On October 3, 2018, a 56-year-old man went to sleep on a green tarp, under plaid and camouflage blankets, in downtown Eugene, Oregon. A bus camera captured his prostrate form next to a wall on Pearl Street at 8:39 p.m. Five minutes later, police say, another camera captured two teenagers “prowling,” checking car doors in a nearby parking lot.

Within minutes, their paths connected, calamitously. By the time police arrived, five minutes after a 9:26 p.m. emergency call in which the man’s agonal breathing could be heard, the teens were gone, the man unresponsive. Strewn about were his tooth, a blood-soaked ushanka fur hat with ear flaps, a Swiss Army knife, black boots, a watch, Yogi tea packets, matches and a tobacco pouch. It was a tree-shrouded location on a dark night with no witnesses.

Two miles across town, at 9:45 p.m., a sergeant’s call woke Detective Jennifer Curry after an hour’s sleep alongside her beagles Arnold and Lucy. She reached for her notepad. As the lead detective, she wouldn’t sleep again that night. At the crime scene, Sergeant Tim Haywood paused while processing the evidence. “He comes over and he tells me, ‘Hey, there’s a bloody rock in that garbage can,’” Curry recalls. “And I’m like, ‘Sure there is.’”

“He’s like, ‘No, I’m serious.’”

The victim was taken to Sacred Heart Medical Center, where he died at 10:08 p.m.

A clue to his identity was found atop a parking garage near the scene: a cooler bag holding empty food containers and a criminal citation written to “Neal, Ovid — Transient.”

The life and death of Ovid Neal III ranged from Harvard to homelessness to homicide. It’s recreated here based on interviews with 13 friends and family members, police accounts, court documents, five days of court testimony and independent reporting. The tragic tale demonstrates how our society often fails the most vulnerable among us, be they homeless, mentally ill, or neglected and abused young people. It illuminates tough questions about the limits of justice, redemption and forgiveness. Ovid Neal’s sister, Amanda Roth, calls it “an extraordinary tale of tragedy, every which way.”

I. “Dark Pants” and “Light Pants”

At a nearby hotel called the Timbers Inn, Detective Curry first glimpsed and obtained images of the youngsters she nicknamed “Dark Pants” and “Light Pants.” Eventually, she would draw from two dozen cameras to create a timeline of the night’s events.

The pair arrived on the scene at 8:47 p.m., then engaged in “back and forth lookout behavior.” Dark Pants came into view lugging the rock.

Video at 8:57 p.m. shows them walking southbound, toward the sleeping Neal. “Dark Pants has something in his hands now,” Curry says. “He lifts it up over his head, then swings it down, almost as if practicing.”

The attack occurred seconds later. Neal’s death certificate lists “blunt force head trauma” as cause. He was hit in the head with the rock nine or 10 times, the medical examiner testified.

The killers scored $11 in paper money and change, some marijuana and a brass pipe, fleeing at 9:19 p.m. Then, Curry says, they “went on a beer run,” stealing from a Safeway grocery store, then heading to a park.

Dark Pants was “freaking out” afterward, testified Nicholas Stewart, a friend who met them later that night. “He was scared. He said he might have hurt someone really bad or might have killed them. He seemed like he was going to cry.” Dark Pants gave away his sweatshirt and rubbed blood off his shoe in the grass.

The detective sees callousness, not contrition.

“So, after you leave a man for dead on the sidewalk … you go off and meet up with some friends and go make a beer run, which means you go into a store and you steal alcohol you can then go drink in a park?” Curry asks.

Eugene police discovered that the teenagers had passed near the downtown bus terminal, and they worked with security to collect video of them. The footage was the best they had, yet it showed only the back of the teens’ heads. The investigation caught a break when a Lane Transit District officer recognized one of the suspects from the back, even without seeing her face, and said, “I know who that is — that’s Jessica, and that’s her boyfriend.”

Turned out the pair were known to authorities: “Dark Pants” Jonathan Kirkpatrick, then 16, had grown up amid child welfare systems, and was an assault suspect after a domestic violence incident led his father to call police. “Light Pants” Jessica Simmons, then 15, had a juvenile justice warrant.

During the week after the murder and before their arrest, the star-crossed lovers celebrated their first anniversary in the apartment where they shared a bedroom. They didn’t go back downtown.

II. An “All-Rounder”

A life lived decades ago in half a dozen states and reviewed through the lens of grief can be hard to fathom. But those who knew Ovid Neal recall a man full of verve and adventure. None foresaw the horrors to come.

Named after a Roman poet, Ovid — whom virtually everyone, including Detective Curry, seems to have called by his first name — was born in Inglewood, California, on March 22, 1962. His father, Ovid Neal Jr., was an Army Air Corps officer who “flew the hump,” piloting C-47 troop transports over the Himalayan Mountains during World War II. His mother, Ruth Gordon, now 84, was a businesswoman who says she “supported the family for many years,” including as a sportswear buyer for 168 Zale Corporation stores in 28 states. Ovid’s sister, Amanda Roth, 59, works for a film company in Hollywood, and his brother, Zachary Neal, 56, develops affordable housing in Las Vegas.

Ovid’s friends fondly recall an “all-rounder,” 6 feet 4 inches tall who graduated Hampshire College and Harvard Divinity School, modeled for Harley-Davidson, wrote poetry, deftly played blues harmonica and had a smooth jumper. He fearlessly fished a Texas pond, his friend Javed Akhund recalls, even after venomous water moccasin snakes surfaced. As a teenager growing up between Texas and New York City, he wore a black leather jacket; an early girlfriend, Marissa Radovan, recalls “fantastic make-out sessions” in his hatchback. An old photo shows him tanned and in shape, with a small moustache and full head of curly brown hair. Women at a Dallas bookstore where he worked thought he looked “like a Greek God,” recalls a friend and former co-worker, Scott Senn.

Albeit a bit more ridiculous. “At that time, we all wore Royal Crown pomade in our hair,” Senn laughs. “That’s like Dapper Dan in O Brother, Where Art Thou?”— a glistening, slick look.

Senn and Ovid used to laugh until their sides hurt. “If there’s one thing I remember [about] hanging out with him, it’s hilarity. It was literally the theater of the absurd. Him and I would get face to face and do this old vaudeville dancing thing, where you’re looking at each other, faces like two inches from each other.”

Many friends told tales of Ovid’s mischievous humor. But his childhood brought challenges, including his parents’ divorce, frequent moves, and struggles with addiction. “By the time we were 18, I think we had lived in 18 different places,” his younger brother, Zachary Neal, says.

“We came from kind of a harsh environment, in that a lot of the people we grew up around had problems and issues,” he adds. In the 1970s, he says, a lot of parents were “out to lunch, literally and figuratively.”

Zachary Neal says he relied on his big brother for physical protection, but felt a “visceral need” to protect Ovid emotionally, starting when he was about 10 and Ovid was 12.

“I came home and he was sitting on the ledge on the ninth floor of our apartment [building] and I asked him what he was doing and he said, ‘I was thinking about jumping,’” Zachary Neal recalls. “I remember being totally sad. I think he was partly joking, but … that was when I started feeling this need to protect him.”

The family was financially well-off, but they struggled in other ways. The 1970s and early 1980s was a quicksilver period for them. Roth recalls that they moved to New York as a family in 1972, then their dad moved back to Texas and the kids stayed with their mom. Then all three kids moved to Texas, then returned to New York. Eventually, the two boys returned to Texas around 1975 or 1976.

Ovid’s itinerant education ranged from the elite Dwight School in Manhattan to the Griffin Christian Academy in Dallas, where kids would throw dice between classes, Ovid’s friend and fellow student Jerry Harwell recalls. “The only rules were empty your ashtrays and no fighting.”

Ovid overdosed on six horse tranquilizer pills in Dallas at around age 13 or 14. He sobered up, then counseled other teenagers at the Palmer Drug Abuse Program (PDAP). Friends told stories of “dry” parties that were “tons of fun,” riotous conversations at a Denny’s, copious cigarettes, coffee.

Former PDAP director John Cates recalls that Ovid “shined” as a counselor for addicted adolescents and their families. As things turned out, Ovid even counseled his mother. Ruth Gordon recalls that it was Ovid who helped her stop drinking for good.

“On July 9, 1979, he was in Texas and I was in New York, and I shared with [Ovid] that I was just at the end of my rope, if I didn’t stop drinking I was going to end up in an institution or dead,” Gordon says. Ovid spoke to her for a long time, and they prayed together. “And I did what he suggested, and I’ve been sober since July 9, 1979.”

