Bugsy Siegel death house for sale in Beverly Hills

Bugsy Siegel death house for sale in Beverly Hills


Benjamin “Bugsy” Siegel rented this 7,100-square-foot mansion at 810 N. Linden Drive in Beverly Hills, California, for his girlfriend Virginia Hill. He was sitting in the living room when he was shot through the front window. Courtesy of Nourmand & Associates

The Beverly Hills, California, mansion where Benjamin “Bugsy” Siegel was shot to death in 1947 is on the market for $16.9 million, giving many their first glimpse, through current photographs, of the home’s lavish interior.

Though the house at 810 N. Linden Drive has seven bedrooms and seven bathrooms, people familiar with Mob lore are drawn to one room in particular — the living room where the 41-year-old mobster was killed by a gunman firing through a window from outside the home.

Siegel had leased the residence for his girlfriend, Virginia Hill. The lease was due to expire in three days. She was not there, having left for Paris, as her relationship with Siegel was becoming increasingly volatile. Siegel had flown in from Las Vegas to retrieve clothing and other personal items while awaiting a visit from his daughters arriving by train from their home in New York. He was planning to take them to Canada on vacation.

Before that could happen, the gunman ended Siegel’s life, sparking curiosity about the house that continues to this day, with people regularly driving up and pulling over to photograph the palatial exterior.

The inside has been less available for public viewing. Myra Nourmand, the real estate agent handing the sale, said in a telephone interview that tours are available only to serious potential buyers, not “lookie-loos” who just want a peek at the interior and famous living room.

However, she said the living room, though refurbished, including a new fireplace mantel, is the same as it was on the night when Siegel was killed. For instance, the windows are the same that the gunman peered through, though the panes have been upgraded.

Overall, the room is “beautifully furnished,” she said. “It’s a lot nicer than it was. You would never know there was a shooting.”

Siegel shooting remains unsolved

On December 26, 1946, about six months before Siegel was shot to death, he opened the Flamingo Hotel south of Las Vegas on the highway to Los Angeles. Virginia Hill was with him for the grand opening.

That highway, now lined with megaresorts, is known today as the Las Vegas Strip. The Flamingo is still at the same location, though none of the original buildings remain.

On the evening of June 20, 1947, Siegel was sitting on the couch in the living room of the Beverly Hills house when shots were fired through the front window. He was hit four times, including two times in the face.

Siegel had taken over construction of the Flamingo from Billy Wilkerson, a Los Angeles nightclub operator and publisher of the Hollywood Reporter. A compulsive gambler who burned through money, Wilkerson lacked the financial wherewithal to complete the project.

The Flamingo didn’t remain in Siegel’s hands for long. Just before 11 p.m. on June 20, 1947, a gunman aiming a carbine from outside the house fired nine shots at Siegel where he sat on a couch only 14 feet away, striking him four times, killing him instantly. Allen Smiley, a Siegel associate, also was on the couch when the shooting started. A bullet ripped Smiley’s jacket, grazing his left arm.

Photographs showing a bloodied and lifeless Siegel on the couch are in mass circulation online and in print publications, serving as a reminder of the underworld violence during that era. The shooting was dramatized in the 1991 movie Bugsy, starring Warren Beatty as Siegel and Annette Bening as Hill.

Several theories exist for why Siegel was shot. Some believe leaders of the East Coast crime syndicate financially backing the Flamingo project were upset about cost overruns. Others contend Siegel was gunned down in a battle to control the race wire transmitting results from horse tracks across the country to bookmakers in the West. Another theory holds that a brother of Hill’s, upset at Siegel for brutally mistreating her, fired the fatal shots.

While these and other theories are the subject of continued debate, the gunman has never been positively identified. The Beverly Hills Police Department considers the high-profile killing to be an open case and will not release the Siegel file.

Special place

Nourmand, the real estate agent, said most potential buyers are not spooked that a murder occurred at the home.

California Realtors are required to reveal recent deaths at a residence, with certain exceptions, but the Siegel shooting is no secret. It is highlighted in the home’s picture presentation on the Nourmand and Associates website.

This is the living room where Siegel was sitting when he was assassinated. Courtesy of Nourmand & Associates

Nourmand said the residence is spectacular, with an impressive architectural appearance from the street. The 7,092-square-foot home, built in 1928 and sitting on a half-acre lot, has “a tremendous presence,” she said.

Inside, the Spanish Colonial mansion features original stained glass and wrought iron, as well as hand-pained tiles, hardwood floors and beamed ceilings.

Even so, high-end buyers sometimes flatten older homes to start over with a modern showpiece.

