Miss Paige has closed this topic over on the sharontate.net board. She says she knows it's being discussed elsewhere on the internet and she won't let it continue on a site dedicated to Sharon.
Thank you Col for keeping the lines of communication open.
By shutting down the topic over there, they have raised the question -- "What is Debra trying to hide?" Why lie about there being no room at the cemetery? That is something easily checked out.
Also, how can there not be room for ashes to be buried? It's not like you're going to put them in a full size coffin.
Debra's web of lies and deceit is starting to unravel.
Go, Go Col!!
Thank you Child, but you neglect to note the most important thing- up till all this I LIKED DEBRA TATE. I felt bad for her. I still do. I figured her head was messed up by like I don't know, having her older movie star sister senselessly slaughtered, and now shit is coming streaming in that chills me. Makes me understand that all is not right in Tateland. Like, Paul Tate had a girlfriend who loved him and she doesn't know where is freaking remains are. How is that in any way okay?
As for Miss Paige, she didn't have the chops to come over here. She won't let me on her precious board to see what the hell she IS writing (if someone anonymously emails me a name and password I promise not to mess it up) and I will NEVER understand banning any one at any time from a message board. You don't like what they have to say hey DON'T READ IT. You hate me- don't come here. It's easy. I sort of understand now my constant banning from KTS- I was asking for it at times. But that is because the Col is passionate. Yes KTS was reactive a bit too much. But bygones are what they are. But closing a thread that is actively being discussed raises the question of what one has to hide.
But I am telling you. My hunch is that Debra Tate does not own ANYTHING of her sister. Not her image. Not her estate. I hope to God I am wrong, because otherwise the world is a very strange place.
But hey, the Will of Col Paul J Tate will speak for itself.
Manson Murders.com...09/21/99
A lawyer who represents himself, an old saw says, "has a fool for a client." Let's check this out. Irving Kanarek is a longtime lawyer. He represented himself. And just as the old saw predicts, he hasn't done really well so far. There's another old belief, perhaps supported by too little evidence, that we in the legal profession are ethical, honest, and honorable people. Well, maybe. Kanarek may not think so.
Kanarek was a California lawyer who became famous years ago as Charles Manson's defense attorney. Manson was a cult figure whose followers killed an actress named Sharon Tate and several other people. One of his followers took a shot at Gerald Ford, when he was president. Until O.J. Simpson turned up, Manson probably was Los Angeles' biggest homicidal celebrity.
Fame doesn't last. Few people remember Kanarek, although he was well known for his wardrobe and habits during the decade or so following the Manson case. During that time, Kanarek prospered reasonably well. In fact, he had a household staff of two, Jose and Hermalinda Rangel. In January 1989, more than eight years ago, the Rangels sued Kanarek for breach of contract, fraud, and malpractice.
Kanarek represented himself. Then, in November 1989, he wound up in a locked psychiatric ward at Harbor-UCLA Medical Center. There Kanarek remained for a very long time.
Kanarek's hospitalization got lots of press in Los Angeles. Kanarek was the kind of guy that the papers love to write about, and that lawyers love to gossip about. The Rangels and their lawyers, Nancy Kaufman and Edwin Printemps, knew about it, along with the rest of L.A. Kanarek's mental condition didn't slow Kaufman and Printemps down. They went right ahead with the Rangels' case.
Kaufman and Printemps took part in two in-court settlement conferences. They then set an uncontested hearing in August 1990. They didn't say a word to the judge about Kanarek's whereabouts and said nothing about the defendant's state of mind. They didn't ask for a guardian ad litem to look out for Kanarek. Kaufman and Printemps wanted a default judgment that they could present for payment to the Client Security Fund of the California State Bar. Very few readers of L.A. newspapers back in 1990 were unaware of Kanarek's circumstances, but one of the unaware, apparently, was the judge. This supports a theory of mine that judges need not read newspapers because they know everything already. However that may be, the judge ruled in favor of Mr. and Mrs. Rangel and against Kanarek. This fate frequently befalls litigants who don't show up in court.
The Rangels took their judgment to the security fund, which, in turn, sued Kanarek to get its money back. At about this point, Kanarek got out of Harbor-UCLA Medical Center. He was not a happy man. Naturally, he sued everybody in sight. Kanarek went after Kaufman and Printemps for abuse of process, fraud, and intentional infliction of emotional distress.
Kanarek made things as hard as he could for the trial and appellate judges. They said, "The first cause of action alone runs 39 pages, much of it filled with material concerning alleged statements by defendants which the trial court found to be clearly privileged...as statements uttered in a judicial proceeding." Nevertheless, the judges found, buried amid the discarded matter, allegations that the litigation privilege did not protect Kaufman's and Printemps's silence.