Sober and sharp, Ovid turned heads when he arrived at Hampshire College, a private liberal arts college in Massachusetts, in 1983 in a shiny red Volkswagen Beetle.

“I remember thinking, who’s that jerk who thinks he’s so cool?” says classmate Grainger Marburg. “We somehow met and I was totally disabused of that notion.”

The two lived in Dakin House, where Ovid’s room overlooked an apple orchard.

It was always “spartan,” Marburg remembers. “His bed was always made, almost military. His desk was neat. He had these little rituals, and he loved coffee. I would sit on the chair and he’d sit on the bed and make coffee and want to know how I was doing. I had this desire to feel anchored, like, I need an Ovid fix.”

Ovid went to Alcoholics Anonymous meetings and Bible studies and was a triathlete and basketball player. Even with his looks and charm, Marburg doesn’t recall him dating.

“He would swim like crazy, run like crazy, bike like crazy,” says Winslow Dennis, who met Ovid on a basketball court. Ovid and he discussed the euphoria that comes from exercise. “He would find different highs.”

Ovid’s Hampshire transcript is filled with descriptors like “extraordinary” and “remarkable.” Professors described his senior study of French philosopher Simone Weil as having “tremendous integrity, depth and sensitivity.”

He was the kind of person who old friends periodically searched for online after falling out of touch — one, Shannon Greer, recalls that he “spent many a night trying to find his electronic footprint, to no avail until this tragedy.” After the murder, Marburg’s browser hooked a Eugene news story. “I was like, ‘Oh my God.’”

“I was kind of devastated,” says Chris Curnutt, a friend who knew Ovid from his teenage years in Texas. “Just fucking, what the hell?”

“It’s hard to hold back tears,” says his high school friend Jerry Harwell.

Ovid’s family dropped into a pit of despair. “At first, for months, I was in a state of shock, especially because of the way in which he was killed,” Amanda Roth testified. “Then I was overcome with acute grief.”

“This is a nightmare — it is like being trapped under water,” Zachary Neal says. “Who kills a disabled, frail, kind homeless person?”

III. A Childhood at “War”

If Ovid’s childhood had rough patches, Jonathan Kirkpatrick’s was scarred by the kinds of social risk factors that bring repeated child protective services involvement. (Much less is known about Jessica Simmons, for whom Oregon officials declined to release records.)

Born in Las Vegas in 2001, Kirkpatrick was exposed to methamphetamine in utero but born healthy. He grew up amidst drugs, gangs and brutal violence in Porterville, California, and Anchorage, Alaska. His grandmother, Sandra Brown, testified at his trial that he was “kind of a wild boy … into superheroes [and] going to parks.”

When he was 4, she testified, his mother called to say, “he dug a hole in the fence to get away.” Brown recalled Kirkpatrick’s mother crying, saying, “Jonny … told her that he hated her because she took him away from his dad.”

Kirkpatrick had people who loved and cared for him, court testimony reveals, but his parents struggled with addictions and domestic violence.

A court psychologist testified that “Jonny” — as his friends, family, some officials and his attorney called him — told “war stories” about witnessing shootings and an assault “that ended up with somebody’s internal organs hanging outside of their body.” He claimed he snorted an “eight ball” of cocaine — a potentially lethal dose — and drank a half gallon of hard alcohol a day. Much is unclear about Kirkpatrick’s childhood — the discovery phase of Kirkpatrick’s case alone includes 3,000 pages of evidence, most of which is sealed — but court testimony suggests that Kirkpatrick began drinking and smoking marijuana in California and continued or increased his use in the years leading up to the murder.

A summary of his childhood written by Judge Suzanne Chanti in her Opinion and Order in the case — a 52-page document recently unsealed by The Oregonian — includes information from child protective services (CPS) records from California and Oregon.

In 2006, California CPS workers substantiated a child neglect charge against Jonny’s mom. In 2007, his father was sentenced to a year in jail, where his son visited him. Soon after, the father moved to Oregon.

By 2015, Judge Chanti writes, after foreclosure and eviction, Jonny, his mother and siblings continued to live in a house with no electricity. The kids would go to neighbors’ homes to ask for food. “When CPS intervened, they discovered a home with no electricity, no furniture, no beds … puppies in the house and every room had urine and feces on the flooring.”

Jonathan Kirkpatrick and three sisters were placed in foster care. Social services called their father, Raymond Kirkpatrick, in Eugene. Two days after his 14th birthday, Jonny and his three sisters moved in with his father, who shared a two-bedroom apartment with two other people.

The next phase of Jonny’s childhood, in Eugene, became, if anything, more chaotic.

Raymond Kirkpatrick was making $9 an hour washing semitrailer trucks and received housing assistance from the Oregon Department of Human Services. He was often gone, working or sleeping in a friend’s trailer. Jonny would steal his dad’s weed, and his twin sisters frequently went to the hospital for alcohol poisoning. Jonny was once awakened by a friend throwing money on him, saying “Hey, I got this by robbing people.”

Once, Raymond Kirkpatrick testified, he got mad at his son “for smoking weed in the house,” inspiring “a heated argument that led to a broken TV and the bruise on my face.” At times, the father testified, his son “would pull his hair, punch himself in the head. He would say stuff like ‘I should just kill myself.’”

At one point, Jonny ended up in a runaway shelter, effectively homeless on the streets of Eugene at the same time as Ovid Neal. Detective Curry says that there’s no evidence the two ever knew each other. At some point, the teen moved back in with his father.

Jonathan Kirkpatrick’s relationship with Jessica Simmons was also violent. Judge Chanti writes that Kirkpatrick “was, by all accounts, emotionally dependent on [Simmons] and when things did not go well between them … he would hit himself in the head and hit his head against objects, sometimes so seriously that he knocked himself out. During one argument he stabbed himself in front of [Simmons].”

A Facebook profile for “Jonny Kirkpatrick” contains images of young white people in baseball caps and hoodies alongside language like “Bitch Go Die,” “Speed Gang,” “Kill Them All” and “Mr. Steal Your Bitch.” It lists Porterville College and a job, fry cook at the Krusty Krab, and, framed in red hearts: “Jessica Crystal Simmons / forever and always.” A linked profile for a “Jessica Crystal Simmons” has Jonny’s name in hearts.

In the hours before the pair killed Neal, they had been drinking Oregon Springs vodka and arguing. A youth worker testified that Kirkpatrick head-butted a glass window before running off. He was “really intoxicated,” Judge Chanti writes — slurring his speech, his friend Stewart testified.

Despite their truancy, legal problems, frequent intoxication and violence, Jonathan Kirkpatrick and Jessica Simmons cohabitated like adults at his father’s apartment, police say. Simmons brought her cat to live there, Chanti writes. When police served a search warrant at the home, two miles from the scene of the murder, they seized a brass pipe that was stolen from Ovid Neal as he lay dying. It contained Kirkpatrick’s DNA.

IV. A Courtroom and a New Law

On February 4, Jonathan Kirkpatrick sat silently next to his bespectacled public defender, Katherine Berger, inside the wood-paneled Lane County Courthouse. Kirkpatrick had turned 18 and moved from a juvenile facility to the adult jail. His close-cropped haircut recalled 1930s gangster John Dillinger. In the audience, Ovid Neal’s sister, Amanda Roth, and her husband, Nick, craned their necks, arms folded, legs crossed in the same direction. A half-dozen people took notes with pen and paper.

Like many states, Oregon passed rules in the 1990s that favored a tougher approach to justice for juvenile offenders: Measure 11 automatically tried teenagers 15 and older as adults for murder, attempted murder, robbery, assault and sex crimes. But in 2019, a new state law, SB 1008, flipped the switch, requiring all youth accused of crimes to be tried in the juvenile justice system, except when prosecutors request a “waiver” to adult court — which they did for Kirkpatrick.

During the trial, three psychological experts shared conclusions drawn from thousands of questions and their knowledge of the field. Kirkpatrick’s actions and words were dissected, analyzed. Dr. Holly Crossen, called by the defense, diagnosed Kirkpatrick with disorder after disorder: attention deficit hyperactivity, neurodevelopmental, major depressive, adjustment, child abuse/neglect, cocaine, marijuana and alcohol use.

The central question was, did he have a sophisticated, “adult-like” understanding of his actions at the time? Or was he yet a child, with a developing brain impacted by his upbringing?

