Sharon Tate and Anton LaVey's Church of Satan

"Leno Labianca was killed for a Black PHONE BOOK with all the numbers in it  - The Phone Numbers that Controlled the Music Market"

"Sharon Tate and those people were killed because Terry Melcher broke a Contract to send Three Orientals with Hatchets to kill somebody else  - (but) He didn't directly do that.
(instead) What he did was, he sent his Mother's Man (1) (Marty Melcher) over to put the light out in another chamber of thought (2) 
In other words,
You raise men up in the music biz, and everyone wants to say:

"Mine is better than his", and what are you doing up on my stage?
And who controls what on My stage?,
and Who is the MAN on this Set? . . . Clark Gable? (3)   

And where's your (thief?), and how does your heart beat upon this alter, when you see Sharon Tate's body laying there naked and dead?
Do you think I had something to do with that?
That was the ALTER!
It had nothing to do with me!
It was the turn around of the whole world  
It was the Ariane Woman that was being bought up from the Head from RoseMary's Baby  (Director Roman Polanski)
They was the Cult!
Did they tell you about all the film that they got with (Sharon Tate) wit the dogs and chauffeurs that came out of the black and white (LAPD cop car) when Yule Brenner and Peter Sellers paid $30,000 to (LAPD) get the video tapes back that they had done with the pornography when they was goblin on each others knobs in the closet with Sharon  - for Sharon , beautiful Sharon?

I'll give you something that may be beneficial to your awareness. 
 
A guy comes from University of Southern California to the Criminally Insane Ward, 
 and he says:  "I'm a Doctor, I am here to help you."

(I say) Alright , I need Help.

(USC Doctor says:
    "What happened in so& so?"   
    "How you doing such & such?"
    "How does it work for so & so?"   
    ". . And how does your Mind go so &so?" 
     "and bup-bup-bup-bup(etc)?

(I say)If you came to help me, why are you asking ME all these questions?
Doctor says He Gathers VALID Information, and if I DONT give him all these answers , he'll send THIS guy (points at Prison Guard) with a Big Syringe  - to drug me down out of head so i cant stand up 


(Interviewer): " That stuff Happens in Prisons?

Charlie says: Happens?, What do you thing has been happening to me for the last 20 years? 
You people are so completely unaware of yourselves and what they are doing!
I've been Beat, Ive been Burnt . . .      

More interesting than the show is its history, especially of that first season. In the sixties, Ms. Day was married to an agent named Marty Melcher, who proved the old Show Biz adage that one should not manage one's spouse's career. It works once in a while but it usually doesn't, and the Melcher-Day saga is as fine an example as you'll find of the "doesn't" variety. For a time, the damage Melcher did to his wife's stardom consisted of signing her up to do movies that she didn't want to do. She'd read a script like the one for the 1967 Caprice and say, "Well, thank God I don't have to do garbage like that," and Melcher would tell her, "Uh, I already signed you up for it. You have to do it." And do it she did…under duress.



Doris was one of the highest-paid movie stars in the world but she was seeing very little of that loot. Melcher was then in partnership with an investment manager named Jerome Rosenthal, and every cent she made went into some new oil drilling scheme, or a hotel or some other venture "guaranteed" to yield mega-bucks. Onlookers would later wonder why the Melchers didn't just live comfortably, as they could have, off what she made: Why plunge it all into risky investments? The answer, it was suggested, had something to do with Marty's ego and his determination not to let it be said that he just lived off his wife. The investments were to yield money that he could claim as his income, even though they were being funded by her money.



The trouble was that, unbeknownst to Doris, those investments were wiping out her money, not increasing it. It would never be clear to what extent this was because the ventures were uniformly unsuccessful or if Rosenthal was just pocketing the bucks…but Melcher found himself in the position of a losing gambler who was desperately throwing more cash on the table, trying to get even. In his panic for funds, he turned to television.



