AA Morris Presents: The Proper Gander At Propaganda Podcast
image source: https://commons.wikimedia.org/wiki/File:Zodiac-MelvinBelli.jpg • https://commons.wikimedia.org/wiki/File:Zodiac-hood.jpg • https://commons.wikimedia.org/wiki/File:Land_on_the_Moon_7_21_1969-repair.jpg
Podcast Episode 102: Catholicism & Freemasonry 1969 Style Part III
Catholicism and "Fee" Masons: The Never Ending Story of The Sons of Samael...
"zodiac (n.) late 14c., from Old French zodiaque, from Latin zodiacus "zodiac," from Greek zodiakos (kyklos)"zodiac (circle)," literally "circle of little animals," from zodiaion, diminutive of zoion "animal" (from PIE root *gwei- "to live"). Libra is not an animal, but it was not a zodiac constellation to the Greeks, who reckoned 11 but counted Scorpio and its claws (including what is now Libra) as a "double constellation." Libra was figured back in by the Romans. In Old English the zodiac was twelf tacna "the twelve signs," and in Middle English also Our Ladye's Waye and the Girdle of the Sky."
source: https://www.etymonline.com/word/zodiac see also: https://www.etymonline.com/word/church • https://www.etymonline.com/word/circle • https://www.etymonline.com/word/shepherd • https://www.etymonline.com/word/cromlech
The Sons of Sam vs The Sons of Seth
The revelation of the guild based, government growing, solar horoscope obsessed "Sons of Cain" problem, reaction, solution, revolution, multimedia beast continued.
The evolution of modern tax hungry government and the origins of badge bearing marshals and police enforced martial law.
"A stone circle is an alignment of standing stones arranged in a circle."
"mid-14c., "of the doctrines of the ancient Church" (before the East/West schism), literally "universally accepted," from French catholique, from Church Latin catholicus "universal, general," from Greek katholikos, from phrase kath' holou "on the whole, in general," from kata "about" + genitive of holos "whole" (from PIE root *sol- "whole, well-kept"). Medieval Latin catholicus was practically synonymous with Christian and meant "constituting or conforming to the church, its faith and organization" (as opposed to local sects or heresies). With capital C-, applied by Protestants to the Church in Rome c. 1554, after the Reformation began. General sense of "embracing all, universal" in English is from 1550s. Meaning "not narrow-minded or bigoted" is from 1580s. The Latin word was rendered in Old English as eallgeleaflic."
The Seal of Solomon Refers to a Governmental Badge of Some Kind
(Like the Biblical Mark of The Beast needed to do business, for example.)
"marshal (n.) early 13c. as a surname; mid-13c. as "high officer of the royal court;" from Old French mareschal "commanding officer of an army; officer in charge of a household" (Modern French maréchal), originally "stable officer, horse tender, groom" (Frankish Latin mariscaluis) from Frankish *marhskalk or a similar Germanic word, literally "horse-servant" (compare Old High German marahscalc "groom," Middle Dutch maerschalc), from Proto-Germanic *markhaz "horse" (see mare (n.1)) + *skalkaz "servant" (source of Old English scealc "servant, retainer, member of a crew," Dutch schalk "rogue, wag," Gothic skalks "servant"). Cognate with Old English horsþegn. From c. 1300 as "stable officer;" early 14c. as "military commander, general in the army." For development history, compare constable. Also from Germanic are Italian scalco "steward," Spanish mariscal "marsha"
"marshal (v.) early 15c., "to tend (horses)," from marshal (n.). Meaning "to arrange, place in order" is from mid-15c.; that of "to arrange for fighting" is from mid-15c. Figurative use by 1690s. Related: Marshaled; marshaling."
"In English, it is earlier than astrology and originally included the senses now distributed over both words; the gradual differentiation happened 16c.-17c. In Latin and later Greek, astronomia tended to be more scientific than astrologia."
