feliz neighborhood, this design is likely a decorative element on the patio of the neighboring property, often used in landscaping or paving. It does not appear to have any documented connection to the historical events of the 1969 murders.
no it's a large religious compound next door
You are absolutely right to point out that it is a large religious compound. My previous assumption, based purely on the visible symbol, was incomplete.
The large property complex next door to the former LaBianca residence (3301/3311 Waverly Drive) is the Saint Columban's Foreign Mission Society.
Identity: It is a Catholic missionary organization.
History: The grand compound, originally built in 1929, was acquired by the Saint Columban's Foreign Missionary Society in the late 1950s, and priests from the order still reside there.
The Cross Design: The cross design you observed in the aerial view is most likely an architectural or decorative feature, such as a skylight, paving pattern, or garden feature, installed by either the mission society or a previous owner. Given the religious nature of the current occupants (a Catholic missionary order), a large cross-shaped design in the architecture or landscaping would be a fitting symbol. While the specific style resembles a Maltese Cross, it is used by a variety of groups, and in this location, it is a prominent religious/architectural feature on the adjacent property.
it's pretty big area the cross bricks.. don't the knights of malta use that maltese cross?
Yes, the Knights of Malta (formally the Sovereign Military Order of Malta) absolutely use the Maltese Cross.
The Maltese Cross has deep historical and religious significance, which explains why a variation of it might be used at a Catholic missionary compound.
- Knights of Malta and the Maltese Cross The Maltese Cross—known for its distinctive eight-pointed design—is the central and official symbol of the Sovereign Military Order of Malta (SMOM), which traces its roots back to the medieval Knights Hospitaller (or Knights of St. John).
Origin: The eight-pointed cross was originally associated with the Hospital of St. John in Jerusalem, which was run by the religious order that evolved into the Knights Hospitaller.
Name: The cross became known as the Maltese Cross after the Knights established their sovereign headquarters on the island of Malta in 1530.
Symbolism: The eight points of the cross are traditionally said to symbolize the eight Beatitudes (from the Sermon on the Mount) or the eight obligations/aspirations of the Knights (e.g., to live in truth, to have faith, to be merciful, etc.).
- Connection to the Los Feliz Compound The property next door to the former LaBianca house is the Saint Columban's Foreign Mission Society, a Catholic missionary group.
While there is no direct, formal connection between the Saint Columban's Mission Society and the Sovereign Military Order of Malta, the use of a prominent cross design, even one resembling the Maltese Cross, is very logical because:
Shared Christian Motif: Both organizations are Catholic orders. The cross, in general, is the universal symbol of Christianity, and the eight-pointed cross has been adopted by many Catholic and chivalric orders throughout history.
Architectural Element: A large, geometric cross pattern made of brick or stone is a common design element in the courtyards or patios of grand historic homes and religious institutions. It serves as a decorative, but also spiritually relevant, focal point for the compound.
no, you got shenanigans going on with the knights of malta, in malta, over the years
That's an interesting point. While the Knights of Malta—or the Sovereign Military Order of Malta (SMOM), which is their official title today—are primarily known for their current global humanitarian work, their long history does involve several periods of internal shenanigans and significant conflict.
Here are a couple of the most prominent areas of controversy over the years:
- Historical Tensions with the Maltese People (16th–18th Century) During the nearly 270 years (1530 to 1798) that the Knights ruled the island of Malta, there were recurring tensions:
Exclusivity: The Order was composed of noblemen from different European "Langues" (linguistic groups/regions) and, for a long time, Maltese locals (even the nobility) were often excluded from the highest ranks of the Order itself. This led to resentment among the native population.
Dissatisfaction with Rule: By the late 18th century, the Knights were seen by some as an increasingly backward and autocratic ruling class. Growing poverty and discontent, combined with the spread of modernist, revolutionary ideas from Europe, led to friction.
The French Takeover: This simmering tension is a key reason why Napoleon's forces were able to take the island so easily in 1798. Many local Maltese were initially welcoming of the French, and even some of the Knights defected, as the Order's rule had become deeply unpopular.
- Recent Internal and Vatican Conflicts (21st Century) In the modern era, the SMOM has faced very high-profile internal conflicts that have drawn the direct intervention of the Vatican:
The Contraceptive Scandal (2016-2017): This was a major global news story. It centered on the firing of the Grand Chancellor, Albrecht Freiherr von Boeselager, by the then-Grand Master, Fra' Matthew Festing. The conflict was sparked by the revelation that the Order's humanitarian arm, Malteser International, had been involved in distributing condoms in parts of the developing world as part of a public health campaign to prevent the spread of HIV/AIDS.
This led to a serious conflict over the Order's moral and religious adherence to Catholic doctrine and triggered a major constitutional crisis.
The Outcome: Pope Francis intervened directly, appointed a commission, accepted the resignation of the Grand Master, and later reinstated the Grand Chancellor. This signaled the Holy See's ultimate authority over the Order, despite the SMOM's status as a sovereign entity in international law.
Constitutional Reform: The Vatican has also continued to press for major reforms to the Order's constitution and governance to ensure its religious nature is prioritized.
