Category Archives: Life & Death

THE BIG REASON WHY O.J. SIMPSON GOT OFF MURDER

They called it the trial of the century. I call it the travesty of all time. Either way you look at it, the O.J. Simpson murder case was exceptionally high profile. Millions of people around the world watched the eleven-month spectacle known as the O.J. trial. It had all the right TV elements—celebrity superstar, the Dream Team defense, allegations of corrupt cops, supposedly compromised witnesses and contaminated evidence, not to mention playing the race card from the bottom of the deck. It ended with O.J.’s acquittal when the jury nullified his indictment. Twenty-five years later, the big reason why O.J. Simpson got off murder is now black and white.

Before examining the big reason why O.J. got off, it’s necessary to look at the overall picture—the preponderance of the evidence—and examine investigation and trial components to see what went wrong. It’s the combination of prosecution errors and defense counsel tactics that turned an open-and-shut homicide case into a three-ring media circus. Ultimately, this shameful chain of events caused jurors to reject convicting an absolutely 100% guilty man.

How I got onto this subject was recently reading (or trying to read) Outrage by Vincent Bugliosi. The 1996 book is subtitled The Five Reasons Why O.J. Simpson Got Away With Murder. You might recall who Vincent Bugliosi is. He’s the power-prosecutor who put away the Charles Manson Family and wrote the book Helter Skelter.

Vincent Bugliosi had no part in the O.J. prosecution. He was commissioned to write a critical book. As a lawyer who prosecuted over a hundred murders in his career, and losing only one, Bugliosi earned the right to critique the O.J. trial. That he did with ferocity in Outrage.

I find Bugliosi’s writing style hard to read. He’s verbose and rambling, bombastic and sarcastic, not to mention arrogant and conceited. Give me a good Bob Woodward book any day, but I did make it through Outrage. I also went down a spiraling research tunnel that started with internet rabbit-holing, and I found more people with equally-great accreditations who had one more point to offer than Bugliosi’s five reasons why O.J. got off the murder charges.

I agree with all five of Vincent Bugliosi’s reasons. Just because I don’t particularly care for his script doesn’t mean he’s wrong on any point. I just think he missed another major point that led to the indictment’s nullification—and he failed to summarize his five points into the one big reason why O.J. Simpson got off murder. Before I list Bugliosi’s five criticisms, the 6th point, and the overall #1 reason, let’s do a quick review of the case history.

The O.J. Simpson Case History

Orenthal James Simpson was a black National Football League superstar. He was also a movie star and product endorser for a major orange juice producer. Over the years, O.J. got the nickname “The Juice”.

O.J. married Nicole Brown, a white woman, in 1985. They were wealthy, had two children, and had a host of celebrity friends. They also had extreme marital challenges—many fights that ended in violence.

Looking back, Nicole Brown-Simpson was the classic victim of battered woman syndrome. The murder investigation identified sixty-two documented incidents where the Simpsons fought. They resulted in his threatening her life, her seeking protection in women’s shelters, and even the police intervening and arresting O.J.

Nicole filed for divorce in February 1992. She cited irreconcilable differences rather than repeated assaults and mental cruelty. Despite the divorce, O.J. kept stalking Nicole. She called a women’s shelter four days before her death, reporting continual harassment from O.J. and that a set of keys for her home were missing.

On June 12, 1994, Nicole Brown-Simpson attended a dance rehearsal for her daughter in Santa Monica, California which is the Los Angeles suburb where they lived. O.J. was there as a legitimate father, and he attempted to reconcile with her. Nicole refused. She then went to dinner at a restaurant where Ron Goldman worked.

Ron Goldman and Nicole weren’t a romantic item. They were friends, and Nicole’s mother accidently left her eyeglasses at the restaurant when the dinner party left. Once Nicole got home, a phone call verified the glasses were left behind and Ron Goldman offered to drop them off at Nicole’s home when he got off work.

Nicole Brown-Simpson and Ron Goldman were found stabbed to death outside Nicole’s home. They were discovered by a neighbor at 12:10 a.m. on June 13, 1994. Autopsies indicated their times of death to be approximately 10:30 p.m. on June 12.

O.J. Simpson was an immediate suspect. The LAPD followed a trail of blood from Nicole’s home to O.J.’s estate—a five-minute drive away. O.J. was already gone. He’d taken a red-eye to Chicago and was in a hotel room when LAPD detectives phoned him to give him the notice that his ex-wife was dead.