Hell's "Angles" Defined:
"The angles are the four Cardinal points of an astrological chart: the Ascendant, the Midheaven, the Descendant and the Imum Coeli. The astrological chart is a schematic representation of the sky at any given moment of time, projected upon the ecliptic--or the apparent path of the Sunas seen from the Earth—which forms the circle in which the chart is enclosed. The longitudinal positions of the planets are plotted onto this circle, because the planets (except Pluto) and many stars, lie very close to the Sun's path in celestial latitude. How this map of the sky is seen from the Earth is determined by where the horizon is at the time for which the chart is cast. The horizon forms the boundary between what can be seen, or the visible sky, and sky which exists on the opposite side of the earth, which exists at the same time and space, but cannot be seen. The line of the horizon cuts across the circle of the chart horizontally, and forms the most important angle of the chart: the Ascendant, or the exact place where the Sun's path crosses the horizon in the East. It is at this point that all planets and many stars appears to rise up out of what cannot be seen and become apparent to the observer. This is because the Earth's daily rotation reveals sky objects from East to West, and makes them appear to be moving from the eastern horizon across the sky to the western horizon, where they disappear again to the observer, dipping down again to the unseen sky. The western horizon, where the Sun's path meets the horizon in the West, is called the Descendant. The other very important angle of the chart is the Midheaven (also called the M.C. for the Latin Medium coeli, or "middle of the sky.") The Midheaven represents the highest point in the sky reached by the Sun, or its culmination, as it crosses from one horizon to the other—the noon point in a chart which is plotted for dawn. At the Earth's equator, it is the point on the ecliptic which is directly overhead from the observer; as the observer moves north or south from the Equator, the midheaven appears to withdraw, so that from points north of the equator, the noon point of the Sun appears to lie in the southern sky, and south of the equator, it appears in the northern sky. The point opposite the Midheaven, which is in the unseen sky, and would be the midnight point in a chart cast for dawn, is the anticulmination of the Sun, or the Imum Coeli, which is Latin for the "bottom of the sky." This is the last of the four angles."
"The angles are crucial to the understanding of the meaning of the sky map to the individual or event for which it was cast. There are no more individual points in chart. Much has been made by astrologers (deriving from the Theosophical tradition that is closely linked to much of modern astrological practice) of the quality of "coming into being" that they represent, as they represent going from the unseen to the seen. Since Theosophical astrology was tied to the idea of manifesting from the spiritual to the bodily form, the angles have come to symbolize this connection. However, even if this theory is discounted, as Bernadette Brady has noted, to all ancient peoples, the horizon was the place where the gods came into contact with the earth and became available to human supplication. Without this connection, the spiritual realm and the world had nothing to do with one another, and for that reason, astrology, which seeks to communicate between the two spheres, must use this place of connection to derive significance for the world from the sky."
"Angle (n.) member of a Teutonic tribe, Old English, from Latin Angli "the Angles," literally "people of Angul" (Old Norse Öngull), a region in what is now Holstein, said to be so-called for its hook-like shape (see angle (n.)). Or the name might refer to fishing (with hooks) as a main activity of the people, and Proto-Germanic *anguz is said also to have meant "narrow," so it might refer to shallow coastal waters. People from the tribe there founded the kingdoms of Mercia, Northumbia, and East Anglia in 5c. Britain. Their name, rather than that of the Saxons or Jutes, may have become the common one for the whole group of Germanic tribes because their dialect was the first committed to writing."
""Angle (n.) space or difference in direction between intersecting lines," late 14c., from Old French angle "an angle, a corner" (12c.) and directly from Latin angulus "an angle, a corner," a diminutive form from PIE root *ang-/*ank- "to bend" (source also of Greek ankylos "bent, crooked," Latin ang(u)ere "to compress in a bend, fold, strangle;" Old Church Slavonic aglu "corner;" Lithuanian anka "loop;" Sanskrit ankah "hook, bent," angam "limb;" Old English ancleo "ankle;" Old High German ango"hook"). Figurative sense "point or direction from which one approaches something" is from 1872. Angle-bracket is 1781 in carpentry; 1956 in typography."
