1
00:00:01,720 --> 00:00:08,440
Speaker 1: Also media, Welcome back to Behind the Bastards a podcast,

2
00:00:08,520 --> 00:00:11,760
Speaker 1: but this week is about Filium Specter.

3
00:00:12,160 --> 00:00:15,120
Speaker 2: I'm fairly certain that's not what his first name is.

4
00:00:15,320 --> 00:00:17,560
Speaker 2: Here to correct me, Greasy.

5
00:00:17,160 --> 00:00:20,040
Speaker 3: Will, that's actually I think his name was Philium. I

6
00:00:20,600 --> 00:00:26,360
Speaker 3: have no reason to dispute that. The Yeah, absolutely one

7
00:00:26,440 --> 00:00:28,240
Speaker 3: hundred percent. I do want to lead off with saying

8
00:00:28,240 --> 00:00:30,160
Speaker 3: that I forgot last episode, but I did want to

9
00:00:30,200 --> 00:00:32,240
Speaker 3: mention I have made a playlist of all of Phil

10
00:00:32,240 --> 00:00:34,720
Speaker 3: Spector's music. I thought that it would be very even

11
00:00:34,720 --> 00:00:37,080
Speaker 3: though it's technically whenever you're doing this is educational, so

12
00:00:37,120 --> 00:00:38,760
Speaker 3: you can use music for anything that you want when

13
00:00:38,800 --> 00:00:41,000
Speaker 3: it's educational, but I thought it would be, you know,

14
00:00:41,080 --> 00:00:44,480
Speaker 3: especially with the new prestigious Netflix deal that you guys got,

15
00:00:44,520 --> 00:00:46,600
Speaker 3: I didn't want you to have any you know, copyright

16
00:00:46,640 --> 00:00:50,840
Speaker 3: complications are too. No, I'm just saying, I just don't

17
00:00:50,840 --> 00:00:54,200
Speaker 3: want you guys have any complications. You know, So instead

18
00:00:54,240 --> 00:00:57,840
Speaker 3: of what I think is Phil's most seminal song, instead

19
00:00:57,880 --> 00:01:00,360
Speaker 3: of playing that, I'll play you my interpretation of it.

20
00:01:00,880 --> 00:01:03,200
Speaker 4: Thank you all for listening. I will be here all week.

21
00:01:08,120 --> 00:01:13,760
Speaker 5: The night meant I knew I found my show.

22
00:01:15,640 --> 00:01:20,880
Speaker 6: The kind that talks about ev were freaking now.

23
00:01:23,120 --> 00:01:25,440
Speaker 5: Each shine I listen.

24
00:01:25,480 --> 00:01:29,479
Speaker 6: I can't believe my Holy.

25
00:01:30,720 --> 00:01:37,080
Speaker 5: The more than God than be too naughty, though, Can

26
00:01:37,280 --> 00:01:42,000
Speaker 5: we till me hid behind the sady that you see

27
00:01:43,440 --> 00:01:48,120
Speaker 5: behind the cantles by, behind.

28
00:01:47,800 --> 00:01:52,760
Speaker 2: The business snappy, I'm the best.

29
00:01:54,120 --> 00:01:56,680
Speaker 5: From more crimes consent.

30
00:01:57,720 --> 00:01:59,240
Speaker 1: See oh.

31
00:02:01,480 --> 00:02:04,240
Speaker 7: The weirdows Is Street, dried.

32
00:02:05,440 --> 00:02:06,120
Speaker 2: Leave on.

33
00:02:10,280 --> 00:02:16,520
Speaker 5: Some feet, rocked up that then the darkest shows you

34
00:02:16,880 --> 00:02:20,560
Speaker 5: love that cringe at a briefing.

35
00:02:20,680 --> 00:02:29,760
Speaker 7: Day fall some can gupy behind the Ballet Street, the

36
00:02:29,960 --> 00:02:30,800
Speaker 7: passion of.

37
00:02:33,480 --> 00:02:38,840
Speaker 2: The boothston snappy, so.

38
00:02:40,639 --> 00:02:50,680
Speaker 6: Behind the s Street, the passion looks like the Boston Sniffy.

39
00:02:52,560 --> 00:02:55,280
Speaker 6: The bastards, sweet.

40
00:02:56,639 --> 00:02:57,519
Speaker 4: Bastards.

41
00:03:03,160 --> 00:03:04,000
Speaker 8: That was beautiful.

42
00:03:04,320 --> 00:03:07,800
Speaker 2: Well, that was genuinely one of the sweetest I looked.

43
00:03:08,919 --> 00:03:10,760
Speaker 3: I just want everybody to know, like this was not

44
00:03:10,880 --> 00:03:13,600
Speaker 3: an AI song. I legitimately made that.

45
00:03:13,760 --> 00:03:16,720
Speaker 2: I would never have accused you of that, I know.

46
00:03:16,800 --> 00:03:19,000
Speaker 3: But it's like right now, there's so much like like

47
00:03:19,600 --> 00:03:22,200
Speaker 3: you know, like fifty does fifties song, you know, like

48
00:03:22,520 --> 00:03:25,200
Speaker 3: do up you know, and you're like, ah, no, I legitimate.

49
00:03:25,440 --> 00:03:26,959
Speaker 3: I brought in a girl. Her name is Clancy. I

50
00:03:27,000 --> 00:03:29,160
Speaker 3: shout her out, Shout out Clancy. She was amazing She

51
00:03:29,360 --> 00:03:33,720
Speaker 3: crushed that Ronnie Specter vibe. She absolutely killed it. It

52
00:03:33,800 --> 00:03:37,880
Speaker 3: was amazing and I and I very much appreciate it. Yeah,

53
00:03:37,960 --> 00:03:38,880
Speaker 3: but yeah, you didn't.

54
00:03:38,640 --> 00:03:40,880
Speaker 2: Really show that wall sound thing too that you were

55
00:03:40,920 --> 00:03:41,560
Speaker 2: talking about.

56
00:03:42,080 --> 00:03:44,320
Speaker 3: Yeah, literally, what I was going for was trying to

57
00:03:44,360 --> 00:03:47,760
Speaker 3: sound exactly like Phil Spector's Be My Baby, which is

58
00:03:47,880 --> 00:03:49,240
Speaker 3: where we will pick up.

59
00:03:49,200 --> 00:03:53,560
Speaker 2: Today, Beautiful after beautiful after introduct after this.

60
00:03:55,240 --> 00:04:06,000
Speaker 4: Nailed it, So back to our story, back to our pow.

61
00:04:06,120 --> 00:04:06,840
Speaker 4: Philip Specter.

62
00:04:08,320 --> 00:04:10,240
Speaker 3: His career is exploding, right, this is where we're at

63
00:04:10,320 --> 00:04:12,120
Speaker 3: right now, His career is exploding.

64
00:04:12,280 --> 00:04:14,000
Speaker 4: He is the hottest.

65
00:04:14,080 --> 00:04:16,440
Speaker 3: He is Max Martin in the nineties, right, he just

66
00:04:16,480 --> 00:04:19,080
Speaker 3: wrote Britney Spears and now he's working for Christina Aguilera.

67
00:04:19,200 --> 00:04:20,120
Speaker 4: Yeah, and then he's working.

68
00:04:19,960 --> 00:04:22,040
Speaker 3: For you know, it's just like hit after hit after

69
00:04:22,200 --> 00:04:25,719
Speaker 3: hit after hit. And like I said before, in last episode,

70
00:04:25,720 --> 00:04:26,880
Speaker 3: we talked about he was the.

71
00:04:28,040 --> 00:04:29,520
Speaker 4: Tycoon of teen.

72
00:04:32,760 --> 00:04:33,000
Speaker 8: Hate.

73
00:04:34,960 --> 00:04:37,600
Speaker 4: So yeah, so he's yes, it's very it's a very

74
00:04:37,680 --> 00:04:39,160
Speaker 4: upsetting name and as an.

75
00:04:39,080 --> 00:04:41,640
Speaker 3: A you know this, but to be fair, he is

76
00:04:41,720 --> 00:04:44,760
Speaker 3: probably only like twenty years old, Like he is barely

77
00:04:44,920 --> 00:04:47,520
Speaker 3: not a teen himself at this point. And this is

78
00:04:47,600 --> 00:04:54,080
Speaker 3: a very very peculiar time in history, right, because most

79
00:04:54,160 --> 00:04:56,960
Speaker 3: of his competition is like fifty forty.

80
00:04:57,160 --> 00:04:58,360
Speaker 4: Right, they're like old.

81
00:04:58,279 --> 00:05:01,800
Speaker 3: Dudes, right, it's like like in the early days. Like

82
00:05:02,360 --> 00:05:04,600
Speaker 3: it's very funny. But they talk about this all the time,

83
00:05:04,760 --> 00:05:07,440
Speaker 3: Like basically, if you heard a song by a young

84
00:05:07,560 --> 00:05:10,679
Speaker 3: black girl group, it was written by an old white

85
00:05:10,800 --> 00:05:14,920
Speaker 3: Jewish man. Yeah, yeah, without fail, that's what I mean.

