The line “I’m in love but I’m lazy” from “Honey Pie” meant to Charlie that the Beatles loved JC but were too lazy to go looking for him; also, they’d just gone all the way to India, following a man who they’d finally decided was a false prophet, the Maharishi. They were also calling for JC/Charlie in the first eight lines of the song “Don’t Pass Me By,” in “Yer Blues,” and, in the earlier Magical Mystery Tour album, in “Blue Jay Way.”
Much of this I would never use at the trial; it was simply too absurd.
The Beatles’ White Album, Manson told Watkins, Poston, and others, “set up things for the revolution.”
Much of the time at the Gresham Street house, according to Poston, Watkins, and others, was spent composing songs for Charlie’s album. Each was to be a message song, directed to a particular group of people, such as the bikers, outlining the part they’d play in Helter Skelter. Charlie worked hard on these songs; they had to be very subtle, he said, like the Beatles’ own songs, their true meaning hidden beneath the awareness of all but the tuned-in people.
Manson was counting on Terry Melcher to produce this album. According to numerous Family members (both Melcher and Jakobson denied this), Terry had promised to come and listen to the songs one evening. The girls cleaned the house, baked cookies, rolled joints. Melcher didn’t show. Manson, according to Poston and Watkins, never forgave Terry for this. Melcher’s word was no good, he said angrily on a number of occasions.
Though the Beatles had made many records, it was the double-disk White Album, which Capitol issued in December 1968, that Manson considered most important. Even the fact that the cover was white—with no other design except the embossed name of the group—held significance for him.
It was, and remains, a startling album, containing some of the Beatles’ finest music, and some of their strangest. Its thirty songs range from tender love ballads to pop parodies to cacophonies of noise made by taking loops of very diverse tapes and splicing them together. To Charles Manson, however, it was prophecy. At least this is what he convinced his followers.
That Charlie had renamed Susan Atkins “Sadie Mae Glutz” long before the White Album appeared containing the song “Sexy Sadie” was additional proof to the Family that Manson and the Beatles were mentally attuned.
Almost every song in the album had a hidden meaning, which Manson interpreted for his followers. To Charlie “Rocky Raccoon” meant “coon” or the black man. While to everyone except Manson and the Family it was obvious that the lyrics of “Happiness Is a Warm Gun” had sexual connotations, Charlie interpreted the song to mean that the Beatles were telling blackie to get guns and fight whitey.
According to Poston and Watkins, the Family played five songs in the White Album more than all the others. They were: “Blackbird,” “Piggies,” “Revolution 1,” “Revolution 9,” and “Helter Skelter.”
“Blackbird singing in the dead of night/Take these broken wings and learn to fly/All your life/You were only waiting for this moment to arise,” went the lyrics of “Blackbird.” According to Jakobson, “Charlie believed that the moment was now and that the black man was going to arise, overthrow the white man, and take his turn.” According to Watkins, in this song Charlie “figured the Beatles were programming the black people to get it up, get it on, start doing it.”
On first hearing the song, I’d thought that the LaBianca killers had made a mistake, writing “rise” instead of “arise.” However, Jakobson told me that Charlie said the black man was going to “rise” up against the white man. “‘Rise’ was one of Charlie’s big words,” Gregg said, providing me with the origin of still another of the key words.
Both the Tate and LaBianca murders had occurred in “the dead of night.” However, if the parallel had special significance to Manson, he never admitted it to anyone I interviewed, nor, if he knew it, did he admit the dictionary meaning of the phrase “helter skelter.” The song “Helter Skelter” begins: “When I get to the bottom I go back to the top of the slide/Where I stop and I turn and I go for a ride…” According to Poston, Manson said this was a reference to the Family emerging from the bottomless pit.
There was a simpler explanation. In England, home of the Beatles, “helter skelter” is another name for a slide in an amusement park.
If you listen closely, you can hear grunts and oinks in the background of the song “Piggies.”[50] By “piggies,” Gregg and the others told me, Manson meant anyone who belonged to the establishment.
Like Manson himself, the song was openly critical of the piggies, noting that what they really needed was a damned good whacking.
“By that he meant the black man was going to give the piggies, the establishment, a damned good whacking,” Jakobson explained. Charlie really loved that line, both Watkins and Poston said; he was always quoting it.
I couldn’t listen to the final stanza without visualizing what had happened at 3301 Waverly Drive. It describes piggy couples dining out, in all their starched finery, eating bacon with their forks and knives.
Rosemary LaBianca: forty-one knife wounds. Leno LaBianca: twelve knife wounds, punctured with a fork seven times, a
“There’s a chord at the end of the song ‘Piggies,’” Watkins said. “It goes down and it’s a really weird chord. After the sound of piggies snorting. And in the ‘Revolution 9’ song, there’s that same chord, and after it they have a little pause and snort, snort, snort. But in the pause, there is machine-gun fire.
“And it’s the same thing with the ‘Helter Skelter’ song,” Paul continued. “They had this really weird chord. And in the ‘Revolution 9’ song there’s the same chord again, with machine guns firing and people dying and screaming and stuff.”
The White Album contains two songs with the word “revolution” in their titles.
The printed lyrics of “Revolution 1,” as given on the jacket insert, read: “You say you want a revolution/Well you know/We all want to change the world…/But when you talk about destruction/Don’t you know that you can count me out.”
When you listen to the record itself, however, immediately after “out” you hear the word “in.”
Manson took this to mean the Beatles, once undecided, now favored the revolution.
Manson made much of these “hidden lyrics,” which can be found in a number of the Beatles’ songs but are especially prevalent in the White Album. They were, he told his followers, direct communications to him, Charlie/JC.
Later on the lyrics go: “You say you got a real solution/Well you know/We’d all love to see the plan.”
The meaning of this was obvious to Manson: Sing out, Charlie, and tell us how we can escape the holocaust.
Of all the Beatles’ songs, “Revolution 9” is easily the weirdest. Reviewers couldn’t decide whether it was an exciting new direction for rock or an elaborate put-on. One critic said it reminded him of “a bad acid trip.”
There are no lyrics as such, nor is it music in any conventional sense; rather, it is a montage of noises— whispers, shouts, snatches of dialogue from the BBC, bits of classical music, mortars exploding, babies crying, church hymns, car horns, and football yells—which, together with the oft reiterated refrain “Number 9, Number 9, Number 9,” build to a climax of machine-gun fire and screams, to be followed by the soft and obviously symbolic lullaby “Good Night.”
Of all the songs in the White Album, Jakobson said, Charlie “spoke mostly of ‘Revolution 9.’” He said “it was the Beatles’ way of telling people what was going to happen; it was their way of making prophecy; it directly paralleled the Bible’s Revelation 9.”
It was also the battle of Armageddon, the coming black-white revolution portrayed in sound, Manson claimed, and after having listened to it myself, I could easily believe that if ever there were such a conflict, this was probably very much what it would sound like.
According to Poston: “When Charlie was listening to it, he heard in the background noise, in and around the machine-gun fire and the oinking of pigs, a man’s voice saying ‘Rise.’” Listening to the recording again, I also heard it, twice repeated: the first time almost a whisper, the second a long-drawn out scream.[51] This was potent evidence. Through both Jakobson and Poston, I’d now linked Manson, irrevocably, with the word “rise” printed in blood at the LaBianca residence.