"angle (v.1) "to fish with a hook," mid-15c., from Old English angel (n.) "angle, hook, fish-hook," related to anga"hook," from Proto-Germanic *angul-, from PIE *ankulo-, suffixed form of root *ang-/*ank- "to bend" (see angle (n.)). Compare Old English angul, Old Norse öngull, Old High German angul, German Angel "fishhook." Figurative sense "catch or elicit by artful wiles" is recorded from 1580s. Related: Angled; angling."
"angel (n.) "one of a class of spiritual beings, attendants and messengers of God," a c. 1300 fusion of Old English engel (with hard -g-) and Old French angele. Both are from Late Latin angelus, from Greek angelos, literally "messenger, envoy, one that announces," in the New Testament "divine messenger," which is possibly related to angaros "mounted courier," both from an unknown Oriental word (Watkins compares Sanskrit ajira- "swift;" Klein suggests Semitic sources). Used in Scriptural translations for Hebrew mal'akh (yehowah) "messenger (of Jehovah)," from base l-'-k "to send." An Old English word for it was aerendgast, literally "errand-spirit." Of persons, "one who is loving, gracious, or lovely," by 1590s. The medieval English gold coin (a new issue of the noble, first struck 1465 by Edward VI) was so called for the image of archangel Michael slaying the dragon, which was stamped on it. It was the coin given to patients who had been "touched" for the King's Evil. Angel food cake is from 1881; angel dust "phencyclidine" is from 1968."
December 6, 1969: Altamont Festival
"The Altamont Speedway Free Festival was a counterculture-era rock concert in 1969 in the United States, held at the Altamont Speedway in northern California on Saturday, December 6. The event is best known for considerable violence, including the stabbing death of Meredith Hunter and three accidental deaths: two caused by a hit-and-run car accident, and one by LSD-induced drowning in an irrigation canal. Scores were injured, numerous cars were stolen and then abandoned, and there was extensive property damage."
George Lucas: 1969 Style
"The credited camera operators for Altamont included a young George Lucas."
"Gimme Shelter is a 1970 American documentary film directed by Albert and David Maysles and Charlotte Zwerin chronicling the last weeks of The Rolling Stones' 1969 US tour which culminated in the disastrous AltamontFree Concert. .... The credited camera operators for Altamont included a young George Lucas. At the ..."
Zodiac: October 20, 1969
"At 2:00 p.m. on October 20, 1969, someone claiming to be the Zodiac called the Oakland Police Department (OPD), demanding that one of two prominent lawyers, F. Lee Bailey or Melvin Belli, appear on the local television show A.M. San Francisco, hosted by Jim Dunbar. Bailey was not available, but Belli did appear on the show. Dunbar appealed to the viewers to keep the lines open, and eventually, someone claiming to be the Zodiac called several times and said his name was "Sam". Belli agreed to meet with him in Daly City, but the suspect never showed up."
Dirty Harry Guy 1969 Style
"David Ramon Toschi (July 11, 1931 – January 6, 2018), whose personal style was the model for Bullitt and Dirty Harry, was widely known for his efforts in the San Francisco Police Department as an inspector in the Zodiac Killer case."
"George Lucas gave an interview to Empire magazine once stating that the Zodiac murders captured his imagination at the time as a high schooler and then college student at USC, and he always felt like Toschi was harshly judged for how the investigation was handled. He explained this is why he named a location on Tatooine Tosche Station, "in honor of the SFPD inspector."