Also, some buyers demolish houses that have been the site of killings, including, in Southern California, the Cielo Drive home where Charles Manson followers killed pregnant actor Sharon Tate and four others in August 1969, scrawling “pig” in Tate’s blood on the front door.

Nourmand said she doubts a buyer will tear the Linden Drive home “down to the studs,” though a new owner might choose to do some remodeling.

The backyard of the North Linden Drive home features a swimming pool and large garage. Courtesy of Nourmand & Associates

With its high ceilings, natural light and redone bathrooms and kitchen, the North Linden residence has a special appeal inside and out that can’t be matched, she said.

“They don’t build them like that anymore,” Nourmand said. 

‘A Mob shrine’

Historian Larry D. Gregg said the Siegel death house might not appeal to all buyers, but he stressed that it has a distinctive mystique.

“So many Americans love the lore and gore associated with organized crime,” he said in an email. “For those who have followed the Siegel saga, it likely would have a great appeal. The new owners could entertain guests with tales of this fascinating person who once leased the property.”

Gragg, author of Benjamin ‘Bugsy’ Siegel: The Gangster, The Flamingo, And the Making of Modern Las Vegas, said the luxurious mansion “fits Siegel’s tastes.”

“This man, born in poverty on the Lower East Side of New York, engaged in true conspicuous consumption whether in wardrobe, his automobiles or where he lived,” Gragg said.

With an apartment in New York City’s Waldorf Astoria and other residences, Siegel enjoyed proving that he had overcome his modest origins, Gragg said.

“It adds much to the mystery of his death in the sense that he was not murdered out in the desert or on a deserted street,” the author said. “Siegel died in a stunning home.”

The main entry space to the home is highlighted by a spiral staircase. Courtesy of Nourmand & Associates

Mob expert Eric Dezenhall, whose published books include fiction and nonfiction on organized crime, said he doesn’t know many people who would want to live in a murder house, “but the prospect of having dinner guests over and getting a midnight visit from the ghost of Bugsy Siegel would be kind of cool.”

“I can see a Hollywood director going for it,” Dezenhall said in an email.

Dezenhall said the well-known death photograph of Siegel on the couch “with his face bloody and eye popped out is a cultural meme and a parable.”

“It’s everything we love about the Mob in one image — the glamor and the violence, not unlike why we can’t let go of the JFK assassination,” Dezenhall said. “If the Mob is a secular American religion, the Linden house is a shrine.”

Larry Henry is a veteran print and broadcast journalist. He served as press secretary for Nevada Governor Bob Miller, and was political editor at the Las Vegas Sun and managing editor at KFSM-TV, the CBS affiliate in Northwest Arkansas. Today, he is a senior reporter for Gambling.com. The Mob in Pop Culture blog appears monthly.





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We wanted to include everything! Behind the scenes of From Pepinot to PAW Patrol® – Television of our Childhoods

We wanted to include everything! Behind the scenes of From Pepinot to PAW Patrol® – Television of our Childhoods









Olivier Côté, Claire Champ, Carolyn Lecorre





Over the past few years, for the team developing From Pepinot to PAW Patrol® – Television of our Childhoods, the good news was that the history of Canadian children’s television was bigger than we could ever have imagined, and the bad news was that the topic was bigger than we could ever have imagined.

One of our team’s goals was to create a full experience of the rich, diverse history of 70 years of Canadian children’s television for the Canadian Museum of History’s visitors. Space filled up quickly, with so many programs created from coast to coast to coast to consider. From thousands of programs, we squeezed in artifacts from 35 shows and video excerpts from almost 100 shows.

We wanted the exhibition to reconnect visitors with favourite programs from their childhoods and to introduce visitors to wonderful programs that were not part of their generation, or their language or cultural background growing up. Given the richness of the topic, we focused on programs with enduring popularity that were made for national, francophone or anglophone audiences, and for Indigenous communities.

From Pepinot to PAW Patrol® – Television of Our Childhoods, Photo by Janet Kimber

From Pepinot to PAW Patrol® – Television of Our Childhoods, Photo by Janet Kimber

Caring for fragile treasures

A significant challenge that emerged during development of the project was how ephemeral popular culture heritage is. For television artifacts that have survived, it was amazing to see our colleagues — the conservation team at the Museum — treating childhood favourites just as carefully as they would treat any national treasures.

1) Museum textile conservator Brenna Cook examines a damaged polyester net on Polkaroo’s head to determine whether it requires treatment. 2) Museum objects conservator Jennifer Ann Mills applies a treatment to help preserve the exterior walls of Mr. Dressup’s tree house. 3) Museum objects conservator Emily Lin and preventive conservation technician Rebecca Latourell take samples from a puppet in the Museum’s collection. Once the samples are analyzed, they decide on the best treatments.