Berger, the recipient of a statewide legal award, had testified before the state legislature in support of SB 1008 before its passage. It’s likely she gave Kirkpatrick a better chance than most public defenders could have. She turned the court’s attention to her client’s upside-down upbringing, relying on the science about adolescent brains that, for supporters of the new law, is the point. She seemed at ease amid tales of trauma, or telling details like Kirkpatrick’s 34 doctor visits for ear infections. (Berger did not respond to several interview requests.)

A licensed clinical psychiatrist she called, Kristen Mackiewicz Seghete, testified that “regulation, judgment and reasoning” are regulated by the prefrontal cortex, which is still developing until age 21 or later. Poverty and “early life adversity” can impact brain development, initiating a process “like the fire alarm of your brain” that pushes youngsters into “fight, flight or freeze” responses,” Mackiewicz Seghete testified. Using alcohol and drugs increases “sensation seeking.”

Berger questioned the father, Raymond Kirkpatrick, about a time his son ran away:

“When he was living on the street, would you run into him sometimes?”

“Yes.”

“How would those interactions go?”

“They were really good for me.”

“Were you trying to get him to come back home?”

“Oh. Yes.”

Arguing for the state, Senior Deputy District Attorney Erik Hasselman stood tall in a dark suit, using his authoritative baritone voice to depict “Mr. Kirkpatrick” as a rational, calculating man-child who knew exactly what he was doing. He pointed to the fact that Kirkpatrick bragged about the killing, saying he “caught a body,” and continued his violent behavior while in custody.

Lt. Steve French, who handles security at the Lane County Jail, testified that Kirkpatrick was the source of three misconduct incidents there in late 2019 and early 2020, including “cheeking” medications — concealing them in his mouth — and “fishing,” attempting to retrieve contraband from another cell. A third violation, French testified, was sending letters to a younger “girlfriend” in juvenile custody. Judge Chanti writes that Kirkpatrick developed a “relationship” with a 13-year-old female in custody, whom he kissed, and that he threatened another youth and an officer.

At stake in the case was not only the question of how juvenile offenders are tried in Oregon. For Kirkpatrick, a waiver into adult court would mean a far longer sentence. Jason Jones of the Oregon Youth Authority (OYA) testified in Kirkpatrick’s hearing that youths adjudicated in the past for serious crimes such as murder have stayed in OYA custody for fewer than four years, on average. (Sarah Evans, an OYA spokesperson, says that figure was based on “preliminary data” and is “not correct,” stating that youths charged with murder since 2000 have averaged more than seven years in OYA correctional or transitional facilities, plus parole to a community program.) Either way, it is significantly less than Kirkpatrick would face if tried as an adult.

Jones also testified on a point that Ovid’s family saw as a conflict of interest: Jessica Simmons’ probation officer at the time of the killing was Priscila Hasselman, the prosecutor’s wife. By the time of Simmons’ arraignment, Erik Hasselman says, his wife was off Simmons’ case. He adds that the state would have been at a disadvantage had he recused himself, given his experience prosecuting many local homicides.

After weeks of deliberation, Judge Suzanne Chanti’s ruling kept Kirkpatrick’s case in juvenile court. The state and Simmons had already agreed to a plea deal that kept her case there as well.

V. A Cajun Strawberry Cake

Three decades earlier, in September 1987, Ovid Neal’s love of Simone Weil had led him to Harvard Divinity School. Ovid and his mother, Ruth Gordon, asked his sister, Amanda, to move in with him at 16 Evergreen Square in Somerville, Massachusetts. It was across the tracks, literally, from Cambridge, with a back view of an old Italian social club. It had one door — to the bathroom. It cost $900 a month for 300 square feet.

“It was little,” Amanda Roth recalls of the flat, “but we were happy!”

Amanda typed up Ovid’s papers and ran the salad bar in the university’s kitchen. Ovid hit the books and busked in Harvard Square, playing music on the streets with harmonica, guitar, amplifier and drums.

“We got a pug, and we named it Gatemouth,” Amanda Roth recalls, after bluesman Clarence “Gatemouth” Brown. “He loved Gatemouth.”

A contemporary photo shows a lean, intense Ovid with longish hair, holding a cigarette next to an open window, at a small table replete with a book, papers, fruit, flowers and what looks like pill bottles. Roth says that the black-and-white shot “shows Ovid as I remember him — as philosophical, contemplating the big questions and fueled by coffee and cigarettes.”

During this period, his friend Scott Senn recalls Ovid mentioning that he’d gone to dinner at Allen Ginsberg’s house, along with William Burroughs. “He said it was just bizarre,” Senn recalls. “He was studying the philosophy of religion, and he would meet guys who were just world figures.”

The path seemed natural for Ovid. “I always imagined him being a minister or a professor of divinity,” says friend Shannon Greer. Ovid’s mother, Ruth Gordon, remembers that his Harvard dean had mapped out a plan for him that culminated in an Oxford Ph.D.

It was not to be. Ovid told his mom, “I’m not going to be able to do it.” While at Harvard, Ovid’s struggles with mental illness became too much.

“His head was on fire by the time he was in grad school,” his brother, Zachary Neal, says.

Gordon recalls spending Christmas with her son in Manhattan, and he seemed “all right,” but a month later she got a call from Harvard: Ovid was sick. Gordon flew to Boston and her son had lost 30 pounds.

Ovid underwent an “unbelievable battery of tests,” with ambiguous results. “They thought he had a heart condition at first,” Gordon says. Ovid’s diagnoses ran the gamut from brain lesions to temporal lobe epilepsy, depression and finally rapid cycling bipolar disorder.

It was 1988, and Ovid began tapering on and off of various psychiatric drugs, which his brother recalls included “all the psychotropics, SSRIs, antipsychotics, Lamictal, lithium, Zyprexa.” He’d be on them for the next 26 years.

At one point during this period Ovid struggled to sleep, his brother recalls, so he volunteered in a hospital at night with terminally ill children, “just holding them, so their parents could sleep. I remember saying, ‘I don’t know how you can do that.’”

A spokesperson confirmed Ovid’s graduation from Harvard Divinity School on June 10, 1993, with a master’s in theological studies.

In their last phone call, a week before his death, Ovid surprised his sister by thanking her for things she did for him decades earlier, including throwing a party at the Somerville apartment. She would later wonder if Ovid’s gratitude was prescient.

He loved the blues, so she had cooked him a big Cajun dinner and baked a Cajun-style strawberry cake. Thirty people had packed the tiny apartment.

“He still remembered that,” Roth says. In the call, “I was like, why are you talking about this? And now I’m like, ‘Oh my God.’”

VI. Toss the Pills, Hit the Road

Despite his history counseling and healing others, Ovid never pursued work in the ministry. His family and friends say his goal was to understand the nature of God, or to write — he started writing poetry as young as age 7, his mother recalls.

“Ovid studied philosophy, theology and comparative religion,” his brother, Zachary Neal, recalls. “His intent was never to minister or teach. His intent was to understand God. Had he not been afflicted with mental illness, he would have written.”

After Somerville, Ovid ended up in Manhattan, where he worked in Kathleen’s Bake Shop on 84th Street, which Ovid’s childhood friend Jerry Harwell recalls as being frequented by Tom Brokaw, Caroline Kennedy and “a lot of other famous people.” Ovid’s mother, Ruth Ann Gordon, later bought the shop and renamed it Ruth Ann’s Bake Shop.

Ovid also worked at an East Village diner called Around the Clock, while living with Harwell, who also struggled with mental health. Harwell recalls Ovid would work, play music and hang with friends. “He just always had something going on.” Both rejected the stigma that can accompany mental illness, and they sometimes skipped their prescribed pills.

“That’s when I went through my whole phase of, I didn’t want to be labeled as mentally ill, and neither did he,” Harwell recalls.

By the mid-1990s, friends and family say, Ovid had moved to Seattle and married a woman he knew from his teenage years. At a marriage event for multiple couples at Seattle Center, she wore a cool “Southern” dress and he wore a bolo tie “and a funky hat, not quite a cowboy hat,” longtime friend Virginia Curnutt recalls. The pair rode there in a horse-drawn carriage.

There was a sky-blue house with a white picket fence. She worked at Microsoft, he at Half-Price Books. But it wasn’t meant to be, and they eventually divorced. (Ovid’s ex-wife could not be reached for comment for this story.)

After the divorce, his sister, Amanda Roth, recalls, Ovid withdrew from his family, spent time in a group home, and eventually reached out to his brother and mother. He moved in with them in Las Vegas.