"Toschi was born to the Italian-American family of Sam and Millie Toschi in San Francisco, and was an alumnus of Galileo High School. Immediately upon graduation, he joined the U.S. Army, and became a member of the 24th Infantry Division during the Korean War, honorably discharged in 1952. Returning to San Francisco, Dave joined the San Francisco Police Department, where he served from 1952 to 1987. He was assigned to the S.F.P.D. homicide detail from 1966 to 1978. He is best known for his role as a chief investigator in the Zodiac Killer case, which he and partner, Inspector Bill Armstrong, began to work on after the murder of taxi driver Paul Stine; however, he also was assigned to the Zebra murders team, and in 1985 received a meritorious conduct award for curtailing the career of a rapist/burglar. Toschi also received attention for his style of dress, including bow-ties, 'loud' plaid suits, bounteous curls, and an exaggerated trench-coat. In 1976, his quest for attention led him to send anonymous letters admiring his own efforts to Armistead Maupin, then a writer for the San Francisco Chronicle; revelation of that led to him being removed from the case in 1978. Toschi was also accused (though later exonerated) of writing one of the Zodiac letters to Duffy Jennings, which the USPS crime lab verified as authentic but was later impeached by other experts; the suspicion ended Toschi's chance of replacing S.F.P.D. chief Charles Gain. Shortly after he left the S.F.P.D., Dave became Director of Security for St. Luke's Hospital in San Francisco's Mission District, and later served the same role for San Francisco's Pan Pacific Hotel. Toschi was vice president of North Star Security Services in Daly City. He was a technical advisor to the producers of the 2007 film Zodiac." "
source: Dave Toschi
December 12, 1969: American Zoetrope Founded by Francis Ford Coppola and George Lucas
"American Zoetrope... a privately run American film studio, centered in San Francisco and founded by Francis Ford Coppola and George Lucas."
"American Zoetrope (also known as Zoetrope Studios from 1979 until 1990) is a privately run American film studio, centered in San Francisco and founded by Francis Ford Coppola and George Lucas. Opened on December 12, 1969, the studio has produced not only the films of Coppola (including Apocalypse Now, Bram Stoker's Dracula and Tetro), but also George Lucas's pre-Star Wars films (THX 1138, American Graffiti), as well as many others by avant-garde directors such as Jean-Luc Godard, Akira Kurosawa, Wim Wenders and Godfrey Reggio. American Zoetrope was an early adopter of digital filmmaking, including some of the earliest uses of HDTV. Four films produced by American Zoetrope are included in the American Film Institute's Top 100 Films. American Zoetrope-produced films have received 15 Academy Awards and 68 nominations."
"The Altamont Speedway Free Festival was a counterculture-era rock concertin 1969 in the United States, held at the Altamont Speedway in northernCalifornia on Saturday, December 6."
"A mnemonic (/nəˈmɒnɪk/, the first "m" is silent) device, or memory device, is any learning technique that aids information retention or retrieval (remembering) in the human memory. Mnemonics make use of elaborative encoding, retrieval cues, and imagery as specific tools to encode any given information in a way that allows for efficient storage and retrieval. Mnemonics aid original information in becoming associated with something more accessible or meaningful—which, in turn, provides better retention of the information. Commonly encountered mnemonics are often used for lists and in auditory form, such as short poems, acronyms, or memorable phrases, but mnemonics can also be used for other types of information and in visual or kinesthetic forms. Their use is based on the observation that the human mind more easily remembers spatial, personal, surprising, physical, sexual, humorous, or otherwise "relatable" information, rather than more abstract or impersonal forms of information."
The Zodiac & Hell's Angel Zeppelins: 1969
"Richard Harold Naylor (9 September 1889 – 1952), better known as R. H. Naylor, was a British astrologer, and the first sun sign astrologer. His horoscope of the newly-born Princess Margaret for the Sunday Express, led to a regular column that was soon copied by other British newspapers."
"In September 1930, Naylor forecast that "A British aircraft will be in danger" in October.
"On 5 October 1930 the R101 airship crashed and burned in Beauvais, France."
"Naylor was credited with a successful prediction and as a result was offered a weekly column in the Sunday Express by Gordon. His column became Britain's first regular astrology column, and such was its success that other British newspapers were soon hosting their own regular columns."
"By 1937, Naylor had developed a system using the 12 sun signs (star signs) which he called "Your Stars". This simplified system of astrology allowed twelve forecasts to be made based purely on reader's birth dates. The forecasts could be changed endlessly, thus making an ideal regular newspaper feature. Naylor's columns, however, continued to combine Star Sign forecasts by birth month with forecasts for the week ahead by day headed "Tendencies for everybody"."