O.J. Simpson flew home to Los Angeles. He consented to an interview with detectives in which he denied involvement in Nicole and Ron Goldman’s deaths. He could not offer a verifiable alibi for the murder time, and he gave a weak explanation for a recent cut on his left hand.

The LAPD investigative team identified enough physical evidence to tie O.J. Simpson to the murder scene, as well as tying the victim’s blood to his personal residence. The DA filed a two-count murder indictment against Orenthal James Simpson for the criminal deaths of Nicole Brown-Simpson and Ronald Goldman.

The DA and O.J. Simpson’s lawyer worked out a surrender deal. But, instead of surrendering at the police station, O.J. Simpson pulled off the most famous slow-speed chase in the history of the world. Many millions watched on live TV as O.J. in a white Ford Bronco crawled along a LA freeway—O.J. in the back with a handgun to his head as his buddy drove slowly along with a mass of lights-flashing police cars right behind.

O.J. finally surrendered—without a violent incident. He went into custody while the police searched the Bronco. Besides O.J. leaving three letters which amounted to confessional suicide goodbyes, the police found $8,000 in cash, his US passport, a disguise with a hat and false whiskers, as well as a change of clothing and a .357 revolver. If there ever was evidence of a flight risk, this was it, and O.J. Simpson remained in custody for the next year and a half while his eleven-month farce trial played out.

I’m not going to go into the mass of evidence surfaced in the Brown-Goldman investigation and dealt with in the O.J. Simpson trial. That is far too complex for a blog post. Unfortunately, it was far too complex for the prosecution team to present, and far, far too complex for a jury to grasp—especially when the Dream Team defense did everything they could do to cloud the jurors’ vision.

In Outrage, Vincent Bugliosi identified five reasons why O.J. Simpson got away with murder. I’m convinced he’s right. However, I’m convinced there’s one more significant reason why the jury nullified Simpson’s indictment. But we’ll start with Mr. Bugliosi’s points.

1. Media Crime and Pretrial Coverage Influenced the Jury

I have no doubt whatsoever the massive live-media coverage of the slow-speed, white Bronco chase embedded itself in the nation’s psyche. Especially Los Angelers where it hit close to home as they scurried to overpasses to watch the scene pass by. You just don’t forget something as crazy as this.

I know I didn’t. I watched the performance up in Canada, and I was a murder cop with eighteen years of experience when this nut-show went down. I’d certainly heard of O.J. Simpson from his NFL fame, and I kinda got a kick outa his spoofy character in the Naked Gun movie.

I can’t imagine the impression the chase, arrest, and the wait-up to the trial took on the Los Angeles jury pool. And I can’t imagine anyone able to serve on the jury not hearing of the pre-trial events. Or having a pre-formed opinion about O.J. Simpson, his domestic situation, and the Los Angeles justice system.

2. Venue Change From Santa Monica to Downtown LA

Bugliosi is livid about this in Outrage. He has a good right to be. This was a shady, shady deal. Bugliosi pins this on a political move by the LA County Da, Gil Garcetti, who Bugliosi greases as a political hack of the lowest form.

Bugliosi may be right, or he may be wrong, about DA Garcetti’s character. But the decision to venue change from the suburban crime scene jurisdiction of Santa Monica to the urban downtown core of the City of Angeles was a fatal move. The juror gene pool racial demographics of inner LA compared to outer SM are cheese to chalk. The juror perceptions are even further apart.

O.J. Simpson and Nicole Brown-Simpson lived in upscale Santa Monica because that’s where their peers lived. O.J. was no more inner-city black than I am an Ivy League white. There’s a thing in jury common law that says a person has the right to be tried by peers in their local jurisdiction. (It might even be in the Constitution—yes, just checked.  Amendment 6 covers this for US citizens.) Putting the Simpson case into a downtown LA jury pool, rather than into a Santa Monica peer-pool—a lesser-educated and racially different peer-pool—entirely changed the social dynamics, and this seriously affected the jury panel’s psyche.

3. The Judge Lance Ito Factor

Who can forget the totally-out-of-his league O.J. Simpson trial judge by the name of Lance Ito? This guy had no more business running a major murder trial than I do performing in Carnegie Hall. Man, what a travesty of justice, and he was sitting on the bench through the entire process.

Bugliosi dismisses Lance Ito as a star-struck buffoon—someone who was unfit for Night Court (if anyone remembers the old comedy sit-com where the judge was actually the one with street smarts) or to replace Judge Judy. Good Lord, during the trial Judge Lance Ito would accept fan gifts and invite celebrities back into his chambers.