86
00:05:15,160 --> 00:05:18,120
Speaker 3: You know, not quite yet, but very soon the Chess

87
00:05:18,160 --> 00:05:20,320
Speaker 3: Brothers are gonna have Chess Records in Chicago. It's going

88
00:05:20,400 --> 00:05:24,560
Speaker 3: to be everything, you know, everything that exists you know

89
00:05:24,680 --> 00:05:26,200
Speaker 3: in music is gonna come out of there for a

90
00:05:26,240 --> 00:05:26,680
Speaker 3: little while.

91
00:05:26,720 --> 00:05:29,440
Speaker 4: It's like there is absolutely.

92
00:05:30,320 --> 00:05:34,359
Speaker 3: There is just a a a world of old white

93
00:05:34,400 --> 00:05:37,679
Speaker 3: dudes writing writing pop music for teenage girls.

94
00:05:37,800 --> 00:05:40,479
Speaker 4: And Phil Spector is the maverick.

95
00:05:40,560 --> 00:05:42,800
Speaker 3: He's the young guy. He's and he's doing it different.

96
00:05:42,920 --> 00:05:47,760
Speaker 3: He's very different, right, all Right, So the studio becomes

97
00:05:47,800 --> 00:05:50,920
Speaker 3: his creative space. The studio becomes you know, everything to him.

98
00:05:51,080 --> 00:05:53,840
Speaker 3: He's using it as part. It's like the it's it's

99
00:05:54,279 --> 00:05:56,440
Speaker 3: really in these moments too, when he's making these these

100
00:05:56,480 --> 00:05:59,720
Speaker 3: wall of sound productions. It is basically Phil Spector and

101
00:06:00,160 --> 00:06:04,600
Speaker 3: the studio is the is the musician. He's bringing in

102
00:06:05,080 --> 00:06:08,960
Speaker 3: randos from the parking lot to sing backgrounds, like there's

103
00:06:09,160 --> 00:06:11,360
Speaker 3: layers of percussion and shit. It was like if you

104
00:06:11,440 --> 00:06:13,000
Speaker 3: could keep a beat at all, it was like cool,

105
00:06:13,040 --> 00:06:14,840
Speaker 3: go in there and play this thing. He would have

106
00:06:15,000 --> 00:06:17,360
Speaker 3: multiple drums, like all sorts of stuff going on in

107
00:06:17,440 --> 00:06:20,920
Speaker 3: these productions. They were they were the musicians were interchangeable.

108
00:06:21,480 --> 00:06:24,360
Speaker 3: The studio was important to him, gold Star Studios in

109
00:06:24,760 --> 00:06:28,600
Speaker 3: Hollywood on Vine and which is no longer there by

110
00:06:28,640 --> 00:06:31,320
Speaker 3: the record it was it was a shitty studio in

111
00:06:31,360 --> 00:06:32,320
Speaker 3: the nineteen sixties.

112
00:06:34,160 --> 00:06:36,680
Speaker 2: I gotta break it here to say of my favorite

113
00:06:36,760 --> 00:06:39,400
Speaker 2: early in our friendship memories was coming to visit you

114
00:06:39,600 --> 00:06:41,880
Speaker 2: at the studio you were working at in LA for

115
00:06:42,000 --> 00:06:44,919
Speaker 2: the first time with Lenny and like cracking a sixth

116
00:06:45,000 --> 00:06:48,000
Speaker 2: pack when you're like putting the finishing touches on something

117
00:06:48,040 --> 00:06:49,720
Speaker 2: and you're like, you know, this is where they made

118
00:06:49,760 --> 00:06:51,640
Speaker 2: pet sounds, And I was like, oh this building. You're like, no,

119
00:06:51,839 --> 00:06:53,080
Speaker 2: like this room is the room?

120
00:06:54,880 --> 00:06:55,080
Speaker 3: Yeah?

121
00:06:55,440 --> 00:06:57,400
Speaker 4: Here, yeah, right here? Yeah.

122
00:06:57,440 --> 00:07:00,799
Speaker 3: Which again h I mentioned this the first the first episode,

123
00:07:00,839 --> 00:07:03,160
Speaker 3: but uh, you know, part of my love for this

124
00:07:03,279 --> 00:07:06,920
Speaker 3: whole story is that this is all combined. This story

125
00:07:07,080 --> 00:07:09,880
Speaker 3: is all one story, which also includes Charles Manson. I

126
00:07:09,920 --> 00:07:12,920
Speaker 3: don't know if you know that Charles Manson's in this

127
00:07:13,040 --> 00:07:15,880
Speaker 3: whole thing too. And I actually have a little bit like, dang,

128
00:07:15,920 --> 00:07:17,520
Speaker 3: I should pivot from this one the next one.

129
00:07:17,600 --> 00:07:20,120
Speaker 4: I come over here, I should? I should Charles Manson

130
00:07:20,480 --> 00:07:21,400
Speaker 4: Beach Boys.

131
00:07:22,960 --> 00:07:25,240
Speaker 2: Talked a little bit about the Beach Boys and Charlie Manson,

132
00:07:25,280 --> 00:07:27,000
Speaker 2: but not as much as the subject deserves.

133
00:07:27,240 --> 00:07:29,320
Speaker 4: Yeah, oh my god, it is. I mean, it's it.

134
00:07:29,760 --> 00:07:30,760
Speaker 4: We'll get there. We'll get there.

135
00:07:30,800 --> 00:07:33,440
Speaker 3: That's a later but that's a that's a little special

136
00:07:33,560 --> 00:07:34,840
Speaker 3: thing for you guys in the future.

137
00:07:34,880 --> 00:07:38,760
Speaker 4: You'll love it. So yeah, so you know Phil Is

138
00:07:39,400 --> 00:07:42,600
Speaker 4: is working at gold Star. The Beach Boys are are.

139
00:07:43,400 --> 00:07:47,360
Speaker 3: Brian Wilson actually is part of these early like background people,

140
00:07:47,440 --> 00:07:50,560
Speaker 3: not singers. He's like a hanger on. He's like showing

141
00:07:50,680 --> 00:07:53,440
Speaker 3: up places and being like, oh Phil's working, like and

142
00:07:53,560 --> 00:07:55,040
Speaker 3: he's a kid, and he just like, oh, I just

143
00:07:55,080 --> 00:07:57,640
Speaker 3: want to see what Phil is doing. Because Phil is

144
00:07:58,320 --> 00:08:00,560
Speaker 3: the guiding force of what would become the Beach Boys,

145
00:08:00,560 --> 00:08:03,280
Speaker 3: which would then become the Beatles. Is like whole vibe

146
00:08:03,360 --> 00:08:06,360
Speaker 3: on how they just were not doing the Phil is

147
00:08:06,560 --> 00:08:10,160
Speaker 3: the architect of this original sound and he cannot be

148
00:08:10,280 --> 00:08:13,920
Speaker 3: stressed enough how big of a deal this is, Like

149
00:08:14,080 --> 00:08:18,960
Speaker 3: he is like as big as as doctor Dre is. Right,

150
00:08:19,120 --> 00:08:21,520
Speaker 3: like when you think of like, oh, like everybody knows

151
00:08:21,600 --> 00:08:26,520
Speaker 3: doctor Dre, everybody knows Phil Spector. Right across continents they

152
00:08:26,600 --> 00:08:30,400
Speaker 3: know Phil Spector. Everybody knows Phil Spector. Right. He is

153
00:08:31,240 --> 00:08:34,920
Speaker 3: after after the hits that he's crafted already. Just he's

154
00:08:34,960 --> 00:08:37,760
Speaker 3: world he's worldwide, mister worldwide. He's pitfull and.

155
00:08:37,840 --> 00:08:40,360
Speaker 2: So right right, yes, he's the first mister worldwide.

156
00:08:41,880 --> 00:08:44,559
Speaker 3: He is also, as I said, only about like five

157
00:08:44,600 --> 00:08:48,600
Speaker 3: foot three or whatever and anywhere's heels. He starts wearing

158
00:08:48,640 --> 00:08:50,880
Speaker 3: heels all the time because he doesn't want people to

159
00:08:50,960 --> 00:08:53,200
Speaker 3: know how short he is. He starts losing his hair,

160
00:08:53,840 --> 00:08:55,959
Speaker 3: which we'll talk about a little bit. Uh, and so

161
00:08:56,120 --> 00:08:58,800
Speaker 3: he starts wearing wigs and starts like going, this is

162
00:08:58,840 --> 00:09:01,120
Speaker 3: the beginning of all this. At this exactly, he's like

163
00:09:01,200 --> 00:09:04,160
Speaker 3: twenty one and he's like losing his hair at a

164
00:09:04,320 --> 00:09:04,800
Speaker 3: crazy rate.

165
00:09:04,880 --> 00:09:07,040
Speaker 4: He's like all right, real insecure about it.