CBS was, at the time, worried that Lucille Ball would soon retire and they saw Doris Day as the star of a sitcom that could be cultivated to take over Lucy's exalted place on their schedule. Even if Lucy stuck around, Doris had proven she could draw an audience. They pursued her for a weekly series and despite Melcher's urging, she said no. She was a movie star, she argued, and couldn't handle the rapid pace of TV filming. Melcher argued back that her kind of movie (i.e., clean) was on its way out and the CBS deal was a lifeline. When she continued to say no, Melcher just ignored her wishes. Without telling her, he committed her to a sitcom and took a huge advance from the network. That money went directly into the Rosenthal investment program, never to be seen again.



Then Melcher got sick…very sick. He died in April of '68 and one day not long after, Doris ventured into his office to tidy up. There, she came across several completed scripts for a TV series called, chillingly, The Doris Day Show. CBS, she soon discovered, expected her to begin filming the show the following month. Further investigation yielded the horrifying revelation that her investments were not worth the millions of dollars Melcher had claimed. They were practically worthless and she was very close to bankruptcy. Somehow — despite depression over her husband's death and the subsequent disclosures, plus the fact that she hated the format of the series to which he'd committed her — she got through the filming of Season One of a TV series she didn't want to do. Those are the episodes that comprise this first DVD set.

The words of the trial court in Day v. Rosenthal summarizes the essence of disaster than was visited on Doris Day:



“The tragic drama in this case started to unfold back in the late “40’s or early ’50’s when Jerome B. Rosenthal began to represent Doris Day and Martin Melcher. It involves…. an attorney so intent on doing business with his clients, with their money … that he lost sight of ethical and legal principles. “The case from beginning to end oozes with attorney-client conflicts of interest, clouding and shading every transaction and depriving Doris Day and Martin Melcher of the independent legal advice to which they were entitled. It involves kick-backs, favored treatment of one client over others; it involves amateurish attempts to deal in the hotel and oil business that would be humorous but for the tragic consequences. It involves the extraction of fees from Doris Day and Martin Melcher and fees from other clients or entities for the same work performed. It involves an undertaking to provide financial and investment advice and a complete and utter failure to provide it. It involves a tortured effort by Rosenthal to maintain for years in the future the indentured position in which he had held Doris Day since 1956, even after she had ceased to permit him to act as her attorney. It involves a percentage retainer agreement that in the context of the facts of this case is void and against public policy because of the violation of the rules of professional conduct….



“The evidence so reeks of negligence, a violation of the Rules of Professional Conduct and all that is basic in the traditional relationship of attorney and client as to require that the court, as best it can, undo the transaction that occurred so as to attempt to put Doris Day and her late husband’s estate back to a position as if they had not become enmeshed in the machinations of Rosenthal’s twisted sense of professional responsibility.”



Day v. Rosenthal, at 1134–35.

Then there’s Polanski’s fate, told and re-told into legend, even by him. Polanski had relocated to California alongside his new girlfriend, actress Sharon Tate, who was fresh off her first movie role as a witch in Eye of the Devil, just before filming began. She had gunned hard for the lead role in Rosemary’s Baby, but Paramount cast Mia Farrow. Tate instead loitered around the set, appearing uncredited like a ghost in the background of Rosemary’s young-people-only party scene and, say some, becoming increasingly obsessed with the occult. Many years later, a friend quoted her in print as having said, “the devil is beautiful. Most people think he’s ugly, but he’s not.”



Polanski last saw Tate, by then his wife and very pregnant, in July 1969, noting in his autobiography a “grotesque thought” he had at the time: “You will never see her again,” he wrote. Tate was brutally murdered on August 8 by the Manson Family, as was their unborn son—all while Rosemary’s Baby still lingered in theaters.



Unable to make sense of such a tragedy, and captivated by the stories of the Manson Family, the public took to Satan and curses as the only explanation. Internet fanatics say, like Guy Woodhouse, Polanski made his young wife a blood sacrifice for his still-untouchable status in Hollywood and beyond. Others maintain the Manson murders were a mere moment in a grand Satanic conspiracy scored by the Beatles. The White Album was written largely at an Indian meditation (with Mia Farrow in attendance). The song title “Helter Skelter,” albeit misspelled, was scrawled in blood at the crime scene. And, a dozen years later, Lennon was assassinated across the street from the Dakota—the gabled landmark where Rosemary’s Baby was filmed.