Bugliosi finds many faults in Lance Ito—justifiably found faults. But the biggest fault he finds in Ito—and a fatal fault for the trial—was Ito allowing the Dream Team defense to gut Detective Mark Fuhrman and drag his entrails through the trial muck as a racist goon who surreptitiously planted false evidence to frame The Juice. This lack of judicial ethics and irresponsible legal jurisprudence did enormous damage to the jurors’ impartial mindset.

4. Horrible Prosecutor Performance

Marcia Clark and Christopher Darden led the O.J. Simpson prosecution. Bugliosi criticizes Clark, a white woman, as being far beyond her experience and competency in handling the OJ case. He suggests that Darden, being a black man, was only there to serve as a token colored man.

I don’t want to pull the race card regarding the black and white prosecution pair as the dream team did, but I think both Marcia Clark and Chris Darden weren’t up for the job. In Bugliosi’s opinion, and mine, Clark and Darden blew it. Big time. Especially in clearly explaining the physical evidence like DNA in the bloodstains so the common juror could understand and accept the reality of how the murders happened and who caused them.

Bugliosi lists dozens of f-ups the prosecutors pulled. They didn’t establish O.J.’s motive by fully exposing the battered woman syndrome. They failed to disclose O.J.’s desperation to avoid capture during the Bronco chase. The jury never heard of the guilt-admission notes and the disguise, let alone of O.J. Simpson’s incriminating statements made to friends and the police. All around, Bugliosi paints a portrait of a weary and beaten pair of prosecutors who just wished the pain would stop.

5. The Prosecutors’ Final Submission

Bugliosi leads his reader through a maze of evidence. He sets the scene for prosecution failure from the onset, and it gets worse as the story unfolds. I kept reading, even though I wished he’d just shut up and tell the goddamn story as Stephen King so wisely advises in his tutorial to writers.

Clark and Darden played right into the race card trap the Dream Team ingeniously set for them. By ingeniously, I don’t mean it was truthfully, morally, or ethically right. It was the defense strategy right from the start, and the prosecution was blind to it.

The prosecution summary—the summation to the jury—agreed that Mark Fuhrman, the racism whipping boy, was a racist, however, that should not detract from the factual evidence showing O.J. was guilty. Jonnie Cochran, of the Dream Team, blew it out of the water by saying Fuhrman was, “A genocidal racist, a perjurer, America’s worst nightmare, and the personification of evil who single-handedly planted all of the evidence in an attempt to frame Simpson for the murders based purely on his dislike of interracial couples.”

Judge Lance Ito let ‘er slide.

——

I completely agree with Vincent Bugliosi’s five points about why O.J. Simpson got away with murder. But I think there’s one more. It’s a major point which, in the culmination of the Bugliosi Five, supports the big reason—the root cause—of why OG Simpson got off murder.

It’s not just the showmanship of the media lead-up with the slow-speed chase. It’s not just the celebrity hype. It’s not just the venue change. It’s not just the Ito factor. It’s not just poor prosecutor performance. And it’s not just the piss-poor summation.

It’s something much deeper that was at work during the O.J. Simpson murder trial.

Racism.

O.J. Simpson was ethnically black. Throughout his professional life, though, O.J. Simpson was essentially white. He worked with white people. He socialized with white people. He married a white woman. And his Dream Team was essentially white—exception being Johnnie Cochran.

O.J. Simpson’s jury was essentially black. There were nine black jurors, two white jurors, and one Hispanic juror on the panel. They were sequestered for 265 days and, if you know of the Stockholm Syndrome, you can imagine the long-term influence that confinement had on the jurors.

After eleven months of sole interaction, the O.J. Simpson jurors returned a not guilty verdict on all counts after less than four hours of deliberation. Their minds were made up, and there was little discussion. Unanimously, the O.J. Simpson jury nullified the indictment charging O.J. with murdering Nicole and Ron.

Null? Nullify? Nullified? Nullification? I’ve used variances of nullification throughout this piece. In my opinion, nullification by the jury is the big reason why O.J. Simpson got off murder.

Null is a legal term. You’ve heard of a contract being “null and void”. Nullify means rejecting the deal and putting an end to it. For jury trials, Merriman Webster dictionary says it means, “Acquitting a defendant in disregard to the judge’s instructions or contrary to the jury’s finding of fact.”

In the O.J. Simpson indictment, where he stood charged with intentionally murdering Nicole Brown-Simpson and Ron Goldman, the evidence was overwhelming that O.J. was 100% guilty. A blind half-wit would conclude that upon impartially hearing the evidence. However, the O.J. Simpson trial jurors unanimously disregarded the facts, and their duty to find the facts and decide to ignore the facts. Their impartial judgment was seriously compromised by the well-played defense race card.