166
00:09:08,000 --> 00:09:11,679
Speaker 3: Really has a lot of self worth image issues, you know,

167
00:09:11,840 --> 00:09:14,400
Speaker 3: he really just does not like he's doing all this

168
00:09:14,600 --> 00:09:16,880
Speaker 3: because of that, he's trying to go bigger and bigger

169
00:09:16,920 --> 00:09:19,439
Speaker 3: and bigger, because he looks at himself as being just

170
00:09:19,640 --> 00:09:22,000
Speaker 3: like the worst, because you know, mom issues and all that.

171
00:09:22,520 --> 00:09:22,720
Speaker 2: Yeah.

172
00:09:22,880 --> 00:09:25,840
Speaker 3: But by the mid nineteen sixties, Phil Spectr had achieved

173
00:09:25,880 --> 00:09:29,200
Speaker 3: something few producers had ever managed. He had transformed himself

174
00:09:29,240 --> 00:09:32,920
Speaker 3: from songwriter into brand, from collaborator into architect. The Wall

175
00:09:32,960 --> 00:09:36,280
Speaker 3: of Sound was no longer experimental. It was defining popular music.

176
00:09:36,800 --> 00:09:40,480
Speaker 3: But as his professional authority grew, so did his emotional instability.

177
00:09:41,240 --> 00:09:45,520
Speaker 3: He got married to a woman named Annette Morar, right,

178
00:09:46,120 --> 00:09:50,079
Speaker 3: and it is such a small blip, like this is

179
00:09:50,200 --> 00:09:52,959
Speaker 3: I should have started with that, But it's such a

180
00:09:53,000 --> 00:09:55,720
Speaker 3: small blip. He marries her and immediately just starts ignoring her,

181
00:09:55,800 --> 00:09:58,400
Speaker 3: has no interest in he He love bombs her.

182
00:09:58,480 --> 00:10:01,240
Speaker 4: He does what we now call love bombs, right, He

183
00:10:01,400 --> 00:10:02,599
Speaker 4: love bombs the ship out of it.

184
00:10:02,679 --> 00:10:04,480
Speaker 3: But then once they get married, because this is like

185
00:10:05,000 --> 00:10:08,599
Speaker 3: a very short courtship, once they get married, he's like

186
00:10:09,200 --> 00:10:10,360
Speaker 3: not interested anymore.

187
00:10:11,480 --> 00:10:12,439
Speaker 4: So that gives me.

188
00:10:14,200 --> 00:10:15,920
Speaker 8: That gives me major, is all I'm saying.

189
00:10:16,160 --> 00:10:20,839
Speaker 3: Yeah, Well, calm down on hating on people for bad relationship.

190
00:10:20,280 --> 00:10:25,079
Speaker 2: And situations, as we have well we wanted to talk.

191
00:10:26,360 --> 00:10:28,719
Speaker 3: I'm doing the best I can look, I figured out,

192
00:10:28,840 --> 00:10:29,760
Speaker 3: I figured out the problem.

193
00:10:30,080 --> 00:10:34,520
Speaker 4: It's me. I'm in the same place I've locked I

194
00:10:34,600 --> 00:10:40,439
Speaker 4: figured out the problem the house all the time, we

195
00:10:40,520 --> 00:10:41,400
Speaker 4: figured out the problem.

196
00:10:41,440 --> 00:10:43,480
Speaker 9: But the real you know, we gotta saying you got

197
00:10:43,559 --> 00:10:44,960
Speaker 9: nine problems, but.

198
00:10:45,080 --> 00:10:46,360
Speaker 8: You're the bitch, and it's.

199
00:10:48,600 --> 00:10:52,480
Speaker 3: Problems and I am all of them, and I have

200
00:10:52,720 --> 00:10:56,080
Speaker 3: been nefariously behind every single one of them.

201
00:10:56,760 --> 00:10:59,000
Speaker 4: Just this will never come back to me.

202
00:11:00,400 --> 00:11:02,560
Speaker 2: All my problems are raither me or the government, which

203
00:11:02,559 --> 00:11:07,000
Speaker 2: is why I really focus on hating the government. True.

204
00:11:08,080 --> 00:11:11,959
Speaker 3: All right, so his paranoia is escalating, his reliance on

205
00:11:12,040 --> 00:11:14,960
Speaker 3: intimidation is becoming really normalized.

206
00:11:15,080 --> 00:11:15,200
Speaker 4: Right.

207
00:11:16,160 --> 00:11:17,960
Speaker 8: Wait, that's actually kind of interesting.

208
00:11:18,080 --> 00:11:21,280
Speaker 9: So he love bombs this person, he's obsessed with her,

209
00:11:21,920 --> 00:11:23,679
Speaker 9: and then they get married, but then he no longer

210
00:11:23,800 --> 00:11:25,800
Speaker 9: wants to like control or stalk her.

211
00:11:26,840 --> 00:11:30,400
Speaker 2: No, he literally he So that's a new behavior.

212
00:11:31,760 --> 00:11:34,599
Speaker 3: He basically it's that classic like as soon as he

213
00:11:34,640 --> 00:11:37,360
Speaker 3: gets it, he's not interested in it. Yeah, as soon

214
00:11:37,360 --> 00:11:40,480
Speaker 3: as he gets it, it pivots, like the whole thing changes, right,

215
00:11:40,600 --> 00:11:40,840
Speaker 3: But he.

216
00:11:40,840 --> 00:11:42,559
Speaker 8: Doesn't want to control her anymore.

217
00:11:44,120 --> 00:11:47,839
Speaker 3: Not not really, it's more of like it's more of

218
00:11:48,040 --> 00:11:51,040
Speaker 3: like he I mean, he is still controlling, right, but

219
00:11:51,240 --> 00:11:53,360
Speaker 3: he just doesn't care at all, you know, like most

220
00:11:53,400 --> 00:11:55,760
Speaker 3: of the time, he's more interested in his career, in

221
00:11:55,880 --> 00:11:57,920
Speaker 3: his work, in what's going on in the studio.

222
00:11:58,240 --> 00:12:02,120
Speaker 4: He builds a studio underneath his house so that he can.

223
00:12:02,120 --> 00:12:05,000
Speaker 3: Just like be down there whenever he's like, anytime he's

224
00:12:05,000 --> 00:12:06,880
Speaker 3: annoyed or like whatever, he just goes downstairs.

225
00:12:06,880 --> 00:12:08,520
Speaker 4: So he has the ultimate like escape plan.

226
00:12:08,720 --> 00:12:11,280
Speaker 2: Yeah, I'm sure if he were to catch her cheating

227
00:12:11,360 --> 00:12:13,480
Speaker 2: on him, he'd be pissed, but he's hardly paying enough

228
00:12:13,520 --> 00:12:14,240
Speaker 2: attention to know.

229
00:12:15,000 --> 00:12:16,880
Speaker 4: Got it, absolutely? Absolutely?

230
00:12:16,920 --> 00:12:20,040
Speaker 3: Yeah, Yeah, he's very much at this point, he's very

231
00:12:20,120 --> 00:12:21,240
Speaker 3: much interested in Phil.

232
00:12:21,600 --> 00:12:23,520
Speaker 4: Phil is what's driving him, right.

233
00:12:24,200 --> 00:12:28,880
Speaker 3: Yeah, So what he's looking for this whole time he

234
00:12:29,000 --> 00:12:31,440
Speaker 3: keeps talking about this is a constant reference. He's looking

235
00:12:31,520 --> 00:12:34,040
Speaker 3: for the voice. He's looking for the voice that perfectly

236
00:12:34,160 --> 00:12:39,840
Speaker 3: compliments his wall of sound, his musical compositions, like being

237
00:12:39,920 --> 00:12:43,480
Speaker 3: all these like big Fuagnerian like opuses and everything. He

238
00:12:43,600 --> 00:12:47,280
Speaker 3: wants a person to be that thing, to be that

239
00:12:47,559 --> 00:12:49,959
Speaker 3: that front and center for all of this to make

240
00:12:50,000 --> 00:12:52,559
Speaker 3: it worth what he's doing. He doesn't feel like he's

241
00:12:52,600 --> 00:12:54,280
Speaker 3: found that with any of his previous stuff.

242
00:12:54,360 --> 00:12:55,680
Speaker 4: So in walks.

243
00:12:56,600 --> 00:13:00,880
Speaker 3: Ronnie Bennett. Ronnie Bennett, let's talk about Ronnie Bennett will

244
00:13:00,920 --> 00:13:02,600
Speaker 3: eventually become his wife's spoiler alert.

245
00:13:03,440 --> 00:13:05,959
Speaker 4: I don't know how much I wrote, so now I

246
00:13:06,080 --> 00:13:08,559
Speaker 4: just gotta I wrote a lot. I wrote a lot.

247
00:13:08,640 --> 00:13:09,760
Speaker 4: There's a lot of words in here.