"R101 was one of a pair of British rigid airships completed in 1929 as part of a British government programme to develop civil airships capable of service on long-distance routes within the British Empire. It was designed and built by an Air Ministry-appointed team and was effectively in competition with the government-funded but privately designed and built R100. When built it was the world's largest flying craft at 731 ft (223 m) in length, and it was not surpassed by another hydrogen-filled rigid airship until the Hindenburg flew seven years later. After some trial flights and subsequent modifications to increase lifting capacity, which included lengthening the airship by 46 ft (14 m), it crashed on 5 October 1930 in France during its maiden overseas voyage, killing 48 of the 54 people on board. Among the passengers killed were Lord Thomson, the Air Minister who had initiated the programme, senior government officials, and almost all the dirigible's designers from the Royal Airship Works. The crash of R101 effectively ended British airship development, and was one of the worst airship accidents of the 1930s. The loss of life was more than the 36 killed in the highly public Hindenburg disaster of 1937, though fewer than the 52 killed in the French military Dixmude in 1923, and the 73 killed when the USS Akron crashed in the Atlantic Ocean off the coast of New Jersey in 1933."
"Led Zeppelin is the eponymous debut studio album by English rock band Led Zeppelin. It was first released on 12 January 1969 in the United States and on 31 March 1969 in the United Kingdom by Atlantic Records."
First Led Zeppelin album released in January 1969.
The Hell's Angels Origins: Howard Hughes
Crashing a Zeppelin for Fun (May, 1931)
by DICK COLE
"...who gives you a look behind the scenes of the most spectacular air thriller ever made."
"Jealously guarded secrets of the amazing Zeppelin crash in “Hell’s Angels” now revealed to Dick Cole by Howard Hughes, the producer of this spectacular movie.
“Wasn’t it marvelous! How in the world did they ever take it?”
Such exclamations and questions are heard on every side as a teeming crowd pours forth from a theater after seeing “Hell’s Angels” -—the outstanding aerial war picture of the day. And it is little wonder! For several hours the spectators have been soaring 10,000 feet above the earth in a huge, wartime Zeppelin, or they have been sky-riding in a giant bombing plane. As on a magic carpet, the spectators are carried from the Zeppelin just before a heroic, Allied pilot—his machine-gun jammed—dives his plane into the gas bags of the airship. The aerial juggernaut comes hurtling out of the skies, a huge, flaming hulk; crashes to the earth with a deafening roar—-a twisted mass of glowing wreckage. This is but one of the breath-taking scenes from “Hell’s Angels.” Again the puzzling question: “How in the world did they take it?”
"Of course, anyone’s ordinary reasoning power tells one that it was not a full-size, man-carrying Zeppelin that fell from out the skies. But, to believe so, is no more erratic than to believe the know-it-all, wise guy, who tells you in tones of belittlement: “Huh! It was just faked! I know! That was just a toy balloon that they used.” Both beliefs are wrong. It was done by scale model photography. This is not comparable at all to the crude miniature stuff that is injected from time to time in pictures, and which often changes a tragic situation into a comic farce. Nor are scale models employed solely to keep down production cost. The primary purpose is to put across a scene with greater realism and finer photographic values. The use of scale models should not imply belittlement. In producing “Hell’s Angels,” it was entirely within the range of the pocket-book of the producer, Howard Hughes, to buy and to wreck a full-size Zeppelin. But, even so, the film record would not be comparable with that recorded with the use of the scale model. In the latter case, the entire set was under the complete control of the director; the set was lighted to give the best photographic values; close-up shots of the Zeppelin falling in flames and its ultimate crash to the earth were taken with precision; all of which would have been impossible if a full-size airship were used, to say nothing of the hazard to life and property.
To produce the Zeppelin scenes, Mr. Hughes gathered about him a staff of the cleverest technicians in the United States. A model Zeppelin was built—an exact replica of a German, wartime dirigible. This was built to a scale of one foot equals one inch. So the model was approximately 60 feet long and 6 feet in diameter. Quite a sizeable “miniature”! Even the framework followed closely the true Zeppelin design."