There was a recent undercurrent to the O.J. jury decision, or their decision to nullify the indictment. Rodney King. You might remember the Rodney King trial from 1983 where white police officers were acquitted for beating King, a black man. King’s jury held ten whites, one Latino, and one Asian. Two years later, a reverse racial mixture acquitted or nullified the indictment of O. J. Simpson.

Nullification is an old legal concept. It’s been around for centuries and refers to cases—criminal and civil—where juries side with an accused person (or corporation) and let them off no matter how strong their wrongdoing evidence is. Here’s a definition of jury nullification from Cornell Law School:

Jury Nullification — A jury’s knowing and deliberate rejection of the evidence or refusal to apply the law either because the jury wants to send a message about some social issue that is larger than the case itself, or because the result dictated by law is contrary to the jury’s sense of justice, morality, or fairness. 

Jury nullification is a discretionary act and is not a legally sanctioned function of the jury. It is considered to be inconsistent with the jury’s duty to return a verdict based solely on the law and the facts of the case. The jury does not have a right to nullification, and counsel is not permitted to present the concept of jury nullification to the jury. However, jury verdicts of acquittal are unassailable even where the verdict is inconsistent with the weight of the evidence and instruction of the law.

At its core, nullification occurs when a trial jury reaches an anti-fact-based verdict when they disagree with the law or they disagree that the state should be prosecuting the accused. Indictment nullification also happens when the collective jury wants to make a social statement such as racial inequality or persecution.

There’s nothing to stop a jury from nullifying an indictment. Once it’s in the jury’s hands, and inside the deliberation room, it’s theirs to do what they see fit. They hold no currency. They have no account.

O.J. was black. He murdered two whites. The jury was powerfully black. The system was predominantly white. The big reason why O.J. Simpson got off murder was because of jury nullification due to racism.

HYBRISTOPHILIA — THE BONNIE & CLYDE SYNDROME

Why do good girls love bad boys? Why would any woman in her right mind fall for a murderous bank robber, a child sexual slayer, or a psychopathic serial killer? As crazy as it sounds, this frequently happens. It’s so common that the American Psychological Association and the DSM-5 have a term for this psychiatric paraphilia disorder—hybristophilia. On the street, and around the net, hybristophilia is called the Bonnie & Clyde Syndrome.

Few people haven’t heard of the infamous gangster duo, Bonnie Parker and Clyde Barrow. The Barrow gang roamed the American south in the 1930s. By best accounts, Bonnie & Clyde and the gang cold-bloodedly gunned down and shot dead 13 people. Seven were law enforcement officers trying to catch them or prevent their escape.

If you don’t know of Bonnie & Clyde’s escapades, we’ll look into that shortly. We’ll also try and make sense of what Bonnie Parker saw in Clyde Barrow, and why she willingly partook in a string of senseless slayings. First, let’s examine what hybristophilia is and how it slots as an identified mental disorder.

The American Psychological Association (APA) defines hybristophilia as: sexual interest in and attraction to those who commit crimes. In some cases, this may be directed toward people in prison for various types of criminal activities. Hybristophilia is a common form of paraphilia.

The APA goes on to define paraphilia as: in DSM–IV–TR, any of a group of disorders in which unusual or bizarre fantasies or behavior are necessary for sexual excitement. The fantasies or acts persist over a period of at least 6 months and may take several forms: preference for a nonhuman object, such as animals or clothes of the opposite sex; repetitive sexual activity involving real or simulated suffering or humiliation, as in whipping or bondage; or repetitive sexual activity with nonconsenting partners. Paraphilias include such specific types as fetishism, frotteurism, pedophilia, hybristophilia, exhibitionism, voyeurism, sexual masochism, sexual sadism, and necrophilia. In DSM–5, a paraphilia is considered a paraphilic disorder only if it causes distress or impairment to the individual or if its practice has harmed or risked harming others.

The DSM-5, by the way, is the Diagnostic and Statistical Manual of Mental Disorders Edition 5 (V) which is the go-to book for psychiatric and psychological assessment of brain-thought and behavior abnormality. It’s published by the American Psychiatric Association. People have gone to their executions, or been excused from them, based upon how they fit into the DSM-5.

Hybristophilia is a disorder. It’s not a crime or offense. However, actions stemming from being hybristophilic often lead to serious criminal involvement when the woman aides, abets, or otherwise helps the male she’s infatuated with carry out his crimes. Such was the case of Bonnie Parker.

