Hey, deserving listeners. It's just me today. Today I'm doing a, I don't know,

semi-deep dive into Charles Manson or Charlie Manson. I am a little conflicted about doing

this episode because I think that when it comes to these kinds of individuals who commit horrible crimes, I think there's some problem with even talking about them.

I've talked about in other episodes about how when we prop up these individuals, we not only

ignore perhaps the more important story, which are the victims or how to prevent these kinds

of things or that sort of stuff. And instead, sort of like, we sort of create these heroes. So I have a little bit of a

problem talking about it today. So, but I think the story is, is important in a number of,

for a number of reasons, which I'll get into, but also a good portion of the ending of the conclusion of this episode

is going to be about why are we so obsessed with Charlie Manson?

It's been 50 years almost, and we're still, he's still a part of our lives, which is strange in some ways, considering all the other

events and people and figures and, you know, actual heroes that we could hold up, you know.

So that's what I'm going to talk about today. This is the Psychology in Seattle podcast. I'm your

host, Dr. Kirk Honda. I'm a therapist and a professor. I want to start the episode by talking about

an experience I had when I went to France, Paris, and specifically the Louvre, the, you know,

the big museum there. I was being, I was on a little tour. This tour guide was walking us through and,

and the tour guide said, oh, okay, so here's the big, the big moment, the big reveal, the big,

the most important piece in all of the Lou. And I'm thinking, oh, boy, you know, what's coming up? And he, and he says, and around this corner is the Mona Lisa. And, and I was like, oh, yeah, Mona Lisa, that's right. I've, you know, it's one of the, I'm not an art person. So I said, oh, okay, I've, you know, I've, I've, I've heard of it, blah, blah, blah. And I came around

the corner, and I instantly was, everything sort of shifted in my head as I took in the scene,

because one, the painting is not large. When you go to the Louvre, a lot of their highlighted paintings are at a minimum,

like, I don't know, six feet by six feet kind of a thing. Monalisa, I think is, I don't know,

maybe two feet, maybe even less than that. So, so as just a visual feast, shall we say, it was not impressive because you actually can't get close to it because they rope it off and it's behind glass.

It's one of the only things that's behind plexiglass.

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