Friends and family agree that taking pills “dampened” Ovid’s sharp mind and magnetic personality. Eventually, “it seemed to be taking a toxic toll on him,” his brother, Zachary Neal, recalls. “It got to the point where I could smell the medicines in his sweat.”

In 2014, in Las Vegas, Ovid stopped taking the drugs suddenly. Erratic behavior, and a psychotic episode, resulted: Ovid damaged the house and a car, repeatedly woke the neighbors at night, said “weird stuff about God and crime,” his siblings recall.

It was perhaps the only time in his life when Ovid was violent with others. He “became threatening and pushed” his aging mother, his siblings say, and she called the police. After Ovid “put his hands on” their mother while she was sleeping, his brother says, police were called again.

“Psychosis can be a side effect of quitting cold turkey or coming off too fast,” says Janie Gullickson, director of the Mental Health & Addiction Association of Oregon. “People typically don’t know that they can get support in titrating,” or coming off medication.

Ovid refused to take his pills or go see his psychiatrist. His brother was in Seattle, working, and his mother was vulnerable. Ovid’s family tried, but failed, to convince his psychiatrist to go to the home to treat Ovid. Despite “repeated and anguishing attempts,” Ovid’s sister says, “the doctor would not help.”

The family faced a situation that’s grimly familiar to many whose loved ones struggle with mental illness: Our legal and mental health systems bestow great freedoms — and hence responsibilities — upon individuals. It’s possible that here, Ovid’s strengths became barriers: He presented well, was highly intelligent, and had read the entire Diagnostic and Statistical Manual IV. The family saw no way to prove to a judge that Ovid was a threat to himself or others, despite his behaviors.

His mother, Gordon, took out a protective order against Ovid.

Ovid ended up in a residential hotel near downtown Las Vegas, his sister recalls. “On Christmas morning, he left — just hours before he knew I was going to visit him. So that Christmas, Nick and I went from shelter to shelter looking for him … but could not find him.”

Ovid hit the road. He became, in official eyes, “transient.”

“He was just tired, exhausted of living like a zombie,” Gordon says. “He said, well, he just felt [the drugs were] killing him, and what’s the point. So he went off, and he became a vagabond.”

Then 52, Ovid roamed through the South, to places steeped in the blues, living a lyric from a languid blues tune, “The Drifter,” by a beloved musician, Clarence “Gatemouth” Brown: “There’s a drifter in me / Though I’ve tried it / I’m just not a settler / And nine to five don’t make it with me / Why deny it / It makes me feel better / To come alive / And prove that I’m free.”

His family was still there for him, and Ovid was still mischievous.

“I would get phone calls at two in the morning sometimes, from Florida, Alabama — he was in a hospital there,” Zachary Neal recalls. “Colorado, I got a 2 a.m. phone call [from] the front desk of the Grand Hyatt in downtown Denver, saying ‘your brother said you’d pay for a room here.’ I was like holy crap, he had to go to the Grand Hyatt. I think he was toying with me.”

His friend Virginia Curnutt recalls Ovid “loved the idea of just journeying away from the craziness of city life,” escaping the urban jungles he knew in all four corners of the nation. When she saw the movie Into the Wild, she says, “that guy kind of reminded me of Ovid.”

He ended up in Eugene, the leafy home of the University of Oregon and the state’s second-largest city, in 2015. The former triathlete smoked tobacco and marijuana while walking 10 miles a day, Amanda Roth says. “He said the birds and the trees were his church.”

An Oregon DMV photo from September 2018 shows Ovid Neal III as a handsome, unsmiling man with a tan face, chiseled jaw, long gray hair and clear blue eyes.

VII. The Streets of Eugene

For years, Oregon has had the highest prevalence of mental illness, including addiction, in the country. The Eugene/Springfield area, home of One Flew Over the Cuckoo’s Nest author Ken Kesey, is no exception. Housing instability is another big problem. The Eugene/Springfield area is ranked first or second by federal housing officials in categories of homelessness including rate of “unsheltered” homelessness and “chronically homeless individuals.” The reasons are complex, according to local experts, including a long-term disinvestment in affordable housing. Alongside the city’s reputation for being one of the nation’s most livable places, it has a cultural history as a destination for hippies, Grateful Dead tours, and seminomadic “travelers.”

The city has supported cutting-edge responses to homelessness such as Square One Villages, a nonprofit that develops cost-effective, proven tiny house “villages” for formerly homeless people. Unfortunately, says Project Director Andrew Heben, who runs a tidy cluster of 22 bright tiny homes named Emerald Village, “you got to kind of win the lottery to get in here.” Many who are without housing are aging or disabled. In homeless populations, mental illness often coexists with drug use. Ovid limited himself to cannabis, the only drug found in his system at  the time of death, and perhaps alcohol. Others don’t.

Near Emerald Village on a recent afternoon, people camped on concrete a stone’s throw from a popular local microbrewery, Ninkasi Brewing Company. A man played with a yo-yo; a woman sat crying on a curb. Outside of the White Bird Clinic where Ovid got his mail and services, a group of people sat on the sidewalk. A man said police “overwhelm people with trespassing charges,” even when they’re just “fixing their shoe.” A woman claimed to have camped with Ovid but was fuzzy on details. People appeared intoxicated, or in withdrawal. Some ate push-pop ice cream or hot dogs, drank Red Bull; others appeared in the throes of active addiction.

“Anybody got a point?” one asked another, meaning an intravenous needle.

“I got a dirty.”

“OK. Does it work?”

Advocates critique the city’s heavy ticketing of homeless people. A Lane County Legal Aid study found that 80 percent of trespass and open container citations went to unhoused people.

Ovid received three citations in 2018, for trespassing, jaywalking and an open container. One, signed “Eugene City Prosecutor,” claims “no culpable mental state.”

“In Eugene, police hand out tickets [to homeless people] like they’re candy,” says Steve Kimes, a local pastor. “I can show you a picture of a guy who’s got 70.”

When she looked into Ovid’s background, Detective Curry says, she found “very minimal” legal history. Two officers told her how “nice” Ovid was.

Yet Ovid feared the police. “I need help,” he said in a July 9, 2018, voicemail on his sister’s phone. “The police are trying to kill me.”

If police were to be avoided, so were other unhoused people. “Last night somebody stole my sleeping bag and my food,” Ovid says in a September 17 voicemail. “They got my tarp, my sleeping bag and vitamins.”

“I don’t want to die outside because homeless people’s stealing from me,” he continues. “[But] homeless people are taking my shit. So. Anyway. God is good. Um. Even if I die of hypothermia, it’s OK. But I’m just pissed off right now at homeless people here.”

In 2019, a homeless woman named Annette Montero was run over and killed by a garbage truck outside of First Christian Church Eugene, a place that had helped Ovid out with his tarp, coat and food. The National Coalition for the Homeless estimates that about 13,000 people die on our streets each year in the United States. A small number, 37 in 2016 and 11 in 2017, were homicide victims.

“I think a lot of people worry that if somebody’s homeless, maybe police might not take it as seriously,” says Detective Curry, who, along with her team, completed 100 reports and amassed terabytes of evidence to make sure Ovid’s killers didn’t walk. “But that’s just not the case at all. And the scene, to me, just looked like somebody who was sleeping on the sidewalk, and incredibly vulnerable. And they were murdered brutally, and just left on the sidewalk to die alone.”

According to Jessica Simmons’ testimony, hours before it became the instrument of Ovid’s death, she and her boyfriend used their football-sized river rock to assault another disabled homeless man Ovid knew, Gerald Fruichantie. In between, they stored it in a grate under a tree.

“What we would learn was that Gerald Fruichantie was kind of the other person who slept there, and that [Ovid] had this connection with,” Curry says. “Sadly, Gerald wasn’t there that night because he had been assaulted the night before and gone to the hospital.”

A man who worked at the recently closed tire shop on whose wall Ovid’s blood was spattered said he didn’t know Ovid, but he did know “Odin” — apparently a nickname for Fruichantie derived from his eye patch. He dismissed him as “blind as a bat, crazy as a coon.”

The parallels between the two assaults raise troubling questions. Was Ovid’s death the nadir in a pattern of attacks on mentally ill homeless people?

Fruichantie, 60, presented at an emergency room at 1:29 a.m. October 3 with a one-inch scalp laceration requiring five stitches. He didn’t report the attack to the police. When the police sought him out during Ovid’s investigation, his description of the attack was limited by vision problems and mental illness.