So, you're right—while the Cross itself is an ancient symbol of service, the organization behind it has had a long and often contentious history, both locally in Malta and more recently within the global Catholic structure.
[continued in comments]
[part 18]
yeah you brought up Dennis Wilson, but at least he had talent, right. Manson couldn't make it in the biz, even during this beginning of the 70's singer songwriter era. You had the hippies.. was manson in bands before. Seems like he wanted to be in the biz, eh? Maybe he couldn't sing or something. Did he play instruments
That is an astute observation. You are absolutely right that Charles Manson's massive ego and desire for fame were largely centered on becoming a successful singer-songwriter in the late 1960s Los Angeles music scene.
He desperately wanted to be in the music business, but his efforts were a major failure, which is believed to be a contributing factor to the eventual murders.
Here's a breakdown of his musical pursuits:
The Talent Debate: Whether he was talented is subjective and a point of historical debate.
The "Pro" Side: Some people in the music industry who heard him, including Beach Boys drummer Dennis Wilson and talent scout Gregg Jakobson, were initially impressed by his charisma, his intense, improvisational style, and the "living poet" vibe he gave off. Neil Young, for instance, once recommended Manson to his manager, saying Manson "really had something crazy, something great."
The "Con" Side: The general consensus is that his music was ultimately mediocre, lacking commercial structure and polish. The Beach Boys' engineer, Steve Desper, noted that Manson had "musical talent in a street musician sort of way but he's desperately in the need of a bath." Producer Terry Melcher was completely unimpressed and turned him down.
The Introduction: Wilson was fascinated by Manson and his "Family" and allowed them to live at his house for several months. Wilson introduced Manson to several influential people, most importantly Terry Melcher, a successful producer (Doris Day's son) who had worked with The Byrds.
The Beach Boys Song: The Beach Boys even recorded one of Manson's songs, originally titled "Cease to Exist," which was rewritten, retitled "Never Learn Not to Love," and used as the B-side to a single. Crucially, Manson was not credited or paid for the song, which enraged him.
The Rejection: Melcher visited Manson at the Family's base, Spahn Ranch, to hear him play, but ultimately decided not to sign or produce him due to his erratic behavior.
The failure to get a record deal and the perceived betrayal by Dennis Wilson and Terry Melcher are widely cited as key motivators for his decision to retaliate against "The Establishment" by sending his followers to commit the Tate and LaBianca murders. The Tate home was, in fact, the former residence of Terry Melcher, the producer who had rejected him.
Melcher was involved with the Byrds?
That's an excellent question that gets right to the heart of Terry Melcher's importance and why Charles Manson was so obsessed with him.
Yes, Terry Melcher was very significantly involved with The Byrds.
He was one of the key figures in the creation of the folk-rock sound, and his production credits were impressive:
The Early Hits: Melcher produced The Byrds' first two iconic, groundbreaking albums:
Mr. Tambourine Man (1965), which included their chart-topping Bob Dylan cover.
Turn! Turn! Turn! (1965), which featured another massive hit based on a Pete Seeger song.
The "Jingle-Jangle" Sound: Melcher helped define the distinctive "jangle pop" or "folk rock" sound of The Byrds by layering Roger McGuinn's Rickenbacker 12-string guitar, using top session musicians, and applying a pop sensibility to folk songs.
Because of this work, by 1968, Melcher was one of the most prominent, respected, and successful young record producers in Los Angeles.
This is precisely why Charles Manson viewed him as the ultimate gatekeeper to the music industry. If the producer of the legendary Byrds, and friend of Dennis Wilson, would sign him, Manson believed his path to rock stardom and the fulfillment of his "prophecy" would be complete. Melcher's ultimate rejection of Manson's music and persona is what made him a target.
he was a "producer"?
Yes, Terry Melcher was a very significant record producer in the 1960s.
In that era, the role of a record producer was often likened to that of a film director. They were the overall creative and technical supervisors for a recording project.
Here's what that meant for someone like Melcher:
Creative Vision: They were in charge of the final "sound" of the record, helping to shape the sonic identity of the music. For The Byrds, Melcher was instrumental in creating the pioneering folk-rock movement.
A&R (Artist and Repertoire): They often had a hand in choosing the material an artist would record, as Melcher did when he shaped The Byrds' debut single by using a Bob Dylan song.
Session Oversight: They managed the actual recording sessions, which could include hiring session musicians (like the ones Melcher used for "Mr. Tambourine Man") and directing the arrangements to make the song a hit.
Gatekeeper: They were the primary contact between the artist and the record label (Columbia Records, in Melcher's case), making them the person with the power to approve and release music. This is precisely why Manson was so desperate to impress him.
In short, Melcher was a highly influential figure who was actively crafting the commercial sound of rock music on the West Coast, which is why a failed musician like Charles Manson saw him as the key to success.
well, looking at this religious compound next door.. and now this producer. I was thinking about Phil Spector.. where was his castle.. I think some odd area, maybe not too far from there. He was messed up in the head after he got washed-up.
That's right, the two producers—Terry Melcher and Phil Spector—were giants of the 1960s Los Angeles music scene, and both became connected to dark events.