The two lawyers did not like that outcome, so they took the case up on petition for writ of mandate. The two defended themselves energetically. They claimed a perfect right to keep their mouths shut about Kanarek's whereabouts.
Appellate judges faced the issue of whether concealment by silence, without accompanying statements, qualifies for immunity under the litigation privilege. "The answer," they said, "lies in the complex nature of silence itself. Silence can signify nothing, or it can communicate a good deal, all depending on context."
Kaufman and Printemps, said the appellate court, given their knowledge, "had a duty to advise the court of [Kanarek's] condition and of the need to appoint a guardian ad litem for him. But the defendants kept the information to themselves, breaching this duty."
"There is," the court continued, "a truth at the core of Kanarek's claims. This is the principle that a plaintiff may not take advantage of a defendant's legal disability to obtain a judgment without a fair adversary hearing. A plaintiff who is aware of a defendant's mental incapacity or some other factor preventing the defendant from participating in a legal proceeding is duty-bound to inform the court of this fact."
This sort of conduct, said the judges, is fraud extrinsic to, or outside, the judgment. Such fraud allows the court to set aside the judgment. "Kanarek, however, seeks something else in this action," said the court. "He seeks to establish defendants' liability in tort for their breach of this duty of disclosure. It is this claim for monetary damages that runs headlong into the litigation privilege."
Robert Kenneth Beausoleil, AKA Bobby BeauSoleil, was born on
Plying his developing talents as a guitarist through several garage band experiments better left forgotten, BeauSoleil landed a position as second guitar in Arthur Lee’s new band, The Grass Roots – a band that a short time later would become widely known as Love. His membership in the group was short-lived, however; he was fired because he was too young to play legally in adults-only nightclubs. Crushed but undaunted; BeauSoleil licked his wounds, dusted himself off, and left
Just prior to his eighteenth birthday, BeauSoleil joined the artist community in the
For months, BeauSoleil and Anger worked on the film project, for the most part independently. To perform the soundtrack, BeauSoleil formed a new band he called The Magick Powerhouse of OZ, an eclectic ensemble that combined experimental free jazz with bluesy rock and amplifier feedback. For the band’s first performance, Anger and BeauSoleil joined forces to put on an event at the Straight Theater called, by Anger, The Equinox of the Gods. When the event (while memorable to the audience) did not go as planned, Anger and BeauSoleil each blamed the other for what had gone awry. The collaboration could not be reconciled, and the two parted company with harsh feelings.
Following the mock-funeral for the Haight-Ashbury staged by guerilla theater activists in the fall of 1967, BeauSoleil returned to the greater
It was around this time that BeauSoleil, now twenty years old, became increasingly disgusted with the corporate music companies who had kept a stranglehold on the music business, the coopting of youth culture art and dress styles by commercial advertising and the fashion industry, and the insidious encroachment of organized crime in the hippie drug trade. The violent backlash of government and law enforcement in response to the perceived threat of the youth movement, along with the looming probability of his being drafted into military service to help press the war in Vietnam, prompted BeauSoleil to retreat to the peripheries. He began to associate more with outlaw motorcycle clubs, who he romanticized, and others, like Manson, who lived on the outskirts of what was considered normal, acceptable society. Disenchanted with the counter-culture and disenfranchised from the mainstream, BeauSoleil began to adopt some values that led him astray into criminal activities.
During the commission of an absurdly misconceived drugs transaction, things went terribly wrong, and BeauSoleil killed a man. He was arrested soon afterward, tried in a
BeauSoleil’s tragic fate could not still his rebellious creative spirit. While in prison he has, by turns, and despite tremendous obstacles and restrictions, taken up the visual arts, started music programs and formed bands, taught himself electronics, invented and built innovative musical instruments, composed and recorded an impressive body of original music, produced numerous videos in support of youth outreach programs and cognitive programs for prison inmates (in cooperation with community efforts to reduce crime and recidivism), and is the author of a modest assortment of creative writing projects, some of them ongoing.
In 1976, while at the state prison in
BeauSoleil married Barbara Ellen Baston – a talented artist, an advocate for goddesses everywhere, and all-around creative soul in her own right – in late 1981. Over the course of the 23 years since then their relationship has evolved into a sort of sacred partnership that transcends convention. It is through the window Barbara has opened that Bobby BeauSoleil and his work becomes accessible to the world at large, and for the most part is how he is able to have some access to the world. Between them, Bobby and Barbara have four children and a growing number of grandchildren, and an unshakable belief that one day they will abide together in the home Barbara has made for them.