1) Museum textile conservator Brenna Cook examines a damaged polyester net on Polkaroo’s head to determine whether it requires treatment. 2) Museum objects conservator Jennifer Ann Mills applies a treatment to help preserve the exterior walls of Mr. Dressup’s tree house. 3) Museum objects conservator Emily Lin and preventive conservation technician Rebecca Latourell take samples from a puppet in the Museum’s collection. Once the samples are analyzed, they decide on the best treatments.

Ephemeral culture

Puppets, costumes and sets for TV productions are made as working materials, and they may not be saved as cultural heritage. For example, we would still love to find Ciboulette, the clever and affectionate grey cat from Félix et Ciboulette.

As well, physical and digital copies of original recordings may not be archived. In the past, expensive film footage was often reused. The Museum has in the national collection seven puppets from Planet Tolex (made in 1953–1954 by CBC Toronto), a very early science fiction program for children, for which no original footage seems to have survived. The puppets are fantastical, and we can only imagine the wild world and adventures of the residents of Tolex, a planet hidden behind the sun. If anyone has more information, we would love to know!

Worm, rod puppet, Canadian Museum of History, 94-1142. Creators: Dora and Leo Velleman Space creature, hand puppet, Canadian Museum of History, 94-1908, CD1997-0229-095. Creators: Dora and Leo Velleman

Worm, rod puppet, Canadian Museum of History, 94-1142. Creators: Dora and Leo Velleman
Space creature, hand puppet, Canadian Museum of History, 94-1908, CD1997-0229-095. Creators: Dora and Leo Velleman

Pearl van Oyster, mouth puppet, Canadian Museum of History, 94-1098 a-b, IMG2008-0014-076. Creator: Barry Rosenberg

Pearl van Oyster, mouth puppet, Canadian Museum of History, 94-1098 a-b, IMG2008-0014-076.
Creator: Barry Rosenberg

Keeping it professional

As well, we must admit that many of us had personal favourites that we lobbied for. There are so many programs that were delightful, but short-lived or limited in distribution.

For at least one of us, Mrs. Pearl Van Oyster from The Waterville Gang (produced by CTV’s CFTO-TV, 1972-1974), still appears to our inner child as the height of 1970s glamour. We didn’t have space for her or her friends in the exhibition but, fortunately, the show’s aquatic community is housed in the Museum’s collection.

We also had to manage the expectations of our loved ones who wanted to know if memorable parts of their childhoods were being considered, such as The Hilarious House of Frightenstein, the 1971 one-season cult classic from Hamilton’s CHCH-TV that featured Vincent Price, or the early 80s Les voyages de Tortillard (also known as The Secret Railroad), with the animated adventures of a boy who finds a magical steam train in the basement of his apartment building.

We couldn’t include any of these, not because they weren’t amazing, but because there are so many programs of long duration and wide impact to acknowledge.

So much more to tell

Our focus is on storytelling programs that teach children and bring them to rich imaginative worlds. As such, there are still so many other genres to explore:

  • Quiz shows: Reach for the Top, Les Satellipopettes (we include the costume but not the quiz challenges)
  • News magazines: Les Débrouillards, Street Cents, Razzle Dazzle (we include the hosts waving to viewers, but not their documentary topics)
  • Sketch comedy programs: Pop Citrouille, You Can’t Do That on Television, Le Club des 100 watts, Dans une galaxie près de chez vous, Radio Enfer, Une grenade avec ça?
  • Regional gems: Yes, we see you The Uncle Bobby Show and Miss Helen

The topic of Canadian children’s television is bigger than we could take on, and we have a very real hope that the exhibition and catalogue will inspire others to research, document and celebrate our popular culture and television heritage.

We appreciate that many fans, experts and institutions are committed to Canada’s rich contributions to popular culture, and there is growing attention to our histories of music, radio, television and other new forms of media.

If anyone is launching a celebration of Canadian popular culture, we would be happy to bring coffee and donuts to the opening! For the history of Canadian children’s television specifically, there is still so much scope for conferences, oral histories, documentaries, coffee-table books, encyclopedias, wikis, and even more exhibitions.

If you visit the exhibition — and we hope you will — we hope that you will find many of your favourites in the video excerpts and in the artifact displays. If there is something personal that is missing, please know that we share your passion for childhood memories of television.

You may also be interested in:

Claire Champ, Olivier Côté, and Carolyn Lecorre are part of the multidisciplinary team that collaborated to create the exhibition.