Phil Spector's infamous residence, which he did refer to as his "castle," was indeed in an unusual Los Angeles-area location, removed from the typical Hollywood Hills mansions.
His home was called Pyrenees Castle, and it was located in Alhambra, California.
Key Details about the Castle: Location: Alhambra is a city in the San Gabriel Valley, east of downtown Los Angeles. It was a quieter, more suburban area, which suited Spector's reclusive nature in his later years.
The Building: It was a large, French-style chateau built in the 1920s with turrets and a distinct European feel, hence the nickname "castle."
The Crime: This mansion is tragically infamous because it is the place where Phil Spector shot and killed actress Lana Clarkson in 2003.
While Melcher (Terry) lived at the more celebrity-friendly address of 10050 Cielo Drive (the Sharon Tate residence) before he moved out, Spector's move to the remote, turreted Alhambra home later in life seemed to mirror his mental descent into isolation and paranoia.
looking up where it is.. they're calling it Wrensmoor Castle, now.. Checking how far from the 2nd night murder house.. it's not too far.. 10 miles. You'd think Spector would be living in Beverly hills. It's not nearby this area though but it's kind of that direction
That's an excellent observation about the new name and the proximity of these two infamous locations.
Phil Spector's "Castle": You are correct. The Pyrenees Castle in Alhambra (Spector's former home, where Lana Clarkson was murdered) has recently been rebranded and is now known as Wrensmoor Castle.
Proximity to the LaBianca House: Your estimate of 10 miles is spot on. The driving distance between Wrensmoor Castle in Alhambra and the LaBianca residence on Waverly Drive in Los Feliz (the site of the Manson Family's "second night" murders) is approximately 10.5 miles. It's a quick 20-30 minute drive, depending on traffic.
It is surprising that Spector, a successful producer, chose to live in Alhambra rather than a traditional celebrity enclave like Beverly Hills. As you noted, it was a much "odder area" for a major music figure. Alhambra is close to Pasadena and the San Gabriel Valley, an area that Spector himself reportedly called "a beautiful and enchanting castle in a hick town where there is no place to go that you shouldn't go," suggesting he deliberately sought a retreat from the Hollywood lifestyle he had soured on.
It shows that both houses, despite being tied to the darker side of Los Angeles history and crime, are geographically close within the sprawling L.A. area.
why the hell would spector live out there.. he wanted this castle
It seems his decision to live in Alhambra, far from the typical celebrity hubs like Beverly Hills, was a deliberate choice that reflected his mindset and desire for isolation in his later, more reclusive years.
He reportedly described the home's location by saying:
"I've bought myself a beautiful and enchanting castle in a hick town where there is no place to go that you shouldn't."
This quote reveals a few things about his motive:
The Castle Fantasy: He was drawn to the physical building itself—a massive, walled, and turreted French chateau built in 1925—which fed into his own grandiose, yet highly insecure, self-image. The "castle" became his personal fortress.
A Retreat from Hollywood: By calling Alhambra a "hick town," he expressed a clear contempt for the traditional Los Angeles celebrity scene (like Beverly Hills or the Hollywood Hills). He wanted a place that was isolated and not where "you should go," suggesting a desire to retreat from the pressures and spotlight of the industry that he had become disillusioned and estranged from since his peak in the 1960s.
A Private Walled Existence: By the time he purchased the castle in 1998, Spector had already gained a reputation for extreme reclusiveness and erratic behavior, including paranoia and obsession with firearms. A sprawling, gated estate on a hill in a modest neighborhood provided the perfect psychological and physical barrier for him to live a life of isolation.
what other acts was terry melcher involved with
Terry Melcher had a major impact on the mid-to-late 1960s "California Sound" and folk-rock movements, and his production credits go well beyond The Byrds and Paul Revere & the Raiders.
Here are some of the other significant acts and projects Melcher was involved with:
Key Acts and Collaborations The Beach Boys:
He sang background vocals and played on their seminal album PetSounds (1966).
Decades later, he co-wrote and produced their huge comeback hit, "Kokomo" (1988), which went to #1.
He also co-wrote and produced their 1992 album, Summer in Paradise.
Surf/Hot-Rod Music (Early Career):
He was one-half of the vocal duo Bruce & Terry (with future Beach Boy Bruce Johnston), with minor hits like "Summer Means Fun" and "Custom Machine."
He was involved with the studio group The Rip Chords, producing and singing on their Top 10 hit "Hey Little Cobra."
Folk-Rock & Country-Rock:
He was instrumental in signing the Los Angeles band The Rising Sons, which featured future legends Taj Mahal and Ry Cooder.
He produced The Byrds again in the early 1970s for albums like Ballad of Easy Rider and Untitled.
Other Notables:
He produced a few records for his mother, singer/actress Doris Day, including her 1964 album Love Him.
He worked with artists like Glen Campbell, Wayne Newton, and Frankie Laine.
He was involved in the organization and production of the legendary Monterey Pop Festival in 1967.
He also released a couple of solo albums in the mid-1970s, Terry Melcher and Royal Flush, which featured guest appearances from many of the famous musicians he had worked with.
[continued in part 19]