“Hybristophilia” derives from the Greek words “hubrizein” which means “to commit an outrage against someone” and “philo” which means “having a strong affinity/preference for”. In pop-culture, it’s the Bonnie & Clyde Syndrome which includes prison groupies who fall for dangerous inmates. The broadest sense of hybristophilia is “a general attraction towards partners who display dark triad personality traits” or good girls loving bad boys.

Before examining why Bonnie loved Clyde, I know of two modern-day, high-profile hybristophilia cases—one I was personally involved with. In 1994, Shannon Murrin raped and strangled 8-year-old Mindy Tran. Murrin transported Mindy’s tiny body in a suitcase, buried her body in a park, and brought the suitcase home. I was instrumental in recovering the suitcase and processing the DNA evidence. Unfortunately, the jury acquitted Murrin based on a inexcusable investigation error made by a senior and more-experienced police officer.

I testified at Murrin’s jury trial. As customary for professional witnesses, I spoke directly to the jury members when answering prosecution and defense counsel questions. I was on the stand a long time, and I distinctly recall an abnormality in one female juror. Normally, jurors are riveted on witness testimony and keep eye contact with the one-on-the-stand. I couldn’t help but notice one female juror, Kathy MacDonald, had her gazed fixed on Shannon Murrin who was in the prisoner box to my right—not on me. After the trial, Kathy MacDonald married Murrin. She’d fallen to hybristophilia.

Another case here in Vancouver played out in the news. Gangster Peter Gill was on trial for murder. Juror Gillian Guess sat in his judgment, and she was having sexual relations with him (after court hours) during the time the trial was underway. Gill, too, got off when Guess hung the jury. Classic, classic hybristophilia.

Anyway, on to Bonnie & Clyde.

Bonnie Parker was born in 1913 in a small Texas town. Her dad died when she was one, and her mother raised Bonnie in the grandparent’s home while holding down a full-time seamstress job. By all accounts, Bonnie was bright and gifted as an award-winning writer and young actress. At fifteen, Bonnie became infatuated with a bad boy named Roy Thorton who eventually went to jail for bank robberies and was shot dead by guards while escaping.

Bonnie never divorced Thorton, but she took up with Clyde Barrow as soon as Thorton went to jail. Clyde was another bad boy who was two years older than Bonnie. They met in 1930 and immediately hit it off. Clyde was in and out of jail for robberies and made parole in February 1932. Bonnie was waiting for him.

The pair formed the Barrow Gang right at the height of gangsterism where the Roaring Twenties ended and the Dirty Thirties of the Depression set in. It was the Public Enemy era. The two became the glam-couple of gangsters and were as much infatuated by the public as Bonnie was with Clyde. One take I read while researching this piece was that if Bonnie & Clyde were active today, they’d have more Instagram and Twitter followers than the Kardashians.

Various hoodlums rolled in and out of the Barrow gang. It was life in the fast lane for Bonnie & Clyde, and the public saw something in this pair that no other gangsters had. Not Al Capone. Not John Dillinger. Not Baby-Faced Nelson or Pretty-Boy Floyd. Not Alvin “Creepy” Karpas. Not Machine-Gun Kelly. And certainly not Ma Barker.

Bonnie & Clyde had illicit sex.

Illicit, extra-marital sex was the way of life for wild and young, still-married Bonnie and her single boy-toy Clyde. The public ate it up, envisioning them roaming town to town and hideout to hideout, spending more time spanking each other between clean sheets than they did doing banks.

Part of the Bonnie & Clyde story that fueled the fascination was a camera left behind at a Louisiana safe-house. The lawmen missed the Barrow Gang, but they recovered the film which a newspaper company developed and got the infamous photo of Bonnie with her left foot on a stolen Ford’s bumper, her right hand holding a chrome-plated revolver, and a cigar chomped in her teeth.

There were more Bonnie & Clyde photos in that roll. They hit the news wires going viral the way it would have done today on the net. If Bonnie & Clyde weren’t celebrity household names before the pics, they sure were then.

All historical accounts place Bonnie as a following accomplice, not a killer in her own right. Clyde was the mastermind and the ringleader. He was a dominant force. She was submissive. Their lives ended in a massive shootout with law enforcement officers on May 23, 1934, in Bienville Parish, Louisiana.

The public attention to Bonnie and Clyde’s deaths was outrageous. Before their bullet-ridden bodies were extracted from a car, hordes descended on the little town of Arcadia. Regular citizens defied police and did what they could to collect souvenirs like locks of dead Bonnie’s hair and swatches of her clothes. Others tried to cut off Clyde’s trigger finger and one of his ears.