Claire Champ, Olivier Côté, and Carolyn Lecorre

Claire Champ, Olivier Côté, and Carolyn Lecorre

Claire Champ is a creative development specialist at the Canadian Museum of History. Her work focuses on creating engaging experiences for visitors in exhibitions.

Olivier Côté is the curator responsible for media and communications at the Canadian Museum of History. A television historian, he is particularly interested in children’s programs. For the exhibition, he worked to identify the must-see programs. He did the preliminary research on clips, objects and images for the exhibition, and wrote the first draft of the exhibition texts.

Carolyn Lecorre is a media producer at the Canadian Museum of History. Filming, editing, directing, coordinating, producing — these are all the hats she wore to create this exhibition.










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Pandemic Protests and “Freedom Convoy” Context

Pandemic Protests and “Freedom Convoy” Context









James Trepanier, Daniel Neill





This month marks the one-year anniversary of the end of the month-long protests known as the “Freedom Convoy.” It also marks the one-year anniversary of the invocation of the Emergencies Act by the federal government ― a historic first in Canada ― which was meant to help clear Canada’s capital of protesters (and their vehicles) occupying the downtown core, in addition to dealing with blockades of key border crossings and smaller protests across the country. In the coming days, the Public Order Emergency Commission (POEC) will release its report, including recommendations about possible changes to the Emergencies Act and how it should be used in the future.

Emotions about the Convoy remain high across the country, but particularly in the Ottawa-Gatineau region. Cleanup of the city in the aftermath of the protests was swift ― so swift that it made collecting any objects difficult. Nevertheless, the research team at the Canadian Museum of History has been working to document this important moment in Canada’s pandemic experience, as part of its broader efforts to document the COVID-19 pandemic.

Public Health Protests Past and Present

Action4Canada flyers handed to parents

Action4Canada flyers handed to parents as they picked up their children from an Ajax, Ontario school in February 2022, 2022.50.1.

As the protests played out in Ottawa, similar rallies were organized across the country in support of the Convoy. Researchers have been able to recover anti-public health materials from these events. These flyers, for instance, were handed to an Ajax, Ontario mother in early February of 2022 as she picked up her child from school. Upon arriving home, she realized that the flyers called for an end to COVID-19 vaccine and mask mandates, while also making claims about the dangers of vaccines and other public health measures like masking and social distancing.

Describing itself as a grassroots movement founded on “Judeo-Christian biblical principles,” Action4Canada aims to unite Canadians in opposition to policies it sees as harmful to Canadian society. The group is known for its strong views on freedom of speech and its opposition to what it calls “political Islam,” “political LGBTQ,” and 5G technology. These flyers include numerous claims that contradict accepted scientific evidence and public health advice from the World Health Organization and Health Canada. Many of these conspiracy theories were, or are, self-propagating. Like anti-vaccine and anti-public health protest movements of the past, the actions of groups like Action4Canada showcase how fear and misinformation can flourish during public health emergencies.

Community Response: The “Battle of Billings Bridge”

1) “Battle of Billings Bridge” t-shirt given to Robert Talbot by a neighbour, 2022.39 2) Selfie taken by Talbot during his participation in the "Battle of Billings of Bridge,"

1) “Battle of Billings Bridge” t-shirt given to Robert Talbot by a neighbour, 2022.39
2) Selfie taken by Talbot during his participation in the “Battle of Billings of Bridge,” February 13, 2022

It was also important to collect perspectives of Ottawa residents during the protests. A key flashpoint was the weekend of February 12–13 when, frustrated by a lack of action from police, some downtown residents organized actions of their own. The “Battle of Billings Bridge” was one of the highest profile community-led initiatives, organized via social media networks and intended to block further protesters from entering downtown.

Window signs made by the family of Robert Talbot

Window signs made by the family of Robert Talbot, 2022.39

Robert Talbot decided to join the checkpoint at Billings Bridge in a show of solidarity and frustration. Talbot lives with his family in Ottawa’s Centretown neighbourhood. He, his partner, and their young children had all been subject to the noise, lewd signs, air pollution, dangerous driving, and, in the case of his 11-year-old son, harassment about wearing a mask while walking home from school. He and his family also decided to counter what they saw as the Convoy’s appropriation of the Canadian flag by putting handmade signs in their home’s front window that said, “It’s our flag too!” and “We (heart) Science!”