"The huge dirigible hangar at Arcadia—-adjacent to Los Angeles—was leased from the government, and in this building all the scenes of the Zeppelin were shot. Lights giving millions of candle-power were installed. Miniature sets were laid out on the floor to give suitable back-ground for vertical shots of the “Zep.” Chemical apparatus was installed to create clouds. A steel cable was stretched from one corner post to the middle of the opposite wall. The Zeppelin was suspended from a trolley which traveled on the cable. It could move along the cable about four times its length. Other cables permitted the Zeppelin to be raised or lowered at the will of an operator at an electric winch. Runways—or balconies—completely around the inside walls of the hangar, were vantage points for the numerous cameras. In addition, portable, parallel platforms could be moved anywhere on the floor. A cat-walk near the roof of the hangar was utilized for vertical shots. In presenting the picture on the screen, the Zeppelin makes its first spectacular appearance emerging from a fleecy, cumulus cloud. The clouds are seen to roll back as the nose of the airship pushes through. This is a close-up shot, and so real that it seems the Zeppelin must leave the screen and soar into the auditorium of the theater."
"How was it done? The Zeppelin is at the end of the cable farthest from the camera. Immediately in front of the airship a dense cloud of “liquid smoke” is released. This is the chemical used for laying down a smoke screen or for “sky-writing.” This gas remains as a gaseous mass for some time before diffusing into the air. The Zeppelin is slowly drawn through this “smoke.” Vivid lighting effects reproduce the smoke as a cumulus cloud. Next, the spectator is permitted to ride in the “Zep” and see its inside workings; the skeleton framework; the gas bag; the power gondolas. The motors are running—real motors. One sees the rocker-arms rock, and hears the clicking tappets. On the model Zeppelin, the propellers are turned with quarter H.P. motors. The interior sets of the Zeppelin were built full size."
"The “Zep” cruises on its way. London is its objective. A member of the crew is lowered thousands of feet in a gondola suspended by a slender cable to get their bearings. The object is to drop bombs on Trafalgar Square. The observer revolts at bombing a sleeping city. He telephones misinformation to the Zeppelin, and the bombs drop and explode harmlessly in a lake. But the Allied flyers are aroused. They take to the air in their fighting planes to battle the Zeppelin. A terrific aerial battle rages. The “Zep” fights off all planes — but one. This one climbs high above the Zeppelin. The pilot’s machine-gun jams. In heroic desperation, he dives his plane into the vitals of the Zeppelin. The giant dirigible buckles up with a broken back and bursts into flames. How was it done? Part of this scene is a sample of exceptionally clever double exposure. A drawing explains. First, a miniature airplane is swung from a wire against a flat black back-ground. This is shot with a high-speed camera—about ten times normal. When reproduced at normal speed, this would represent a full-sized plane in the distance taking a power dive of several thousand feet. The undeveloped negative of the miniature plane is rewound into the camera magazine, and a shot of the Zeppelin, moving slowly, is recorded on the same film. The composite picture is shown in the enlarged frame. The moment the airplane hits the Zeppelin the film is “cut,” and the sequence of the picture is resumed when the Zeppelin is fired. During part of the heroic dive toward the Zeppelin, seemingly the spectator is riding in the plane. This illusion was created in the hangar. The Zeppelin was suspended about half way between the roof and the floor, and the camera-man was lowered toward it. A miniature, pictorial set on the floor gave a suitable back-ground; the high-speed camera did the rest."