Judge Chanti writes that Fruichantie’s attack “was part of a pattern of attacks by ‘downtown kids’ who would watch the ATM from the parking garage across the street on ‘benefits day’ (about the 3rd of the month when social security checks were deposited) to identify people to assault and rob.” She calls the evidence “disturbing.”

Ovid’s siblings say he received Social Security benefits, which were garnished for unpaid student debt. Whether Fruichantie received benefits is not known.

Ovid’s family and some friends see both men’s assaults as part of a pattern of bias crimes against disabled homeless people.

“This was clearly more than a robbery that escalated,” Amanda Roth said in court. Ruth Gordon called the murder “a calculated and premeditated bias crime.” The killers “chose my son as their prey precisely because he was disabled, weak and vulnerable.”

Police say they investigated but found no pattern. During the investigation, Curry says, Eugene police found that earlier that year, “people frequenting downtown, many of them juveniles,” assaulted people on several occasions. Sometimes there were thefts, she says; sometimes not.

Her investigation led her to conclude that Ovid’s death was a robbery gone wrong. “I don’t think this was a situation where they said, ‘I hate homeless people, so let’s go beat a homeless person up.’ I think this was a situation of, ‘I want money, I want marijuana, how can I get it?’”

It’s teenagers who most frequently target the homeless. Experts at the National Coalition for the Homeless say “thrill seekers, primarily in their teens, are the most common perpetrators of violence” against homeless people. Ovid’s killing, Roth says, was a “thrill kill.”

Disabilities (including mental illness) comprise only 2 percent of hate crimes, according to FBI data. There is no federal legal protection for homeless victims of bias crimes, says Eric Tars, legal director of the National Law Center for Homelessness and Poverty. Oregon and Eugene are among 46 states and the vast majority of cities that lack such protections, Tars says.

Tars calls that gap “part of this larger broken approach to criminal justice.” Advocates would like to see greater legal protections for homeless people, but the fight is uphill, Tars says: “Not only is there no enhanced penalty, but there isn’t even a requirement to collect data on” crimes against homeless people.

Prosecutor Hasselman says that proving a crime was biased makes the state’s job more onerous. An alleged perpetrator’s motivations “are less important than what someone volitionally chose to do.”

The Civil Rights Division of the U.S. Department of Justice is tasked with enforcing federal laws that prohibit discrimination “on the basis of race, color, national origin, sex, disability, and religion.” Homelessness doesn’t make the list. That division’s assistant attorney general, Eric Dreiband, nominated by President Trump, attended Harvard Divinity School at the same time as Ovid. Calls and messages to his spokespeople went unanswered.

VIII. Judgment

The final chapters of Ovid’s case played out via video conferencing in spring 2020, amidst a pandemic. In separate hearings inside the Lane County Juvenile Justice Center, Kirkpatrick and Simmons were “adjudicated responsible,” in juvenile justice language. Kirkpatrick was found responsible for second-degree murder and second-degree assault; Simmons, for second-degree murder. “There was no independent jurisdiction for robbery for either,” prosecutor Erik Hasselman notes; other earlier charges were dismissed or “merged” into these.

Inside the nearly empty courtroom, Zachary Neal and Amanda Roth joined via streaming video from Las Vegas and Hollywood, anger and dismay clouding their faces. Other participants included Kirkpatrick, Berger, Hasselman, other attorneys and juvenile justice staff.

Kirkpatrick’s apology sounded sincere, if a bit childish.

“I want everyone to know that I truly am sorry for what I have done,” said Kirkpatrick, in a gray hoodless sweatshirt, hands folded on a beige table, near cubbies. “What I did is truly wrong in every way, shape or form. … There is not a day that goes by where I do not think about what I have done.”

“I allowed alcohol and drugs to get the best of me. I’m sorry that it was someone who was truly loved by family and friends. I wish it were me instead.”

Three weeks later, Simmons spoke in a similar video-based adjudication from Oak Creek Youth Correctional Facility in Albany, wiping her eyes with a tissue, her hair in a bun, white cotton knit shirt buttoned to the top, voice trembling.

“Before I was offered a plea deal, all I ever wanted to do was talk to the family and talk about how it impacted me,” she said. “It changed the way I looked at things, and I will never forget what happened. I dream about it every night, and I don’t think it will ever go away. All I can hope is someday I can save lives. And I’m sorry.”

Judge Jay McAlpin committed each to closed custody — not prison, but a juvenile justice approach that includes mental health treatment, medical care and sometimes “camps” — that can last until age 25, the end of the juvenile system’s authority. They could be released sooner.

Between November 30 and March 1, 2019, a multimedia work, “Fates,” debuted at the San Diego Museum of Art. It was created by Ovid’s brother-in-law, artist Nick Roth, and partially inspired by Ovid’s killing.

Artist Nick Roth’s piece “Fates,” featured at the San Diego Museum of Art and inspired by Ovid’s death. (Video courtesy of Nick Roth / Music by Kronos Quartet playing Terry’s Riley’s “Sun Rings: Earth Whistlers” from the “Terry Riley: Sun Rings” album.)

In ancient Roman and Greek mythology — including in Roman poet Ovid’s Metamorphoses — the Moirai, or Fates, are the three goddesses who control the threads, or destinies, of mortal lives. Did Clotho “the Spinner” weave Ovid’s thread in brilliant, dark colors, Lachesis “the Allotter” measure it from 1962 to 2018, and Atropos “the Unturnable” cut it barbarically?

Questions of volition aren’t much easier. Was the truth brought out, or justice served in Ovid’s case? Were Ovid’s murderers given a slap on the wrist because society fails to protect our unhoused, mentally ill neighbors? Or did two kids whose childhoods became social studies get a much-deserved chance at redemption?

In the last decade, a sea change has reshaped our understanding of adolescent brains, favoring a heavier weighting of adverse childhood experiences, adolescent brain science and trauma. Back in Measure 11’s heyday in Oregon, as Judge Chanti’s decision notes, a 13-year-old who committed a horrific homicide was convicted in adult court. In this case, Kirkpatrick, a month shy of 17, was adjudicated as a child. Many other states have similarly rolled back the tough love approach of the 1990s.

Ovid’s case suggests the change will be controversial. The prosecutor and detective say they’re appalled. “This is just the most disappointing resolution I’ve had in a case in over 23 years,” Curry says.

“This is not justice,” Hasselman said in Kirkpatrick’s final hearing. “Being at the helm of this particular prosecution has haunted me.”

Kirkpatrick’s attorney Berger’s response was a world apart.

“I would like to express my sorrow for people who don’t believe that Jonathan has empathy,” Berger said. “I’ve seen tremendous growth in Jonathan [and] look forward to watching Jonathan reach his potential.”

America’s homeless population was growing even before 40 million people lost their jobs in spring 2020. Tragically, we are facing possible rapid growth in our unhoused and mentally ill populations — and, experts say, growing numbers of attacks on them. Amanda Roth has said this case reveals “extreme cruelty and contempt for human life,” while Zachary Neal called the judgment “sickening and revolting.”

Ovid’s ashes sit in a pewter urn at the Roths’ Hollywood home. The family plans to scatter them at Sequoia National Park, after an Episcopal service. Healing may take longer.

Ovid’s friends, now flung to the heedless winds, grasp at silver linings, irony and humor.

“All things considered, he had a great life,” Chris Curnutt says.

“He’s going to be in heaven and we’re going to be in hell,” Shannon Greer jokes. “I hope he holds a hand out for us,” Winslow Dennis adds, with a chuckle.

On a Facebook remembrance group, one man mentions the irony that Ovid, a former teen addiction counselor, was killed by teens battling addiction. Ovid helped “countless” youths, he writes. If Jonny and Jessica could have just talked with Ovid, they “would have benefited” from it. “I know I did.”

Another friend sees only forgiveness.

“I know that when he was dying,” Jerry Harwell says softly, “and they were beating his brains out with a rock, he was asking God to forgive them.”

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When the rebels stormed Charlie Perrière’s house, he was sure his days were about to come to a swift and bloody end. The night before, 66-year-old Perrière, fearing what was coming, knelt down on the floor of his home in Bangui, the capital of the Central African Republic. He began to pray. “God, I have no weapons, no army, I’m not a fighter. Tomorrow, it seems like the Séléka will enter Bangui,” he whispered, referencing the brutal rebel group that was about to topple the government. “I put all my belongings in your hands … please protect me.”  