Review and/or Reform? Commissions of Inquiry

1) Canadians could pledge their support for striking workers through Workers’ Liberty Bonds, funded by donations to the Worker’s Defence Fund, run by the Winnipeg Trades and Labour Council and the One Big Union. Worker’s Liberty Bond, 1919. CMH M-555 a-b 2) Winnipeg Special Police billy club, Retained by J.S. Woodsworth, Protestant minister and social activist, 1919, Gift of Grace MacInnis, CMH, D-9261

1) Canadians could pledge their support for striking workers through Workers’ Liberty Bonds, funded by donations to the Worker’s Defence Fund, run by the Winnipeg Trades and Labour Council and the One Big Union. Worker’s Liberty Bond, 1919. CMH M-555 a-b
2) Winnipeg Special Police billy club, Retained by J.S. Woodsworth, Protestant minister and social activist, 1919, Gift of Grace MacInnis, CMH, D-9261

As for what kind of reforms or changes the POEC might recommend in its report, public security and police inquiries of the past provide some useful context. In May 1919, roughly 30,000 Winnipeg workers — angry about high inflation, dismal working conditions, and minimal labour rights (particularly collective bargaining rights) — joined a building-trades strike already in progress. The Winnipeg General Strike sparked large sympathy strikes across the country, and tensions in the city were high. Government and the business community reacted swiftly: 1,800 special constables replaced sacked municipal police officers. On June 21, 1919, the mounted police forcefully suppressed a final mass demonstration, which ended with two dead, 34 wounded, and 84 arrested.

Winnipeg Special Police arm band, 1919, Gift of the Winnipeg Police Museum

Winnipeg Special Police arm band, 1919, Gift of the Winnipeg Police Museum, CMH, 2006.25.3

An oft-neglected facet of the end of the strike was a special Royal Commission negotiated between strikers and the Manitoba provincial government to investigate the factors leading to the strike and possible remedies. Led by respected provincial jurist Hugh Amos Robson, the commission’s report laid bare the growing class disparities in postwar Winnipeg, arguing, “There has been and there is now an increasing display of carefree, idle luxury and extravagance on the one hand, while on the other is intensified deprivation.” While many of its recommendations, particularly those connected to collective bargaining rights, went unheeded for decades, it remains a valuable perspective on economic conditions of the time.

The October Crisis and the Emergencies Act

A more recent example of investigation after a public emergency came in the aftermath of the October Crisis in Quebec in 1970. The invocation of the War Measures Act ― granting authorities sweeping search and detention powers ― marked its first use in peacetime.

1) Paperboy for the Ottawa Journal announcing invocation of the War Measures Act, October 16, 1970, Photo by Peter Bregg, Canadian Press, 9224239 2) Ballistic Protective Helmet, 1960s, Canadian War Museum, 19810910-003

1) Paperboy for the Ottawa Journal announcing invocation of the War Measures Act, October 16, 1970, Photo by Peter Bregg, Canadian Press, 9224239
2) Ballistic Protective Helmet, 1960s, Canadian War Museum, 19810910-003

In the aftermath of the crisis, both the Quebec provincial government and the federal government called commissions of inquiry investigating this suspension of civil liberties and the ethical implications of police actions during the October Crisis. The recommendations of the two provincial inquiries in Quebec focused mostly on preventing abuses of power by police in future crises, while the federal McDonald Commission was a wider-ranging investigation of RCMP behaviour during and after the October Crisis, including illegal raids of political party headquarters and media offices. The latter’s recommendations would take years to implement, but brought significant change through the severing of national security responsibilities from the RCMP to a new body, the Canadian Security Intelligence Service in 1984. A new federal Emergencies Act replaced the War Measures Act in 1988, another of the commission’s recommendations. The new Act provided a narrower scope of powers to be used in national emergencies (particularly surrounding police powers), while also providing broader parliamentary oversight to its use. The new law also required a full public review after each invocation of the powers of the Act.

Whether or not this inquiry will trigger substantive change and become another record for future historians remains to be seen, but these layers of perspectives will doubtless prove valuable in future explorations of Canada’s pandemic experience.

Further Reading

  • Tom Mitchell, “Strike or Revolution? H.A. Robson’s Inquiry and the Winnipeg General Strike,” Manitoba Law Journal Vol. 42 (no. 2), 56-84.
  • Reg Whitaker, Gregory S. Kealey, and Andrew Parnaby, Secret Service: Political Policing in Canada from the Fenians to Fortress America (Toronto: University of Toronto Press, 2012).
James Trepanier and Daniel Neill

James Trepanier and Daniel Neill

James Trepanier is the Canadian Museum of History’s Curator for Post-Confederation Canada. His research areas touch on the social, cultural and political history of Canada in the 20th century. Originally from British Columbia, James credits debates at the family dinner table with helping to spark his interest in history and education.

Daniel Neill is the Researcher in Sport and Leisure at the Canadian Museum of History. He is also a musician and Ph.D. candidate in ethnomusicology at Memorial University of Newfoundland.










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