In 1994, BeauSoleil was again allowed some limited opportunities to record some of his music, and this time, with the support of some musical industry sponsors, he was able to make recordings using much more sophisticated equipment than at any time previously. Over the subsequent 8 years he composed and recorded, as a solo performer, a total of about 3 hours new music. The most stylistically representative of these recording have been compiled for a new double CD entitled Dreamways of the Mystic, to be released on the Arcanum Entertainment label in March, 2005.
After opportunities to record his music again dried up in 2002, BeauSoleil turned his focus to other creative projects. After a ten year hiatus from drawing and painting, he began work on a new series of paintings intended as a visual counterpoint to the music in the Dreamways of the Mystic CD package. This entire series of paintings will be on exposition at Clair Obscur Gallery in
When this series of paintings is complete, BeauSoleil intends to resume working on a book he began writing last year, to be entitled The Family Jam.
At this point Commissioner Farmer broke with formality and explained his reasons for this decision. I was impressed by his candor. Even though what he was telling me was devastating, I was appreciative of his willingness to be up front and open in telling me his reasoning for determining that 36 years of imprisonment was not enough. This was a first.
The hinge pin was the computer printout. I thought that maybe the erotic art was going to be a sticking point, but I was wrong about that. Commissioner Farmer carefully stated that he was not a prude, that while some people might consider explicit adult fantasy art to be pornography (as the prosecutor had suggested), he did not. It was not the nature of the art that bothered him . . .
No, what disturbed the hearing panel, he said, is that as late as 2005, this very year, I had contracted with an agent or gallery owner to allow my artwork to be displayed and marketed to the public in a manner that exploited the notoriety of my crime and the Manson connection to promote sales of my art and music (the Dreamways CD). This, he said, demonstrated a “serious lapse of judgment” that required a longer period of confinement so that there would be adequate time to allow the Board to evaluate my “ability to maintain a distance from Manson” in the public eye, and refrain from involvement with such displays in the future. He mentioned – again, with surprising candor – that he was concerned about possible repercussions from the governor and the public if he were to vote to parole me under the present circumstances.
I wanted to scream STOPP!!!!!!! I wanted to have an opportunity to tell him that he had made a mistake, to explain that the conclusion he had arrived at was based on evidence that was faulty due to omission of the original context, that was “cooked” to mislead. I wanted an opportunity to present evidence of my own to demonstrate that there had been no attempt to capitalize on the Manson connection or my crime as a strategy for promoting the Dreamways series art show, and any other work I have created.
I have been adamant in my communications with everyone who has assisted me in publishing my work that it be allowed to succeed or fail on its own merits. I have, in all cases, asked them to avoid making public references to the criminal part of my past except as necessary to meet the most basic requirements of ethical disclosure (it would be criminal of me to not be honest and divulge that this element exists). For the gallery show of my art I authorized the use of an “artist bio” that summarizes my life from birth to the present, and includes a very brief passing mention of Manson amid comments on the most essential circumstances of my imprisonment these many years; included with the intention of minimally meeting the basic requirements of ethical disclosure. I will provide each of you with a copy of this brief bio. Unless there is some other mention of Manson in relation to me on the gallery’s website that I am unaware of, it was this document that the hearing panel based their decision to find me unsuitable for parole.
This is tragic and sad but please do not twist what happened.
Here's my take on the 'Debra situation'. I've heard all the stories over the years and if I had one or two concerns it would be one, heavy handedness over some groups(KTS) and various fan boards. Two, sitting and waiting... to see if, through CMG the plans for Sharon materialize.*
If I were Debra I would be building bridges with an active boards/groups. Every member is a potential parole letter writer, and also a voter. Patti seemed, from what I've read, to work well in role of diplomat. *
The whole 'oogler' situation was explained as editing by the TV production crew. Debra too was horrified by the way it came out/across. Both Robin Olsen(love her or hate her)and Sharon's cousin Pam Turner explained this to various boards, groups.
As far as making money on Sharon's image I hope Debra makes millions. Why shouldn't the Tate family make money? Nobody questions the Presleys or the heirs to the Monroe estate?(A drug overdose and a sucide/murder?)* But everything do with Sharon is 2nd guessed. Except of course when alternative rock stars want to call themselves by the name of the man her arrainged her murder. *
Who knows why Debra chose not to be publicly active during the years prior to the death of her mother and sister? It took Doris ten years to complete her mourning and become and activist. Maybe it took Debra longer?* I can't imagine if I was 16 I'd recover from a shock like the murder of a sibling in even 20 years. Let alone face the public with a crusade for justice?
And yes calling yourself 'The Big Oogler', especially when the situation had been explained IS cruel.
Everyone wants Debra to be active in ways like her mother and sister but why should she want to reach out to various boards/groups? You treat her like shit.*