248
00:13:10,160 --> 00:13:15,360
Speaker 8: I'm forty one pages, you wrote, my friend, yeah, Jael.

249
00:13:15,760 --> 00:13:18,040
Speaker 3: Yes, no, no, no, that's exactly what I was gonna say.

250
00:13:18,240 --> 00:13:21,280
Speaker 3: You know, I'm on the subreddits, I'm on the YouTube's.

251
00:13:22,040 --> 00:13:23,640
Speaker 3: I read the comments. I read the comments because they

252
00:13:23,720 --> 00:13:26,440
Speaker 3: keep me humble, Because like I'll be like posting something

253
00:13:26,480 --> 00:13:27,959
Speaker 3: on the Internet and somebody be like, this guy's a

254
00:13:28,040 --> 00:13:29,800
Speaker 3: fucking loser, and I'm like, oh cool, you.

255
00:13:29,880 --> 00:13:31,480
Speaker 2: Know, I'm really.

256
00:13:33,840 --> 00:13:35,880
Speaker 3: Just you know, I gotta, I gotta keep it real

257
00:13:35,960 --> 00:13:38,240
Speaker 3: out there. But sometimes I see comments on there where

258
00:13:38,240 --> 00:13:40,080
Speaker 3: people be like, I can't believe Robert.

259
00:13:40,920 --> 00:13:41,280
Speaker 4: Fuck you.

260
00:13:41,559 --> 00:13:43,439
Speaker 3: Fuck every one of you who has ever made a

261
00:13:43,559 --> 00:13:45,320
Speaker 3: comment like that. Fuck any of you who have ever

262
00:13:45,400 --> 00:13:46,840
Speaker 3: said anything bad about Sophie too.

263
00:13:46,880 --> 00:13:49,079
Speaker 4: I slapped the shit out of you. And this is

264
00:13:49,280 --> 00:13:50,880
Speaker 4: for the subreddit right now.

265
00:13:51,200 --> 00:13:53,520
Speaker 3: I'm one of you, and I see the things you

266
00:13:53,679 --> 00:13:55,880
Speaker 3: say and I'm disgusted by them.

267
00:13:56,000 --> 00:13:58,760
Speaker 4: Sometimes because I'm like do you know this took me

268
00:13:59,160 --> 00:13:59,800
Speaker 4: a year.

269
00:14:00,480 --> 00:14:02,920
Speaker 3: This took me a whole year to do this.

270
00:14:03,760 --> 00:14:05,559
Speaker 4: I'm busy. I'm a busy person.

271
00:14:05,880 --> 00:14:07,480
Speaker 3: But even whenever I was like, like, you know, I

272
00:14:07,600 --> 00:14:09,599
Speaker 3: told you like last week, oh I'm done with this,

273
00:14:09,760 --> 00:14:12,199
Speaker 3: and I was like mostly done, but I wrote another

274
00:14:12,280 --> 00:14:14,240
Speaker 3: like three thousand words because I was like, well, there's

275
00:14:14,280 --> 00:14:15,280
Speaker 3: some parts I'm missing and.

276
00:14:15,280 --> 00:14:18,120
Speaker 2: All this because ship.

277
00:14:19,320 --> 00:14:21,880
Speaker 4: This is hard. And I hear all your little Internet

278
00:14:22,000 --> 00:14:25,120
Speaker 4: comments like oh you said some weird ship or what. Yeah,

279
00:14:25,120 --> 00:14:26,240
Speaker 4: I'm doing my best, dude.

280
00:14:26,280 --> 00:14:29,480
Speaker 3: It's like I'm improvising at the same time, I'm obviously

281
00:14:29,640 --> 00:14:31,760
Speaker 3: drinking a little bit and like, you know, you guys.

282
00:14:31,600 --> 00:14:34,280
Speaker 2: Got to cut me a break, got to do that.

283
00:14:34,520 --> 00:14:34,720
Speaker 7: Yeah.

284
00:14:36,400 --> 00:14:39,120
Speaker 4: I don't know anybody else operates, but this is how

285
00:14:39,200 --> 00:14:39,960
Speaker 4: I do things.

286
00:14:40,600 --> 00:14:44,600
Speaker 3: Speaking which purchase, greasy does it, recording course taught by me.

287
00:14:45,240 --> 00:14:52,440
Speaker 4: I'm very responsible marketing, incredible word thank you. Yeah so

288
00:14:53,160 --> 00:14:53,520
Speaker 4: so yeah.

289
00:14:53,600 --> 00:14:57,120
Speaker 3: So. Ronnie is born into a family shape. She's born

290
00:14:57,160 --> 00:15:00,680
Speaker 3: in Spanish Harlem, New York City, August tenthnineteen forty three,

291
00:15:00,720 --> 00:15:04,040
Speaker 3: four years after Phil was born, just down the street. Basically,

292
00:15:05,080 --> 00:15:07,560
Speaker 3: they probably lived almost in the same area at this time.

293
00:15:08,000 --> 00:15:09,440
Speaker 4: Essentially all right.

294
00:15:09,520 --> 00:15:13,680
Speaker 3: So her father, Lewis Bennett, was an Irish American and

295
00:15:13,920 --> 00:15:17,560
Speaker 3: her mother was African American Cherokee. Her father was also

296
00:15:17,720 --> 00:15:20,080
Speaker 3: a drummer and a drunk, something that can still be

297
00:15:20,160 --> 00:15:23,600
Speaker 3: found together in massive quantities around the world. You can

298
00:15:23,680 --> 00:15:27,400
Speaker 3: have a drummer and drinking anywhere you go. It's true,

299
00:15:27,560 --> 00:15:29,880
Speaker 3: you can find it. It's this prevalentist Coca cola man.

300
00:15:29,960 --> 00:15:38,480
Speaker 3: It's there. So he's also a failure, right. He can't

301
00:15:38,880 --> 00:15:41,560
Speaker 3: he can't keep a job, he can't do anything. He's

302
00:15:41,640 --> 00:15:43,720
Speaker 3: just a mess most of the time. So she grows

303
00:15:43,840 --> 00:15:48,520
Speaker 3: up not really down with alcohol. Right, this is important

304
00:15:48,520 --> 00:15:48,960
Speaker 3: for later, but.

305
00:15:49,040 --> 00:15:51,760
Speaker 2: She starts her life understandable.

306
00:15:51,240 --> 00:15:53,800
Speaker 3: Being traumatized by a little bit by alcohol. She always

307
00:15:53,840 --> 00:15:56,120
Speaker 3: loves her dad, but she definitely feels like, you know,

308
00:15:56,320 --> 00:15:57,440
Speaker 3: this is an alcohol thing.

309
00:15:57,880 --> 00:15:58,080
Speaker 2: Yeah.

310
00:15:59,200 --> 00:16:02,840
Speaker 3: She loves singing. She's really big on like Frankie Lyman.

311
00:16:02,920 --> 00:16:05,760
Speaker 3: She loves Frankie Lyman. She thinks he's the best ever.

312
00:16:05,880 --> 00:16:09,720
Speaker 3: Dinah Washington just voices that were raw and like real,

313
00:16:10,160 --> 00:16:15,440
Speaker 3: real authentic feeling, right, And she also gravitated towards performance.

314
00:16:16,240 --> 00:16:19,240
Speaker 3: She was always like, you know, like the classic front

315
00:16:19,280 --> 00:16:21,280
Speaker 3: woman thing. You know, it's like when she was a

316
00:16:21,280 --> 00:16:23,400
Speaker 3: little kid, she was always singing into microphones. You know,

317
00:16:23,560 --> 00:16:27,200
Speaker 3: it's like that story, right. Her father being a drummer

318
00:16:27,200 --> 00:16:29,800
Speaker 3: and a failed drummer did not discourage her mother because

319
00:16:29,800 --> 00:16:32,120
Speaker 3: her father left pretty early, but it didn't discourage her

320
00:16:32,160 --> 00:16:36,560
Speaker 3: mother from encouraging Ronnie's musical talent. She didn't just like

321
00:16:36,640 --> 00:16:39,440
Speaker 3: all of a sudden, I mean, if it was me, like, dude,

322
00:16:39,440 --> 00:16:41,520
Speaker 3: I had ex girlfriends that were like, my ex boyfriend

323
00:16:41,560 --> 00:16:43,040
Speaker 3: was a drummer and he failed at music, so you

324
00:16:43,120 --> 00:16:45,160
Speaker 3: can't possibly make money off of music.

325
00:16:45,200 --> 00:16:47,680
Speaker 4: And I'm like, you know, maybe you're wrong.

326
00:16:47,760 --> 00:16:50,320
Speaker 3: I don't know, to be fair, I didn't make a

327
00:16:50,360 --> 00:16:53,280
Speaker 3: lot of money off of it, so whatever. So yeah,

328
00:16:53,320 --> 00:16:57,120
Speaker 3: so her mom, her mom supports her. Her dad's always

329
00:16:57,480 --> 00:17:00,320
Speaker 3: waxing poetic about his days as a musician, and so

330
00:17:00,720 --> 00:17:03,200
Speaker 3: she grows up as that being like a really important thing.