Hiding out in his large house in a leafy part of Bangui, not far from high-walled ambassadorial residences, Perrière feared for his life. When the militants stormed the grounds, brandishing guns and demanding the keys to a neighbor’s car parked in his driveway, there was little he could do. He did not have the keys, he told them.  

“It was as if I had just poured oil onto the fire,” Perrière tells me when I meet him in the same courtyard three years later. He describes how the group of young men grew furious at his response, even though he had already handed over the keys to his own car. They started shooting in the air and ganging up on the slender man standing alone in his yard. 

That was until one member of the group — a scrawny street kid brandishing a rusty machete — peered closer at Perrière and, his eyes growing wider, whispered something to the leader. The man turned around to stare at Perrière with a strange expression on his face.  

Perrière held his breath. 

“Charlie Perrière, really? Is it really you?” the fighter asked after a few seconds. 

Suddenly, he was warmly patting the older man on the back. 

“And then he began apologizing, and telling me, ‘My mom is simply fanatical about your music, my brother!’” says Perrière, smiling at me with amused disbelief as he recalls the moment from a chair in his verdant garden. 

The leader told the gangsters to give Perrière his car keys back, and told the youths that no one was allowed to return and pillage this particular house. 

Most people in the West would struggle to pinpoint the Central African Republic on a map. Its international claim to fame is the dire poverty of its citizens and its terrifying, bloody, seemingly never-ending wars. The 2013 war reached a peak when a mostly Muslim faction, Séléka, swept into Bangui, staging a coup d’état and eventually forcing the president to flee. This provoked a violent backlash from mainly Christian and Animist groups known as “Anti-Balaka” militias. Hundreds of thousands of citizens ran from their homes. Those who did not manage to escape were slaughtered, their bodies thrown in the river or stuffed down water wells. Youths armed with machetes, their eyes glistening in a drugged haze, spiked decapitated heads as trophies on sticks and paraded them around the streets. Aid workers watched helplessly as armed thugs took over the towns and villages, stringing human intestines across the roads as barriers — a gruesome warning to others to proceed no further. 

Here in Bangui, one of the ways of finding normalcy amid the chaotic years of cries and gunshots has been through another form of sound — the country’s rich music tradition. Whether the rhythmic drumming of the tam–tam, the strumming of the guitar, or the bubbling sounds of the balafon, a xylophone of wood and animal skins — music is a constant here. And Perrière is one of its undisputed kings. His fame probably saved his life.  

Years earlier, he was the leader of the favorite orchestra of one of the most notorious, colorful and strange despots in history, Jean Bédel Bokassa. Today Perrière is still considered a national star — yet, like every story involving the feared Bokassa, Perrière’s path to celebrity was far from a conventional one. 

It was the late 1960s, and Perrière, a talented but struggling teenage musician, was tired of surviving on a shoestring. As he made preparations to leave his native country for a new life in the Congo, he had an unexpected meeting that would change his life. 

Perrière was a star singer in his church choir, and he had been performing with an orchestra that was invited to play in front of Bokassa. After the concert, when the players were invited to salute the great leader, Perrière was summoned to report directly to the man himself. The prospect was exciting — but also terrifying. 

Bokassa is often caricatured as one of Africa’s most tyrannical dictators, a ruler who fed his opponents to crocodiles, adored diamonds and women, and crowned himself as emperor of Central Africa. The anecdotes from his time abound with absurdities, stretching from the beginning to the end of his reign. The night he seized power in a coup d’état on New Year’s Eve in December 1965, he brought his deposed predecessor (who happened to be his distant cousin) to the palace and wrapped him in a tight hug before dispatching him to prison, notes historian Brian Titley in his book Dark Age: The Political Odyssey of Emperor Bokassa. Following Bokassa’s ouster in 1979, the French troops who drained the emperor’s alligator pond at Villa Kolongo discovered bone fragments belonging to some 30 victims, writes historian Martin Meredith in his book The Fate of Africa: A History of Fifty Years of Independence. Mutilated bodies were also found in the residence’s refrigerator, while locals testified that others were regularly fed to the lions. 

While these horror stories are well documented, few of the historical accounts of Bokassa pick up on one of the emperor’s greatest passions — music. A soldier who blitzed through the ranks to become the head of the Central African army, once he became president, Bokassa realized that military might would only take him so far. As he sought to consolidate and aggrandize his power and influence both at home and abroad, he believed music would be an effective tool.  

“Bokassa tried to use radio and musical groups as part of his effort to create a cult of personality to support his rule,” writes Jacqueline Cassandra Woodfork in her book Culture and Customs of the Central African Republic. And he was determined to make Perrière a part of these efforts. 

Bokassa had heard Perrière sing, and upon making inquiries he was disappointed to learn of the youngster’s plans to leave the country.  

So that night at the presidential palace in central Bangui, the despotic leader addressed the terrified musician in a kindly but firm tone — and one that left little room for doubt. 

“He told me: ‘As head of state, I can’t forbid you from going to Congo, but … as a father, I wish that you wouldn’t go,’” recounts Perrière. “After that meeting, my mother had advised me that I had better stay,” adds Perrière, who quickly agreed. “If I had run away to Congo, it would have been like treason.” 

So he stayed. But it was a long time before he heard from the great leader again. Months rolled by with no news, and Perrière wondered if Bokassa had forgotten about him. Then, one day, a presidential security vehicle showed up unannounced on the doorstep of Perrière’s mother’s house, sirens blasting. The president — at that point he had not yet appointed himself emperor — was summoning Perrière for another meeting at the palace. 

This time Bokassa actually congratulated Perrière for staying put. Perrière recalls that the leader was seated at a long table with ministers around him. “He turned to me and said, ‘My son, do you know why I sent for you?’ I said, ‘No, your Excellency.’ And then he said, ‘It was to thank you, because I gave you a piece of advice and you respected it. That means that you are a nationalist at heart.’”  

Perrière continues his story: “He then asked me why I had wanted to go, and I told him, ‘My father is dead, my mother is raising my 10 brothers all on her own, I am the oldest of the family and I need to help my mother. We have no help here, we have no means of developing [our lives].” He told Bokassa that his band played on rented instruments, which swallowed up most of their earnings.  

Bokassa turned to his ministers and ordered them to procure instruments for what would become Bokassa’s “Imperial Orchestra.” This marked the start of Perrière’s decades-long career making music as a private bandmaster for one of the world’s most feared and murderous despots. 

Despite their radically different statuses, Bokassa may have seen something familiar in the young Perrière. Bokassa himself was an orphan; his father had been killed in a dispute when Bokassa was 6 years old, and his mother killed herself soon after. As a teenager, Bokassa was educated in missionary schools and had initially planned to study for the priesthood, before joining the French Army when World War II erupted. After he helped to establish the newly independent country’s national army, Bokassa formed a music band among the military, dubbing it Commando Jazz, writes Luke Fowlie in The SAGE International Encyclopedia of Music and Culture.  

For Bokassa, music was a power-wielding political tool, so much so that he made his personal orchestra — called “Tropical Fiesta” — into a key tool of his global diplomacy, taking the musicians with him on state visits all over the world. 

“He told me once: ‘Listen, Charlie, the young generation don’t understand the importance of music in a country. … It is the artists who enable others to get to know a country,’” recalls Perrière. “This was his goal: to introduce a country through its music.”  

“He adored music,” says Aggas Zokoko, the orchestra’s lead singer and the band’s leader in recent decades. “I think the connection Bokassa had with musicians was unlike any other connection he had with others.” 

Others have a more cynical take on the emperor’s personal orchestra. “He had what we call la folie de grandeur,” that is, megalomania, says Alex Ballu, a veteran radio star and cultural journalist in the Central African Republic. “He needed musicians to travel with him, to augment his presence, to sing his praises and so on.” 

Such practices were also common in neighboring Zaire (now the Democratic Republic of Congo), under Mobutu Sese Seko, a bespectacled dictator known for his distinctive leopard skin hat as well as mass violence and corruption.  

“Popular groups were required to literally sing the praises of their leader,” writes Fowlie. “Bangui’s chosen orchestras became emissaries for the Bokassa government, touring internationally throughout Central and West Africa as well as Europe.” 

Though Bokassa saw music as a diplomatic tool, he also loved it with an all-consuming passion that was obvious to all. 

“Once, we were traveling to Vakaga (in north Central African Republic) when the plane was struck by lightning mid-flight and we almost crashed,” recalls Zokoko. Upon landing, some of the musicians were so shaken by the experience that they ran away and hid, refusing to perform that night. 