Bonnie was a fatalist. She knew their run would end, and Bonnie wrote so in a poem sent to her mother. It was titled End Of The Line.

They don’t think they’re too smart or desperate
They know the law always wins
They’ve been shot at before
But they do not ignore
That death is the wages of sin

Some day they’ll go down together
And they’ll bury them side by side
To a few it’ll be grief
To the law a relief
But it’s death for Bonnie and Clyde

So what was going on in Bonnie’s mind? It’s tough to make sense of why good girls love bad boys. You won’t find the answer in the DSM-5. Maybe forensic psychiatry professor Katherine Ramsland got it right with these traits that seem common to women with hybristophilia.

Low self-esteem
Lack of a father figure
Belief they can change a bad man
Seeing the little boy in him and wanting to nurture
Hoping to share the media spotlight and gain notoriety
The notion there’s no perfect man but knowing the man can provide
A primal instinct that alpha male dominant genes provide strong offspring

Bonnie Parker’s life with Clyde Barrow was anything but glamorous, as the media of the time painted it. Bonnie and Clyde were constantly on the run. Sure, they had sex, probably lots of sex, but they didn’t have clean sheets or a rented room. Sex was in cramped back seats of stolen cars they had to sleep in, because their pictures were everywhere, and they couldn’t rent a room with clean sheets for fear of being turned in for the reward on their heads.

They ate poorly—Bonnie died with a bologna sandwich in her hand—and they bathed in cold creeks, and they limped when they walked. Clyde had two toes cut off in prison. Bonnie had one leg severely burned in a getaway automobile accident.

The posters on Bonnie & Clyde didn’t say Wanted Dead or Alive. Bounty was for their corpses which were so mutilated by gunshots that their embalmer couldn’t stop the fluid leakage. And they weren’t buried side by side as they’d asked. Death defied them a final resting place. They’re in separate Dallas cemeteries.

What led Bonnie Parker down such a road of destruction with Clyde Barrow? Hybristophilia. The Bonnie & Clyde Syndrome.

DID VINCENT VAN GOGH REALLY COMMIT SUICIDE?

Dutch Post-Impressionism master, Vincent Van Gogh, was a phenomenal force who helped shape modern art culture. His influence ranks with Shakespeare in literature, Freud in psychology, and The Beatles in music. Van Gogh was also plagued with mental illness, suffered from depression, and was tormented by psychotic episodes. Conventional history records that Van Gogh died from a self-inflicted gunshot wound in 1890 at the age of 37. However, an independent and objective look at the case facts arrives at an entirely different conclusion—Vincent Van Gogh was actually shot by someone else, and it was deliberately covered up.

This isn’t to say that Van Gogh was murdered as in a homicide case. As a former police investigator and coroner, I’m well familiar with death classifications. The civilized world has long used a universal death classification system with five categories. They are natural death, accidental death, death caused by wrongful actions by another human being which is a homicide ruling, self-caused death or suicide, and an undetermined death classification when the facts cannot be slotted into one conclusive spot.

I’m also familiar with gunshot wounds. Understanding how Vincent Van Gogh’s fatal wound happened is the key to determining if he intentionally shot himself, if he accidentally caused his own death, or if someone else pulled the trigger which killed Van Gogh. Before analyzing what’s known about the Van Gogh case facts, let’s take a quick look at who this truly remarkable man really was.

Vincent Willem Van Gogh was born in 1853 and died on July 29, 1890. During Van Gogh’s life, he produced over 2,000 paintings, drawings, and sketches. He completed most of these in his later years and was in his most-prolific phase when he suddenly died.

Van Gogh didn’t achieve fame or fortune during his life. He passed practically penniless. It was after death when the world discovered his genius and assessed his works of bright colors, bold strokes, and deep insight as some of the finest works ever to appear on the art scene. Today, an original Van Gogh is worth millions—some probably priceless.

Vincent Van Gogh achieved artistic saint status. It’s not just Van Gogh’s unbounded talent that supported his greatness. It’s also the mystique of the man and the martyrdom mushrooming from his untimely death that robbed the world of an artist—a starving artist and a man who lived on the fine line between genius and nut.

Most people know some of Van Gogh’s masterpieces. Wheatfield With Crows may have been his last painting. Café Terrace At Night, The Potato Eaters, Irises, Bedroom In Arles, The Olive Trees, and Vase With Fifteen Sunflowers are extraordinarily famous. So is The Starry Night. (I happen to have a hand-painted oil reproduction of Starry Night right on the wall in front of me as I write this, and my daughter has Café hanging in her home.)