331
00:17:03,760 --> 00:17:03,920
Speaker 2: Right.

332
00:17:04,600 --> 00:17:07,320
Speaker 3: She was always singing at school events, neighborhood functions.

333
00:17:08,160 --> 00:17:10,000
Speaker 4: She she got a style. Right.

334
00:17:10,119 --> 00:17:12,119
Speaker 3: There's something that happens when you do a lot of

335
00:17:12,280 --> 00:17:14,879
Speaker 3: music is eventually, at first you're just learning, you're just

336
00:17:14,960 --> 00:17:18,280
Speaker 3: trying to replicate other people's things. But eventually, once you

337
00:17:18,359 --> 00:17:21,439
Speaker 3: do it enough, you develop style. Right, and for her,

338
00:17:21,560 --> 00:17:24,160
Speaker 3: she developed a very unique style. It was very raw,

339
00:17:24,560 --> 00:17:27,359
Speaker 3: It wasn't musically perfect, but it had just.

340
00:17:28,040 --> 00:17:31,280
Speaker 4: A tone that was just beautiful. Everybody recognized it, right.

341
00:17:31,920 --> 00:17:35,240
Speaker 3: So her oldest sister Estelle and her cousin Nedra formed

342
00:17:35,640 --> 00:17:38,480
Speaker 3: a vocal group called the Darling Sisters. The trio practice

343
00:17:38,520 --> 00:17:42,000
Speaker 3: constantly singing in school hallways, street corners, in their apartments.

344
00:17:42,200 --> 00:17:44,480
Speaker 3: That's like a thing that still happens in this time period,

345
00:17:44,560 --> 00:17:48,679
Speaker 3: people like out doting on the corner, just singing in public. Bro,

346
00:17:48,800 --> 00:17:50,560
Speaker 3: if you saw that shit now, you'd be like, oh

347
00:17:50,640 --> 00:17:52,320
Speaker 3: my god, fucking influencers of this shit?

348
00:17:52,359 --> 00:17:53,520
Speaker 4: Shit is it about to say?

349
00:17:53,680 --> 00:17:57,119
Speaker 2: Unfortunately, I would assume it's some like incredibly irritating like

350
00:17:57,240 --> 00:18:00,600
Speaker 2: TikTok thing or whatever, some fucking viral bullshit or something.

351
00:18:00,840 --> 00:18:02,679
Speaker 4: Yeah, I don't want to be a part of your

352
00:18:02,680 --> 00:18:03,760
Speaker 4: fucking videos, weirdo.

353
00:18:04,080 --> 00:18:06,119
Speaker 2: You know it'd be a huge as.

354
00:18:07,520 --> 00:18:10,000
Speaker 4: I would absolutely. I mean, like, you guys suck anyways,

355
00:18:10,000 --> 00:18:10,480
Speaker 4: I don't even.

356
00:18:10,400 --> 00:18:15,760
Speaker 2: Want to you from making music, and I'll tell you so.

357
00:18:16,440 --> 00:18:19,359
Speaker 4: The group was eventually renamed the Rawnettes and namely captured

358
00:18:19,400 --> 00:18:23,080
Speaker 4: their identity and Ronnie's emerging role as a front woman

359
00:18:23,160 --> 00:18:24,760
Speaker 4: you know Ronnie and the Rawnettes.

360
00:18:24,800 --> 00:18:28,400
Speaker 2: It's very sure normals toteduely.

361
00:18:27,640 --> 00:18:32,600
Speaker 3: Yeah, you know, but you know, Ronnie's lead vocals really

362
00:18:32,680 --> 00:18:38,560
Speaker 3: do become the defining characteristic of this whole thing. Their

363
00:18:38,600 --> 00:18:42,679
Speaker 3: early performances were energetic, glamorous, and slightly rebellious. Ronnie developed

364
00:18:42,720 --> 00:18:46,480
Speaker 3: distinctive stage presence that blended confidence with vulnerability. She wore

365
00:18:46,600 --> 00:18:49,840
Speaker 3: dramatic eye makeup, teased her hair into towering beehives, and

366
00:18:50,040 --> 00:18:52,760
Speaker 3: moved with a swagger that contrasted with her petite frame.

367
00:18:53,080 --> 00:18:56,640
Speaker 3: She was creating an image that felt simultaneously innocent and dangerous,

368
00:18:56,680 --> 00:18:58,560
Speaker 3: and aesthetic that would later become iconic.

369
00:18:58,600 --> 00:19:00,119
Speaker 4: In nineteen Sixtyes, Pop Colder.

370
00:19:00,320 --> 00:19:03,080
Speaker 3: Sophie, if you would please show Phil and the lovely

371
00:19:03,240 --> 00:19:09,240
Speaker 3: Ladies of the Ronets. Yeahful they didn't invent that beehive hairdoo. Yeah,

372
00:19:09,520 --> 00:19:13,200
Speaker 3: but they're the reason it became popular, right. It was

373
00:19:13,320 --> 00:19:16,760
Speaker 3: like their adoption of it was the thing that made

374
00:19:16,800 --> 00:19:20,359
Speaker 3: that you I mean, that was my grandmother had one

375
00:19:20,400 --> 00:19:22,159
Speaker 3: of those when I was a kid. Still and it

376
00:19:22,240 --> 00:19:25,359
Speaker 3: was like the eighties, like it stayed on for twenty

377
00:19:25,440 --> 00:19:28,480
Speaker 3: some years. How popular that was. So it's like their

378
00:19:28,560 --> 00:19:32,880
Speaker 3: cultural irrelevance just cannot be understated in any way. They

379
00:19:32,920 --> 00:19:38,040
Speaker 3: were incredibly important to the look of the early sixties,

380
00:19:38,960 --> 00:19:42,400
Speaker 3: so breaking into the professional music industry proved difficult for them.

381
00:19:42,680 --> 00:19:45,480
Speaker 3: The Run has performed at clubs and talent contests dance

382
00:19:45,600 --> 00:19:48,800
Speaker 3: venues all throughout New York City, struggling to secure recording

383
00:19:48,840 --> 00:19:52,760
Speaker 3: contracts or industry attention. The persistence reflected both ambition and

384
00:19:52,880 --> 00:19:55,760
Speaker 3: necessary necessity because music was.

385
00:19:55,760 --> 00:19:58,840
Speaker 4: Important to Ronnie. Like she it was get rich, d

386
00:19:58,920 --> 00:20:01,160
Speaker 4: die tryan on this. You know she was fifty cent

387
00:20:01,720 --> 00:20:02,679
Speaker 4: hard right now.

388
00:20:03,720 --> 00:20:06,680
Speaker 3: Eventually the group secured opportunities to perform at venues that

389
00:20:06,760 --> 00:20:09,160
Speaker 3: expose them to evolving pop and rhythm and blues.

390
00:20:08,960 --> 00:20:10,480
Speaker 4: Scene of the nineteen sixties New York.

391
00:20:10,800 --> 00:20:14,000
Speaker 3: They performed at the Peppermint Lounge and other popular clubs,

392
00:20:14,359 --> 00:20:16,480
Speaker 3: and again Ronnie driving the way.

393
00:20:17,200 --> 00:20:18,840
Speaker 4: Yeah, they were starting to get.

394
00:20:18,920 --> 00:20:22,119
Speaker 2: Sorry, go ahead, just because this is an inspector and

395
00:20:22,240 --> 00:20:25,320
Speaker 2: I know what's coming is like based on just how

396
00:20:25,359 --> 00:20:28,840
Speaker 2: he treats artists, like the replaceability of them treating him

397
00:20:28,880 --> 00:20:31,200
Speaker 2: just like another tool. And hearing a story like this

398
00:20:31,320 --> 00:20:34,120
Speaker 2: that really drives home. Just like, no to get anywhere

399
00:20:34,320 --> 00:20:36,560
Speaker 2: close to people hearing you on the radio, you have

400
00:20:36,680 --> 00:20:39,920
Speaker 2: to have been relentless about making it your life, like

401
00:20:40,119 --> 00:20:43,840
Speaker 2: as evidentally unhinged in your dedication to this career.

402
00:20:44,000 --> 00:20:46,400
Speaker 3: Especially at this time, right, Like, and it's a really

403
00:20:46,480 --> 00:20:49,920
Speaker 3: good point, Like it cannot the dedication cannot be understated.

404
00:20:49,960 --> 00:20:51,960
Speaker 3: It's like at this point, in order to get a

405
00:20:52,040 --> 00:20:55,480
Speaker 3: record made, right, that cost a lot of money, you know,

406
00:20:55,760 --> 00:20:57,800
Speaker 3: like yeah, for the time, you know, it'd be like.

407
00:20:57,800 --> 00:21:00,159
Speaker 4: One hundred or two hundred dollars or something like that.

