If Rolling Stone was a creature of the San Francisco counterculture, its success can also be traced to its Berkeley roots.
Fame – more than art, more than religion, more than money – motivated Manson as he careened from prison, to musician, to murder. In his way, he was an early adopter of something that permeates American culture today.
Mr. Manson was not the end point of the counterculture. If anything, he was a backlash against the civil rights movement and a harbinger of white supremacist race warriors like Dylann Roof, the lunatic fringe of the alt-right.
In 1967, Charles Manson landed dead center in the country’s countercultural carnival, just a couple months before the Summer of Love. The moment he saw the sidewalk gurus in Haight-Ashbury luring young flocks of believers, he found a new calling, the perfect gig for a conniver desperate for attention.