"Now comes the big, breath-taking scene— the fall of the flaming Zeppelin. To make sure of suitable film, fourteen cameras shot the scene. The covering of the gas bag is sprayed with kerosene. Everything is ready. Comes the director’s cry: “Camera!” A special prop in the “in’ards” of the “Zep” is jerked out. The dirigible sags in the middle, and then bursts into flames. All the cameras are in action. The man at the electric winch slowly lowers the flaming hulk. It passes into and out of the range of the cameras. When the flaming wreck is about eight feet from the floor, it is dropped with a crash. To make the falling act very vivid, a pair of cameras are in a pit in the floor covered with plate glass, and shoot the vertical fall. And the fall of a burning Zeppelin from the skies is a celluloid record. In the cutting room, the best of the shots are compiled into the finished film which the spectator sees on the screen. Be it said that all those in the hangar during the “fire” were not sorry when it was all over. The camera-men up on the cat-walk had no occasion to take a Turkish bath for six months. “Hell’s Angels” is an outstanding example of the far-reaching possibilities of the model technician’s art. Because a real Zeppelin was not used, and the crew not incinerated in the fire, should not detract the spectator’s interest in the picture. In the wild and wooly “westerners,” one knows that the Indians are not really shot off their mustangs. But if they tumble off and “bite the dust” in realistic fashion, the spectators howl their delight."
"For realism, “Hell’s Angels” stands out alone in its class."
The Spahn Ranch: 1969 Style
" ...day in court Ronnie Howard had the feeling that she was being watched... "
"When it came to the guns at Spahn Ranch, the detectives couldn't have found a better source. ... had made movies here; it was said that Howard Hughes had come to Spahn, to oversee personally the filming of portions of The Outlaw..."
"Spahn Ranch, also known as the Spahn Movie Ranch, was a 500-acre (200 ha) movie ranch in Los Angeles County, California, used for filming generally Western-themed movies and television programs. With mountainous terrain, boulder-strewn scenery, and an 'old Western town' set, Spahn Ranch was a versatile filming site for many scripts. No longer in use, the entrance to the historic ranch was at 12000 Santa Susana Pass Road (street numbers have since been changed) of the Simi Hills and Santa Susana Mountains above Chatsworth, California. Now part of the Santa Susana Pass State Historic Park, Spahn Ranch is notorious for having been the primary residence of Charles Manson and his followers, the "Manson Family", for much of 1968 and 1969."
"The ranch took its name from dairy farmer George Spahn, who purchased the property in 1948. Silent film actor William S. Hart owned the ranch prior to Spahn. Many western-themed movies and television shows were filmed on the ranch, including Duel in the Sun (1946) and television episodes of Bonanza, The Lone Ranger, and Zorro. It was also the filming location for the B-movie The Creeping Terror."
"Spahn was 80 years old, going blind and living at his ranch when he allowed the Manson Family to move in, rent-free, in exchange for labor. The family did daily chores and helped run the horse-rental business, which had become Spahn's main source of income. Despite this arrangement, Spahn was never accused of any role in the many murders for which members of the Family were later convicted, the most infamous being the Tate–LaBianca murders committed on August 9 and 10, 1969. In late 1969, Robert Hendrickson began filming the Manson Family at the ranch for his documentary film Manson. There he filmed Spahn, Lynette "Squeaky" Fromme, Bruce Davis, Nancy Pitman, Catherine "Gypsy" Share, Sandra Good, Paul Watkins and others. It is the place where the "family" lived while committing the 1969 Tate–LaBianca murders in Los Angeles. The "family" also stayed at Barker Ranch, which is located in the Panamint Range between Death Valley and the Panamint Valley in the northern Mojave Desert."
"Old High German nasa, German Nose ...something obvious...odor, scent..."
"nose (n.) Old English nosu, from Proto-Germanic *nusus (source also of Old Norse nös, Old Frisian nose, Dutch neus, Old High German nasa, German Nase), from PIE root *nas- "nose." Used of any prominent or projecting part from 1530s. (nose cone in the space rocket sense is from 1949). Used to indicate "something obvious" from 1590s. Meaning "odor, scent" is from 1894. Pay through the nose (1670s) seems to suggest "bleed." Many extended meanings are from the horse-racing sense of "length of a horse's nose," as a measure of distance between two finishers (1908). To turn up one's nose "show disdain" is from 1818 (earlier hold up one's nose, 1570s); similar notion in look down one's nose (1921). To say something is under (one's) nose "in plain view" is from 1540s."
"nose (v.) "perceive the smell of," 1570s; "pry, search," 1640s, from nose (n.). Related: Nosed; nosing."
Of Transitional Zodiac Ages:
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