408
00:21:00,280 --> 00:21:02,800
Speaker 3: To record a song at the studio, Like two hundred

409
00:21:02,800 --> 00:21:05,640
Speaker 3: dollars is like a whole month's paycheck.

410
00:21:05,280 --> 00:21:08,480
Speaker 2: For people, Like it's a crazy amount of money.

411
00:21:08,960 --> 00:21:11,320
Speaker 3: Yes, it's a lot of money for a lot of people.

412
00:21:11,440 --> 00:21:14,240
Speaker 3: So and it's still kind of that way today. In fact,

413
00:21:14,280 --> 00:21:16,280
Speaker 3: if you're interested in working with Greasy Will, you can

414
00:21:16,320 --> 00:21:17,439
Speaker 3: find them at the Grease factory.

415
00:21:17,680 --> 00:21:19,800
Speaker 4: Greasy Will do right.

416
00:21:21,760 --> 00:21:22,119
Speaker 2: Anyway.

417
00:21:22,320 --> 00:21:24,160
Speaker 4: So you know, it's very expensive.

418
00:21:24,240 --> 00:21:26,800
Speaker 3: So even to just get something recorded as expensive, then

419
00:21:27,200 --> 00:21:29,200
Speaker 3: you have to get it to a DJ. You have

420
00:21:29,280 --> 00:21:31,320
Speaker 3: to get it on the radio, because the only way

421
00:21:31,359 --> 00:21:34,160
Speaker 3: you will ever sell anything is if it's on the radio.

422
00:21:34,240 --> 00:21:35,600
Speaker 3: So you got to get it on the radio, and

423
00:21:35,680 --> 00:21:38,159
Speaker 3: then it has to build local support, and then it

424
00:21:38,240 --> 00:21:40,640
Speaker 3: has to build regional support and then it has to build.

425
00:21:40,640 --> 00:21:40,760
Speaker 7: You know.

426
00:21:40,840 --> 00:21:43,639
Speaker 4: It's like sometimes this is like a years long process

427
00:21:43,800 --> 00:21:45,680
Speaker 4: to get music to be heard.

428
00:21:45,880 --> 00:21:48,880
Speaker 8: So she's hustling, she's like relentless in trying to get

429
00:21:48,920 --> 00:21:49,760
Speaker 8: her stuff out there.

430
00:21:50,520 --> 00:21:52,479
Speaker 4: Absolutely, absolutely, uh.

431
00:21:53,440 --> 00:21:56,640
Speaker 3: She strongly believed that the right producer would eventually understand

432
00:21:56,680 --> 00:21:59,760
Speaker 3: how to capture her voice authentically, and she continued to

433
00:21:59,760 --> 00:22:03,760
Speaker 3: performing relentlessly, touring, rehearsing and refining her stage present. She

434
00:22:03,840 --> 00:22:06,240
Speaker 3: saw her career not as a sudden break waiting to happen,

435
00:22:06,320 --> 00:22:10,760
Speaker 3: but something that she would build through persistence and emotional honesty.

436
00:22:10,960 --> 00:22:13,439
Speaker 4: So, yes, that's exactly it. She worked.

437
00:22:13,640 --> 00:22:15,040
Speaker 3: She put in the work from the time she was

438
00:22:15,119 --> 00:22:17,720
Speaker 3: like fourteen years old, just grind it all the time.

439
00:22:19,400 --> 00:22:21,000
Speaker 2: Yeah, I'd say it's the only way to do it,

440
00:22:21,040 --> 00:22:22,440
Speaker 2: but it's the only It's not it's but it's the

441
00:22:22,520 --> 00:22:25,280
Speaker 2: only way to do it. If like you're not somebody

442
00:22:25,320 --> 00:22:27,240
Speaker 2: who's coming from somewhere, you know.

443
00:22:28,040 --> 00:22:30,919
Speaker 3: Absolutely absolutely, yeah, yeah, yeah. You know, there's a lot

444
00:22:30,920 --> 00:22:33,040
Speaker 3: of Nepa babies in the music industry right now, so

445
00:22:33,119 --> 00:22:38,160
Speaker 3: we don't have to pretend. So they're rising through New York.

446
00:22:38,240 --> 00:22:42,040
Speaker 3: It's nineteen sixty three and she's looking for this producer,

447
00:22:42,119 --> 00:22:45,080
Speaker 3: and coincidentally, a producer is looking for his voice, his muse,

448
00:22:45,160 --> 00:22:47,600
Speaker 3: his wall of sound, his girl who will be that

449
00:22:47,880 --> 00:22:52,919
Speaker 3: for him? And they meet they though literally it's very funny.

450
00:22:53,640 --> 00:22:57,080
Speaker 3: They literally just they just call, you know. It's like

451
00:22:57,280 --> 00:23:00,280
Speaker 3: it's like nineteen sixty three, just like you just look

452
00:23:00,359 --> 00:23:01,840
Speaker 3: up in the telephone.

453
00:23:02,840 --> 00:23:04,840
Speaker 8: Hey, you want to produce my album?

454
00:23:05,800 --> 00:23:06,000
Speaker 2: Yeah.

455
00:23:06,160 --> 00:23:08,600
Speaker 3: It's like when I think about the old days of

456
00:23:08,680 --> 00:23:11,200
Speaker 3: how things were done, it's like, what you just called somebody.

457
00:23:11,400 --> 00:23:13,640
Speaker 4: I won't even answer a phone call from a number

458
00:23:13,680 --> 00:23:15,080
Speaker 4: I don't know right now.

459
00:23:15,680 --> 00:23:18,439
Speaker 2: Yeah, you just pick up the phone and yeah, get

460
00:23:18,480 --> 00:23:20,879
Speaker 2: a fucking music deal based on that. Yeah, you know,

461
00:23:21,240 --> 00:23:23,880
Speaker 2: so they're assuming your call timed in well with when

462
00:23:23,880 --> 00:23:26,600
Speaker 2: he'd just done a line. Yeah, you might be able

463
00:23:26,680 --> 00:23:28,080
Speaker 2: to fucking make some shit happen.

464
00:23:29,000 --> 00:23:30,200
Speaker 4: Absolutely so.

465
00:23:30,320 --> 00:23:30,520
Speaker 3: Yeah.

466
00:23:30,640 --> 00:23:33,359
Speaker 4: So I was like, all right, So they just called him.

467
00:23:33,359 --> 00:23:35,120
Speaker 3: They call him, they call him, and he's like, oh, yeah,

468
00:23:35,160 --> 00:23:37,320
Speaker 3: I've heard of you guys, because they're making a noise

469
00:23:37,359 --> 00:23:39,959
Speaker 3: in New York right uh and Phil at this time too,

470
00:23:41,400 --> 00:23:44,040
Speaker 3: there's a lot of geographical confusion with a lot of

471
00:23:44,080 --> 00:23:46,399
Speaker 3: the stuff that he is bouncing back and forth between

472
00:23:46,480 --> 00:23:48,760
Speaker 3: California and New York all the time like that.

473
00:23:48,920 --> 00:23:50,879
Speaker 4: It's like he loves working in gold Stars.

474
00:23:50,920 --> 00:23:53,240
Speaker 3: So he goes out to California to work at gold

475
00:23:53,320 --> 00:23:58,200
Speaker 3: Star at the studio, but he he doesn't like the

476
00:23:58,320 --> 00:24:00,960
Speaker 3: New York scene is still the scene, right, so he's

477
00:24:01,000 --> 00:24:02,240
Speaker 3: got to like go to New York and then he

478
00:24:02,280 --> 00:24:03,760
Speaker 3: flies back and then he'll work there for a while.

479
00:24:04,119 --> 00:24:06,159
Speaker 3: So a lot of times that it might seem like

480
00:24:06,200 --> 00:24:09,400
Speaker 3: he is just like transporting across the country and the story,

481
00:24:09,480 --> 00:24:10,159
Speaker 3: but he really is.

482
00:24:11,200 --> 00:24:14,520
Speaker 4: So he heard phil in Ronnie.

483
00:24:14,560 --> 00:24:17,560
Speaker 3: He heard the voice that he had he'd been waiting for,

484
00:24:17,760 --> 00:24:21,760
Speaker 3: the emotional landscape that he had spent years construction would

485
00:24:21,800 --> 00:24:22,840
Speaker 3: fit perfectly with her.

486
00:24:23,000 --> 00:24:23,119
Speaker 4: Right.

487
00:24:24,520 --> 00:24:29,440
Speaker 3: The professional relationship, though, immediately blurs into personal fixation. Yeah,

488
00:24:29,560 --> 00:24:33,480
Speaker 3: he starts, he starts spending you know, extraordinary amounts of

489
00:24:33,560 --> 00:24:37,240
Speaker 3: time rehearsing Ronnie, rehearsing Ronnie. He's always rehearsing Ronnie. Like

490
00:24:37,680 --> 00:24:39,879
Speaker 3: it's like, Ronnie, stay after, we got to do this,

491
00:24:39,960 --> 00:24:42,320
Speaker 3: you know, Ronnie, Ronnie. It's like always Ronnie. And of

492
00:24:42,359 --> 00:24:44,399
Speaker 3: course she is the front woman. I'm not saying, you know,

493
00:24:44,520 --> 00:24:49,000
Speaker 3: that's not important or whatever, but it's like very obvious, right,

494
00:24:49,080 --> 00:24:53,879
Speaker 3: that he is, that he is trying to isolate her

495
00:24:53,960 --> 00:24:58,120
Speaker 3: as a great isolation is began disguised as mentorship.