“And Bokassa noticed and said: ‘OK, lower the mic down a bit for me. I will sing with you.’ And he did!” 

While Zokoko describes the singing as merely “not bad,” his eyes light up as he remembers the emperor getting more and more into the spirit, taking up a guitar and beginning to serenade one of his wives from the stage. 

“It was a beautiful evening that I will never forget,” says Zokoko wistfully.  

Bokassa also constructed the country’s first major recording studio in the grounds of Berengo, his palace near his home village and the place he envisioned as the future capital of the Central African empire. While some historians see the move as a cynical effort to win the love of the people through music, the country’s musicians benefited financially in a way that they have rarely done since. 

“The first time I played for him it was in Berengo,” recalls Zokoko, who had been recruited by Perrière. He describes Bokassa sitting in the palace with his family, as the orchestra played purely for the leader’s personal pleasure. 

“Sometimes we would just perform for him alone. He’d sit on the sofa. Afterward, he would say, ‘Thank you, my children.’” 

Every aspect of each performance was meticulously planned, and the musicians, who had previously struggled to make ends meet, suddenly found themselves catapulted to stardom, traveling around the world, dressed to the nines. 

“He would clad us in all the top fashions,” muses Zokoko. “We would play in front of all of these heads of states in beautiful suits.” 

“He wanted all the artists to look good, to portray grandeur,” Ballu, the music journalist, says. “The ministers didn’t like the musicians much, as they would often be chatting up their wives,” he adds, laughing. “But Bokassa always defended them, and paid them good money.” 

But it was far from all fun and games. “When you worked with the emperor, everything had to be done perfectly,” Perrière says. “By the book, just like in the army. … When the emperor loses his temper, everyone is in trouble,” he adds, recalling a bitter experience when he found this out for himself. 

“Once, I sang a song that he didn’t like,” he recalls. “It was a song for his birthday.” Performed and broadcast live over the radio, the musicians hadn’t even had a chance to finish playing before “suddenly the curtains began closing in front of us. We turned around and there were armed security guards standing behind us, gun barrels pointing.” The next thing Perrière knew, he was being marched off to prison. 

He spent one month behind bars, an experience which, shaking his head, he describes as “terrible.”  

“My wife was traumatized. It was very difficult.” 

Upon being let out, Bokassa summoned Perrière and explained to him the particular line in the song that he didn’t like, a lyric he deemed too insulting for Bokassa’s image as a strong man.  

“You, the artists, everything you say or do, it’s heard by the whole world,” Bokassa told him. “You can build someone up or break someone easily. So the advice I’ve always given you is: ‘When you compose a song, make it go through a censor in order to avoid any problems.’” 

From that point on, all of the songs went through a censor. 

Perrière’s month in prison was far from a unique incident. Tropical Fiesta and other bands playing for the government had to comply with the emperor’s every wish. Fowlie writes that another orchestra, Centrafrican Jazz, was dissolved in 1975 at the height of its popularity, allegedly over a spat between Bokassa and his wife, who is said to have favored the group. (Some allege that the group became so popular — even with Bokassa’s mistresses — that the ruler split it up out of jealousy, according to an article by musician Sultan Zembellat.) 

As Bokassa’s rule continued, he became more dictatorial and his eccentricities grew. He had maintained a historical admiration for Napoleon Bonaparte since his time as a young trainee in the French military, and during his reign this respect morphed into blind obsession, culminating with Bokassa crowning himself “Emperor of Central Africa” on December 4, 1977, the 173rd anniversary of Napoleon’s coronation. 

Bokassa invited Pope Paul VI himself to crown him. Though the pope, along with a multitude of other state leaders, declined the invitation, preparations for the coronation progressed full steam. To emulate Napoleon, Bokassa dressed himself in a 30-foot-long scarlet mantle, designed by the same atelier that had prepared Napoleon’s. It was decorated with pearls, diamonds and rubies. 

“The whole country was mobilized to take part in the coronation,” Perrière remembers. “There were white horses brought especially from France, all the gold-gilded carriages … it was extraordinary.” The total cost was an eye-popping $20 million USD — a bill footed entirely by France — while the population of the Central African Republic was mired in deep poverty. 

Just before the coronation, musicians from all over the country were asked to compose songs. Perrière’s entry was chosen as one of the official songs for the ceremony. “I was stuck for one week trying to compose it. I turned it over and over in my head. And afterward, it simply came to me, just like that.” 

The song, titled “Révérence à Nos Souverains” (“Reverence to Our Sovereigns”), became a hit, and it is still featured on compilation albums of African music. 

Alongside the Imperial Orchestra, other renowned musicians were invited to attend, among them Manu Dibango, a star from neighboring Cameroon. The scenes that greeted him upon arriving at the presidential palace in Bangui surpassed his wildest expectations, Dibango wrote in his autobiography Three Kilos of Coffee.  

“Money flowed like water,” Dibango wrote. “The church was sumptuously decorated.” But the night ended somberly. “That evening by moonlight, we were giving our concert when a violent storm suddenly erupted, the carriages were soaked, the projectors broke down, the musicians got drenched. The dignitaries thought only of hiding themselves in their Mercedeses.” 

And, just like a sudden tropical storm, two years later, Bokassa’s swift downfall began. 

The key event that triggered his dethroning came in 1979, when around 100 schoolchildren were massacred at Bangui’s central prison, following Bokassa’s orders to arrest them. The children had been taken while protesting an order that forced them to buy overpriced school uniforms made in a factory owned by one of Bokassa’s wives. An independent judicial inquiry subsequently concluded that the prison massacre was carried out “almost certainly” with the personal participation of the emperor, writes Meredith in The Fate of Africa.  

The incident proved to be the final straw for the French, who had been bankrolling Bokassa and his government. In September 1979, while Bokassa was away on a state visit to Libya, French troops helped restore former president David Dacko (Bokassa’s cousin) to power. Bokassa fled by airplane into exile on the Ivory Coast. The Imperial Orchestra was disbanded, and some of its musicians, Perrière included, moved abroad. 

Several years later, in 1986, Bokassa returned to the Central African Republic, hoping to be forgiven and welcomed back. Instead, the deposed emperor was arrested, marched off to jail and then put on trial.  

Today, upon landing at Bangui M’Poko International Airport, the first glimpse any visitor catches of the Bokassa era are the small, toylike airplanes from the 1960s and ’70s, in faded yellow, red and white. For years, people have believed that the planes are haunted by the ghost of the emperor, since it was Bokassa, Titley writes, who established the national airline, and the small airplanes date back to that time. During the 2013 war, the planes gained an unexpected — if ill-fated — second life as shelters for people fleeing marauding gangs. The displaced have since been forced to leave the airport and return to rebuild their destroyed homes. More than 40 years after Bokassa’s lavish and garish coronation, the Central African Republic is one of the poorest countries in the world, ravaged by war and strife, the ongoing pillaging of natural wealth, and rampant corruption. The avenues Bokassa built are crumbling, the buildings gutted and reduced to skeletal remains, weeds growing in what used to serve as kitchens, bedrooms and living rooms. Life expectancy is just 52 years — the shortest anywhere on the planet, according to the World Bank.  

“Bangui la Coquette” (“Bangui the Flirt”) was the city’s nickname back in the Bokassa era. It’s now “Bangui la Roquette” (“Bangui the Rocket”), the locals quip wryly, due to the brutal fighting that has destroyed many parts of the city. 

Bokassa’s Berengo palace has been extensively pillaged. When Perrière was being held at gunpoint in his front yard, Berengo was already being used as a base by child soldiers fighting with a motley crew of armed gangs, answering to the highest–paying militia leader of the day. In recent years, Russian soldiers and mercenaries have descended on the former royal palace, setting up training camps for soldiers inside the grounds, according to a 2019 CNN report. In exchange, Russian companies reportedly “won” exploration rights at a number of sites to look for diamonds and gold. 

And yet, when I visited Bangui on a reporting trip in January 2018 — my fourth one after meeting Perrière in 2016 — I could still feel Bokassa’s presence in the ruined city. Vintage French magazines like Paris Match with Bokassa on the cover were being sold on the streets, locals pointed out the sprawling boulevards and other structures built by the former ruler, while the music and songs of the Bokassa era rang out around the city. 

And Tropical Fiesta is playing once again. One night, I went to a show. The venue was in a garden next to a ditch, off the main road in Bangui. Lit up sparsely by a few functioning street lamps, it was guarded by a half-broken gate.   