Most people know the story of Vincent Van Gogh’s ear. It’s a true story, but the truth is he only cut part of his left ear off with a razor during a difficult episode with his on-again, off-again relationship with painter Paul Gauguin. The story goes on that Van Gogh gave his ear piece to a brothel lady, then he bandaged himself up and painted one of many self-portraits. I just looked at this portrait (Google makes Dutch Master shopping easy) and was struck by the image of his right side being bandaged. Then I realized Van Gogh painted selfies by looking in a mirror.

And most people know something about Vincent Van Gogh’s time in asylums. This is true, too, and he spent a good while of 1889 in Saint-Remy where he stared down on the town and painted The Starry Night from later memory. The celestial positions are uncannily accurate.

In late 1889, Van Gogh moved to a rooming house in Auvers-sur-Oise near Paris. His painting production went into overdrive, and he was at the peak of his game. On July 27, 1890, Van Gogh left his room with his paints, canvas, and easel. He returned empty-handed with a bullet in his belly.

Vincent Van Gogh’s spirit left this world at 1:30 a.m. on July 29. He passed without medical intervention on his bed, and the medical cause was, most likely, exsanguination or internal bleeding. There was no autopsy, and Van Gogh was buried in a nearby churchyard the next day.

There are various ambiguous statements purported from Van Gogh. He did not admit to shooting himself or intentionally attempting to commit suicide. However, the record indicates he didn’t deny it. The record can also be interpreted that he covered up for someone else.

What is fairly clear is the description of Vincent Van Gogh’s gunshot wound. There are conflicting locations, (chest, stomach, abdomen), but this is explainable from Dutch/French to English translations. It’s highly probable that one bullet entered the left side of Van Gogh’s mid-section and traversed his intestines in a left-to-right direction. There was no exit wound and no serious spinal damage as Van Gogh had walked home from the shooting scene, up the stairs, and to his room where he expired a day and a half later.

There was no firearm found and absolutely no history of Vincent Van Gogh ever owning or operating a gun. He was a painter. Not a hunter or soldier. (Note: There was a rusted revolver found in an Auver field in 1960 which was said to be the weapon. There is no proof that it was.)

There was no suicide note or any deathbed confession. Aside from being an artist, Van Gogh was a prolific writer who documented many thoughts as he progressed from mental sickness to physical health. In late July of 1890, Van Gogh’s writings showed him to be optimistic and with plans to paint as much as possible before an anticipated period of blackness returned. Two days before his death, Van Gogh placed a large art supply order.

Suicide, in Van Gogh’s case, wasn’t surfaced in the early years after his death. There were murmurs among the villagers that “some young boys may have accidentally shot” Van Gogh as he went about his work in a nearby field. There was no coroner’s inquiry or inquest, but there is documentation of a gendarme questioning Van Gogh if he intentionally shot himself to which Van Gogh allegedly replied, “I don’t know.”

The first strong suicide suggestion came in 1956 with Irving Stone’s novel and movie Lust For Life. It was a documentary that took liberty with Van Gogh’s life and times. It concluded Van Gogh was a troubled soul—a beautiful soul—who ended his life intentionally. The book and movie were bestselling blockbusters and cemented the suicide seed to an adorning public.

It became ingrained in lore and public acceptance that Vincent Van Gogh was a desponded psychotic who suddenly up and killed himself rather than continue a tormented existence of interpreting beauty in nature and people. It was the gospel, according to Van Gogh historians, who were comfortable with a suspicious explanation.

Other people weren’t. In 2011, two researchers took a good and hard look into Van Gogh’s life and death. They had full access to the Van Gogh Museum’s archives in Amsterdam and spent enormous time reviewing original material. They found a few things.

One was a 1957 interview with Rene Secretan who knew Van Gogh well. Secretan admitted to being one of the boys spoken about by the villagers who were involved in Van Gogh’s shooting. Rene Secretan, sixteen years old in 1890, told the interviewer he wanted to set the distorted record straight that was misrepresented in the book and movie.

The interview documents Rene Secretan as saying the handgun that shot Van Gogh was his, and that it was prone to accidentally misfiring. Secretan self-servingly denied being present when the accidental shooting happened, claiming he was back in Paris and not at his family’s summer home in Auvers. Secretan failed to identify those directly involved or exactly what circumstances unfolded.