496
00:24:58,240 --> 00:24:58,960
Speaker 4: Exactly right.

497
00:25:01,560 --> 00:25:06,160
Speaker 2: Yes, you know what else hasn't happened before advertisements. We're

498
00:25:06,240 --> 00:25:09,119
Speaker 2: the first podcast to do that. So yeah, you're welcome.

499
00:25:09,400 --> 00:25:19,120
Speaker 3: Yes, let's do it, and we're back. We're back into

500
00:25:19,240 --> 00:25:22,119
Speaker 3: Phil Spector. Actually, I don't know if I like that,

501
00:25:23,080 --> 00:25:28,880
Speaker 3: soby's faith Yeah, yeah, all right, So yeah, it's easy

502
00:25:28,960 --> 00:25:32,000
Speaker 3: to portray Ronnie as a victim, and only as a victim, right,

503
00:25:32,080 --> 00:25:34,640
Speaker 3: but it kind of it denies the fact that Phil

504
00:25:34,680 --> 00:25:37,000
Speaker 3: Spector is Phil Spector at this time. He is a

505
00:25:37,240 --> 00:25:42,000
Speaker 3: legendary person in the music industry, and she fell into

506
00:25:42,119 --> 00:25:44,200
Speaker 3: love with him as well. It was not one sided.

507
00:25:44,280 --> 00:25:46,320
Speaker 3: It was not just Phil love bombing her, but it

508
00:25:46,600 --> 00:25:49,439
Speaker 3: was in fact, quote, I already knew I liked him

509
00:25:49,480 --> 00:25:51,760
Speaker 3: that first day, and I knew he liked me too.

510
00:25:52,400 --> 00:25:55,200
Speaker 3: It really was love at first sight on both our parts.

511
00:25:55,280 --> 00:25:57,520
Speaker 3: Even though I hardly said three words the whole night,

512
00:25:58,080 --> 00:26:00,480
Speaker 3: I didn't have to say anything else. We commune in

513
00:26:00,560 --> 00:26:03,280
Speaker 3: other ways. Every time Phil put that song back on,

514
00:26:03,520 --> 00:26:06,000
Speaker 3: I was wondering. I wondered if he wasn't trying to

515
00:26:06,040 --> 00:26:08,399
Speaker 3: tell me something because it Shirre didn't speak to me.

516
00:26:08,720 --> 00:26:10,879
Speaker 3: I couldn't stop thinking that today I really met the

517
00:26:10,920 --> 00:26:12,320
Speaker 3: boy I was going to marry.

518
00:26:12,520 --> 00:26:14,440
Speaker 8: And that's from Ronnie's book Be My Baby.

519
00:26:15,680 --> 00:26:17,399
Speaker 4: Yes, from Ronnie's book Be My Baby.

520
00:26:18,280 --> 00:26:20,960
Speaker 2: I'm so bummed about.

521
00:26:22,880 --> 00:26:25,960
Speaker 4: He showers her with gifts, attention, grand declarations of devotion

522
00:26:26,160 --> 00:26:27,879
Speaker 4: like he is just he's on it right.

523
00:26:28,200 --> 00:26:28,440
Speaker 2: Yeah.

524
00:26:29,600 --> 00:26:32,000
Speaker 3: However, remember I said that Phil has his studio in

525
00:26:32,080 --> 00:26:35,000
Speaker 3: his house, right, yes, and he is still married.

526
00:26:35,720 --> 00:26:40,000
Speaker 4: Oh, his wife lives upstairs. So again, this is also

527
00:26:40,040 --> 00:26:40,880
Speaker 4: from Ronnie's book.

528
00:26:41,600 --> 00:26:44,560
Speaker 3: She goes to visit him, and she says, quote, I'd

529
00:26:44,640 --> 00:26:47,440
Speaker 3: never been in a panhouse before Phil or anyone else,

530
00:26:47,640 --> 00:26:50,200
Speaker 3: so naturally, when I walked in, I couldn't resist peeking

531
00:26:50,280 --> 00:26:51,879
Speaker 3: into all the closets and poking.

532
00:26:51,680 --> 00:26:53,200
Speaker 4: Around behind all the closed doors.

533
00:26:53,600 --> 00:26:55,440
Speaker 3: I opened one door and was surprised to find a

534
00:26:55,480 --> 00:26:57,679
Speaker 3: bedroom where six or seven pairs of women's shoes were

535
00:26:57,680 --> 00:27:01,240
Speaker 3: scattered all over the floor. Asked Phil who they belonged to,

536
00:27:01,600 --> 00:27:04,840
Speaker 3: and he nearly turned pink. Will you stop snooping around

537
00:27:04,840 --> 00:27:07,080
Speaker 3: where you don't belong, he snapped. I think it was

538
00:27:07,160 --> 00:27:10,440
Speaker 3: the first time I ever saw Phil lose his temper. Okay, honey,

539
00:27:10,520 --> 00:27:13,000
Speaker 3: I said, I'm sorry. He must have noticed the hurt

540
00:27:13,080 --> 00:27:15,560
Speaker 3: look in my eyes because he softened his tone immediately.

541
00:27:15,920 --> 00:27:19,200
Speaker 3: Those are my sister Shirley's shoes, he explained. She stays

542
00:27:19,240 --> 00:27:20,399
Speaker 3: here sometimes when she's.

543
00:27:20,280 --> 00:27:20,800
Speaker 4: In New York.

544
00:27:20,920 --> 00:27:22,920
Speaker 8: Liar, Liar, pants on fire.

545
00:27:23,680 --> 00:27:24,720
Speaker 2: Your sister Shirley.

546
00:27:25,040 --> 00:27:27,879
Speaker 3: Yeah, bro, getting mad was the distraction to come up

547
00:27:27,920 --> 00:27:30,119
Speaker 3: with the excuse, right, He was like, what are you

548
00:27:30,200 --> 00:27:30,960
Speaker 3: looking around for?

549
00:27:31,840 --> 00:27:33,800
Speaker 4: Oh, yes, sister shoes. But those are my sister shoes.

550
00:27:33,800 --> 00:27:35,200
Speaker 4: If I'd have thought of that before, I wouldn't have

551
00:27:35,200 --> 00:27:37,600
Speaker 4: gotten mad first. If I'd have thought his sister's shoes immediately,

552
00:27:37,600 --> 00:27:38,400
Speaker 4: I would have gotten mad.

553
00:27:38,920 --> 00:27:46,280
Speaker 3: Come on, so, uh, you know he abrupt, defensive, you know, aggressive,

554
00:27:46,720 --> 00:27:48,560
Speaker 3: This is this is a pattern that would kind of

555
00:27:48,600 --> 00:27:52,000
Speaker 3: define the relationship. You know, Curiosity would be met with

556
00:27:52,080 --> 00:27:55,440
Speaker 3: intimidation or reality would be replaced with Phil's version of truth.

557
00:27:56,000 --> 00:27:57,400
Speaker 2: Right, he's gaslight.

558
00:27:57,600 --> 00:27:58,240
Speaker 4: She accepts that.

559
00:27:59,320 --> 00:28:02,920
Speaker 3: Yeah, yeah, she accepts that as the truth, right, and

560
00:28:03,520 --> 00:28:08,040
Speaker 3: just doesn't even question it. She does say that she

561
00:28:08,200 --> 00:28:13,440
Speaker 3: recognized that Phil Phil was had some issues, right. She

562
00:28:13,560 --> 00:28:16,520
Speaker 3: was like, he's got some confidence issues. And this is

563
00:28:16,560 --> 00:28:20,600
Speaker 3: another quote that I could get it Okay, so important,

564
00:28:20,800 --> 00:28:21,840
Speaker 3: so so important.

565
00:28:21,960 --> 00:28:23,720
Speaker 4: Listen to this all right. So this is from her

566
00:28:23,760 --> 00:28:25,399
Speaker 4: book Be My Baby. Quote.

567
00:28:25,680 --> 00:28:28,160
Speaker 3: Phil first started losing his hair around the time we met.

568
00:28:28,520 --> 00:28:30,200
Speaker 3: In fact, there's a picture that was taken when he

569
00:28:30,280 --> 00:28:32,960
Speaker 3: signed us in March nineteen sixty three, which also was

570
00:28:33,000 --> 00:28:34,840
Speaker 3: the first day I ever saw him wearing a two pay.