A balafon player began striking a few notes. A drumbeat, a clash of cymbals, and then guitarists, singers, and dancers emerged onstage, clapping, smiling, and dancing to the complex beat of a Central African rumba. 

As the music got started, more and more people began to arrive, many middle-aged, but also several youngsters, as well as children weaving in between the adults’ legs. 

Clutching large bottles of beer, the older men looked up at the stage with a faraway gleam in their eyes. The women, wearing figure-hugging dresses made out of colorful cloth, shook their hips languidly. 

Before long it became a party — families, friends sitting around plastic tables, chatting and waving away mosquitoes, while others invited friends and lovers to dance. 

Zokoko, who now heads Tropical Fiesta, was there, getting ready to sing, surrounded by friends and fans. The violence in and around Bangui had died down, and the usual rhythm of life had slowly begun to resume. Just a few years earlier, during the fighting that swept through Bangui in 2013, live music had virtually stopped, Zokoko explains to me during a pause in his performance. It resumed slowly at first, with people dancing only until 8 or 9 p.m. and then going home because of the fear of attacks. “And we don’t make as much money as before,” he adds bitterly.  

Yet the songs played on, people sang along, their eyes half-closed, smiling as if trying to spirit themselves back to a different era, before the country was riven by war and armed gangs. 

Alongside the music, a certain nostalgia for the era of Bokassa had emerged. Several years ago, youth activists dug out the emperor’s throne, long stripped of its diamonds and rubies, from a dump behind the city’s main stadium. Painting it a bright yellow to represent the gold that once encrusted it, the youths decided to set the throne on a display on one of the capital’s busiest avenues. 

“We were furious to find this object abandoned for decades” Heritier Doneng, a youth leader of Patriotes Centrafricains, a group that describes its aim as defending the country’s cultural values, tells me on my reporting trip in 2016. 

“Yes, people speak of Bokassa because they’ve had enough of this suffering, of the misery without end that we are experiencing here in CAR,” he adds. “Bokassa serves as an example, a model of the economic revolution. In his time, we were the best in Central Africa, now we are the worst.”  

Bokassa has earned a reputation as a “builder,” responsible for commissioning Bangui’s spacious boulevards, stadiums and many other buildings. “During the reign of His Majesty, the town of Bangui was more beautiful than Brazzaville, more beautiful than Libreville, than Yaoundé, Malabo and N’Djamena,” says Zokoko, naming neighboring capitals. “Today we are back to zero.” 

“It seems that people have forgiven him a lot,” Perrière muses about his former boss. “Because all the regimes who came after couldn’t do what he did. Those rulers who came after brought a lot more suffering since.” 

After a moment’s pause, Perrière adds quietly: “Bokassa was a dictator, he took decisions himself. Now it’s a democracy, things are moving slowly, and people are beginning to miss Bokassa.” 

Rehabilitation of the reputation of a nation’s former authoritarian and brutal strongman is a familiar trend, seen everywhere from the enduring veneration of Stalin in Russia to the nostalgia for Brazil’s violent military dictatorship of the 1970s. 

“Bokassa had his brutal side, particularly toward the end, but he was also the only of CAR’s presidents who had a vision for the country and built things,” says Yale University professor Louisa Lombard, who has published three books on the Central African Republic.  

Lombard describes Bokassa’s reign as “a time of calm and hope in the country, in a region that had not yet turned to full-on civil war, and at a time when France was still providing a lot of support.” It is not surprising then, Lombard adds, that most people look back on the time with nostalgia, pinning the credit on Bokassa. “The country feels utterly humiliated. … There is an enormous desire for national solutions to the country’s problems.”  

“Bokassa always used to say, ‘You can’t feed people with politics.’ But today, everything has become political,” Zokoko says. In the 2016 presidential election, there were 30 candidates, inspiring Zokoko to compose a song titled “My Beautiful Country, Where Everyone Wants to be President.”   

Since Bokassa’s demise, numerous politicians have sought out Zokoko and other members of the former Imperial Orchestra, asking to have songs written for them. Sometimes those requests are impossible to turn down.  

The same year that the Séléka descended upon Perrière’s front yard, they tried to storm a venue where Zokoko’s band was playing. “Someone from the Séléka came with 16 armed thugs and wanted to get inside. And I said, ‘No, no, it’s Mother’s Day celebrations there, you can’t go in.’ And so, they realized who I was, and asked me to compose a song for them!” Zokoko adds, explaining that even though he was only paid 5,000 XFA ($8.50) for it, he was relieved to get the armed group off his back. 

“Some politicians still haven’t paid me,” he notes. 

Today, the violence has subsided, and the atmosphere is more free, though the concert scene has not yet fully returned, and violence pops up sporadically, such as in November 2017, when a concert for peace by a local band playing was derailed by a grenade attack that killed four people and injured 20 others. 

Today, the music of Bokassa’s band is heard everywhere: at weddings, birthdays, funerals and more, serving as a kind of social glue, a way to start repairing the splintered communities throughout the country.  

“We sing about togetherness,” says Zokoko. “We sing the songs of yesterday, in Sango” — the primary language here — “and in French. We are not politicians, we are musicians, but we want to give this ambience of social cohesion, so that it comes back to us.” 

Sipping a beer and laughing at the 2018 concert, Pascal, a beefy former director general of a security company with the look of a nightclub bouncer, says he comes to hear the band play whenever he can. 

“Musicians are like philosophers,” he says wistfully. “They have the power to reunite everyone with their songs.” He describes the impact of the band’s diverse membership, which includes people from various religious groups, as well as some who are typically marginalized by society here, such as a musician with a disability. “Christians, Muslims, disabled — all united. We are brothers and sisters, it’s the politicians who wanted to divide us. God knows, the solidarity between us will return. Look around: Everyone is here,” he says, gesturing at the bustling compound.  

Perrière, however, is not at the party. After Bokassa was deposed, Perrière emigrated to France in order to get treatment for his son who was sick. There, he worked a succession of different jobs, including in a coffee house, before later deciding to return home and resume his musical career. But he did not rejoin Tropical Fiesta; instead he returned to his religious music roots. He became a born-again evangelical Christian and turned to composing mostly religious songs — as well as to moonlighting as an occasional wedding singer, he tells me with a twinkle in his eye as he hands me a CD of songs he recently recorded for a local bride and groom. The studio in his house is named SDJ — “Studio of Jesus,” he tells me. Today, he divides his life between Paris and Bangui, living off of profits from his music career, as well as the money earned by a Bangui restaurant that he runs, which caters to the country’s elites. 

As for Bokassa, despite being sentenced to death twice, first in absentia while he was abroad, and then in a courtroom in 1987, his sentence was gradually eroded in the ensuing years. In 1993, as part of a general amnesty, he was set free, having served just six years in prison. Perrière was among those waiting at the jail entrance for the former emperor, who had newly reestablished his own strong belief in God. Bokassa emerged from behind bars clad head to toe in a white robe and declaring, “I am the thirteenth apostle.” 

Bokassa died in November 1996 of a heart attack at age 75, and he is survived by as many as 60 children, according to the New York  Times’ obituary. In 2010, then-president François Bozizé officially rehabilitated Bokassa, and even went as far as to posthumously award him the state’s medal of honor, declaring that Bokassa has “given a great deal for humanity.” 

For Perrière, his former boss remains somewhat of a mystery. He found Bokassa both paternal and petrifying. 

“Everyone was scared of him. Everyone. It was standard,” says Perrière, while at the same time going on to describe how in his more tender moods the emperor would call him “my son,” and how in turn he and others would call Bokassa “Papa.” 

Perrière speaks of his time with Bokassa with a sense of wonder, replaying scene by scene in his mind and then pausing to remember more.  

As for Tropical Fiesta, Perrière is glad some of his songs continue to be sung and danced to throughout Bangui and beyond, and he stays in touch with his former bandmates. “I help them, I give them advice,” Perrière says, smiling. “They play old songs, but they also have a new repertoire.” The fact that the musicians of Tropical Fiesta did not put down their instruments, that they have continued this long and even play new songs, offers a glimmer of hope for the country. 

“Many groups sing for reconciliation,” he adds quietly, after a moment’s reflection. “Whether it’s effective or not, everyone needs to make their contribution for peace.”   

The International Women’s Media Foundation supported some of Inna’s reporting from the Central African Republic as part of its Africa Great Lakes Reporting Initiative.  

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