The researchers, Pulitzer Prize winners Steven Naifeh and Gregory White Smith who co-wrote Van Gogh: The Life, found corroborating statements placing Van Gogh near the Secretan villa on the afternoon of the shooting. They also sourced a leading expert on firearms and gunshot wounds who refuted any chance of Van Gogh being able to discharge a firearm with his own hands that could have caused the wound in its documented location.

Dr. Vincent Di Maio (a 2012 key witness in the Florida trial of George Zimmerman who shot African-American youth Trayvon Martin in a neighborhood watch altercation) concluded that Van Gogh, who was right-handed, could not possibly have held a firearm as it had to be; therefore the shot had to have been fired by another party. Dr. Di Maio also commented on the lack of reported gunshot residue on Van Gogh’s hands and clothes. In 1890, most cartridges contained black powder which was filthy stuff when burned at close range.

Researchers Naifeh and Smith also took a deep dive into what they could find on Rene Secretan’s background. They painted him as a big kid—a thug and a bully who was well known to have picked on wimpy Van Gogh throughout the month of July 1890. Secretan came from a wealthy Paris family who summered at Auvers with their second home within walking distance of Van Gogh’s rooming house.

According to the researchers of Van Gogh: The Life, Rene Secretan had seen the Buffalo Bill Wild West show in Paris, and Secretan fancied himself as a cowboy character. Secretan fashioned a costume to go with his cocky role of a western gunfighter, and he acquired a revolver that was prone to malfunction. They documented incidents where Secretan would mock Van Gogh as he painted, play pranks on him, and supply alcohol to Van Gogh who couldn’t afford it.

It was during a mocking spat, the researchers surmise, that somehow Secretan’s revolver went off and struck Van Gogh in the abdomen. According to the theory, the boys fled, disposed of the weapon, and formed a pact of silence. If this was true, the question arises of why didn’t Vincent Van Gogh report the truth, and why has the suicide conclusion remained steadfast.

Naifeh and Smith address this in their book with this quote: When all this (accidental shooting theory) began to emerge from our research, a curator at the Van Gogh Museum predicted the fate that would befall such a blasphemy on the Van Gogh gospel. “I think it would be like Vincent to protect the boys and take the ‘accident’ as an unexpected way out of his burdened life,” he agreed in an e-mail. “But I think the biggest problem you’ll find after publishing your theory is that the suicide is more or less printed in the brains of past and present generations and has become a sort of self-evident truth. Vincent’s suicide has become the grand finale of the story of the martyr for art, it’s his crown of thorns.”

As an experienced cop and a coroner, I think Naifeh and Smith are on to something. There are two huge problems with a suicide conclusion in classifying Vincent Van Gogh’s death. One is the lack of an immediate suicide threat. The other is the gunshot nature.

I’ve probably seen fifty or more gunshot suicides. All but one were self-inflicted wounds to the head. The exception was a single case where the firearm was placed against the chest and the bullet blew apart the heart. I have never seen a suicide where the decedent shot themselves in the gut, and I’ve never heard of one.

Vincent Van Gogh didn’t leave a suicide note. He made no immediate suicide threats and, by all accounts, things were going well for the struggling artist. It makes no sense at all that Van Gogh would head out for a summer’s day, begin to paint, produce a gun from nowhere, shoot himself in the stomach from the most inconceivable position, then make it home—wounded—without finishing himself off with a second shot.

If I were the coroner ruling on Vincent Van Gogh’s death, I’d readily concur the cause of death was slow exsanguination resulting from a single gunshot wound to the abdomen. I’d have a harder time with the classification. Here, I’d have to use a process of elimination from the five categories—natural, homicide, accidental, suicide, or undetermined.

There is no possibility Van Gogh died of natural causes. He was shot, and that is clear. Was he murdered or otherwise shot intentionally? There is no evidence to support a homicide classification. Did the firearm go off accidentally? It certainly could have, and there is information to support that theory but not prove it.

Suicide? Not convincing. The available evidence does not meet the Beckon Test where coroners must establish beyond a reasonable doubt that the decedent intentionally took their own life. If the death circumstances do not fulfill the requirements of the Beckon Test, then a coroner is not entitled to register a suicide classification.

This only leaves undetermined. Coroners hate closing a file with an undetermined classification. It’s like they failed in their investigation.

Unfortunately, in Vincent Van Gogh’s case—from the facts as best as are known—there’s no other conclusion than officially rule “Undetermined”.

I’m no longer a coroner, though, so I’ll stick out my neck.

On the balance of probabilities, I find Vincent Van Gogh was accidentally shot, then sadly died from this unintended and terrible tragedy.