571
00:28:35,320 --> 00:28:37,280
Speaker 3: It was so obvious if you knew him, but he

572
00:28:37,359 --> 00:28:39,240
Speaker 3: still went to great lengths to hide the fact that

573
00:28:39,360 --> 00:28:42,800
Speaker 3: he wore wigs. Even when we slept together. After we'd

574
00:28:42,840 --> 00:28:44,760
Speaker 3: do our foreplay, he'd get up from bed and make

575
00:28:44,800 --> 00:28:46,080
Speaker 3: sure the lights were all out.

576
00:28:46,560 --> 00:28:48,240
Speaker 4: That way I couldn't watch him when he took his

577
00:28:48,400 --> 00:28:48,800
Speaker 4: hair off.

578
00:28:49,200 --> 00:28:51,360
Speaker 3: Then he'd stumble into the bathroom in the dark so

579
00:28:51,440 --> 00:28:54,000
Speaker 3: he could rub this acid tone solvent all over his head.

580
00:28:54,360 --> 00:28:56,160
Speaker 3: It was the smelliest stuff in the world, but I

581
00:28:56,240 --> 00:28:58,400
Speaker 3: guess it was the only thing he could get the tongue.

582
00:28:58,720 --> 00:29:00,240
Speaker 4: The two pay glue off his out.

583
00:29:00,800 --> 00:29:04,360
Speaker 3: So's he's like twenty one, and he's like lost all

584
00:29:04,400 --> 00:29:07,520
Speaker 3: his hair already, and he is incredibly the.

585
00:29:09,120 --> 00:29:11,360
Speaker 2: Worst way to ooh.

586
00:29:11,920 --> 00:29:15,840
Speaker 4: Sorry, and everybody knows. Everybody around him knows, but like

587
00:29:15,960 --> 00:29:17,719
Speaker 4: he's so powerful, you don't say anything.

588
00:29:17,920 --> 00:29:22,720
Speaker 3: Sure sure, And so it's just like everybody's just just

589
00:29:22,880 --> 00:29:25,240
Speaker 3: kind of accepting that this is a thing that has happened,

590
00:29:25,240 --> 00:29:27,320
Speaker 3: and nobody says anything, and they just let him go on.

591
00:29:27,400 --> 00:29:30,320
Speaker 4: With his little delusion about not being bald. You know,

592
00:29:30,520 --> 00:29:31,360
Speaker 4: I'm not really bald.

593
00:29:31,760 --> 00:29:35,840
Speaker 2: Yeah, yeah, of course, Phil, Absolutely. I always wonder with

594
00:29:35,920 --> 00:29:39,040
Speaker 2: guys like that, do you know that everyone knows? Is

595
00:29:39,080 --> 00:29:41,920
Speaker 2: this like a power thing? Are you truly deluded?

596
00:29:42,080 --> 00:29:44,200
Speaker 3: I'm so excited that you brought this up, and I

597
00:29:44,280 --> 00:29:46,960
Speaker 3: can't wait for it down the road when we discuss

598
00:29:47,080 --> 00:29:49,400
Speaker 3: Phil in his hair, because we have to at some

599
00:29:49,520 --> 00:29:52,440
Speaker 3: point in time really get into Phil psyche about his hair.

600
00:29:52,640 --> 00:29:54,560
Speaker 2: And spoiler, is a big deal for him.

601
00:29:54,960 --> 00:29:56,560
Speaker 4: It's a big deal. It's a big deal.

602
00:29:57,160 --> 00:30:01,160
Speaker 3: He just flat out does does never, never acknowledges that

603
00:30:01,280 --> 00:30:06,240
Speaker 3: he wears wings. It's amazing, all right. So, uh and

604
00:30:06,560 --> 00:30:09,360
Speaker 3: that's gonna get even funnier in a couple of paragraphs here.

605
00:30:10,040 --> 00:30:10,400
Speaker 4: All right.

606
00:30:10,480 --> 00:30:13,720
Speaker 3: So Phil brings Ronnie to California under the promise of

607
00:30:13,800 --> 00:30:16,160
Speaker 3: expanding her career opportunities away from her family.

608
00:30:16,440 --> 00:30:19,800
Speaker 4: She's now cross the country New York to California.

609
00:30:19,920 --> 00:30:20,440
Speaker 7: Way, you know.

610
00:30:22,480 --> 00:30:24,920
Speaker 3: During this whole time, Ronnie claims to have not known

611
00:30:24,960 --> 00:30:27,160
Speaker 3: that Phil was married. She didn't find out until they

612
00:30:27,160 --> 00:30:29,240
Speaker 3: had been sleeping together for several months, when a fellow

613
00:30:29,320 --> 00:30:31,600
Speaker 3: musician finally broke the news to her. She had been

614
00:30:31,640 --> 00:30:33,800
Speaker 3: in love with Phil and ignored all the warnings, but

615
00:30:33,960 --> 00:30:36,120
Speaker 3: now it was clear, it didn't change your love. She

616
00:30:36,280 --> 00:30:39,760
Speaker 3: still loved him, and he still loved her, and he

617
00:30:39,880 --> 00:30:42,440
Speaker 3: loved bombs her with the house and they move in together.

618
00:30:44,480 --> 00:30:44,680
Speaker 4: Yeah.

619
00:30:44,720 --> 00:30:46,800
Speaker 3: So she's literally just in like the bathroom one day

620
00:30:46,840 --> 00:30:49,640
Speaker 3: and somebody's like, oh, yeah, because you know, because his wife.

621
00:30:50,400 --> 00:30:52,440
Speaker 4: And she's like wait what, She's like, yeah, he's married.

622
00:30:52,480 --> 00:30:53,360
Speaker 4: You didn't know he's married.

623
00:30:53,880 --> 00:30:54,360
Speaker 2: He's married.

624
00:30:54,360 --> 00:30:56,640
Speaker 4: What are you talking about? So she's just like she's hurt.

625
00:30:56,880 --> 00:30:58,760
Speaker 3: But she's like, uh, you know, I mean he comes

626
00:30:58,800 --> 00:31:00,680
Speaker 3: and tells her, of course, you know, nat, Oh it's

627
00:31:00,720 --> 00:31:02,160
Speaker 3: not we're done, we're getting divorced.

628
00:31:02,200 --> 00:31:03,719
Speaker 4: We don't love each other. It's a whole thing, right.

629
00:31:04,600 --> 00:31:07,840
Speaker 3: So Phil lied to Ronnie's mother about the nature of

630
00:31:07,880 --> 00:31:11,440
Speaker 3: their relationship too, and tells her that they're married already

631
00:31:11,480 --> 00:31:13,640
Speaker 3: because she's like, you guys can't be living together in shit,

632
00:31:13,680 --> 00:31:14,800
Speaker 3: And he's like, no, we're already married.

633
00:31:14,840 --> 00:31:15,240
Speaker 4: It's fine.

634
00:31:15,480 --> 00:31:18,600
Speaker 2: And she's like, I don't believe its so bad.

635
00:31:18,640 --> 00:31:21,680
Speaker 4: I believe it's a lie. Yeah, yeah, I don't believe you,

636
00:31:21,760 --> 00:31:25,040
Speaker 4: but I do need to, like, you know, figure this

637
00:31:25,200 --> 00:31:25,800
Speaker 4: all out right?

638
00:31:26,280 --> 00:31:27,880
Speaker 8: How old is Ronnie at this time?

639
00:31:29,160 --> 00:31:32,960
Speaker 3: Ronnie is like nineteen years old, like twenty nineteen, twenty,

640
00:31:33,080 --> 00:31:37,640
Speaker 3: and Phil is Phil is like twenty two, twenty three

641
00:31:37,720 --> 00:31:40,440
Speaker 3: years old, like he was born in thirty nine, so

642
00:31:40,600 --> 00:31:43,520
Speaker 3: twenty four, he's twenty four, okay. He would have these

643
00:31:43,680 --> 00:31:47,720
Speaker 3: wild swings between like heavy love and then targeted insults.

644
00:31:48,240 --> 00:31:50,200
Speaker 3: One night, after a show, he flew into a rage

645
00:31:50,240 --> 00:31:53,520
Speaker 3: after a cameraman compliments her, and he loses his mind.

646
00:31:54,280 --> 00:31:57,000
Speaker 3: Quote from Ronnie's book quote. This was a big thing

647
00:31:57,080 --> 00:31:59,520
Speaker 3: with Phil. If I lost control in front of a crowd.

648
00:31:59,560 --> 00:32:01,400
Speaker 3: He hated it because that meant I was out of

649
00:32:01,480 --> 00:32:04,320
Speaker 3: his control, and on top of everything else, you came

650
00:32:04,400 --> 00:32:07,400
Speaker 3: in off key. He could only ever criticize my singing

651
00:32:07,520 --> 00:32:10,160
Speaker 3: for technical reasons because he knew I didn't read music,

652
00:32:10,440 --> 00:32:13,680
Speaker 3: so I couldn't argue. Don't bother coming to the party.

653
00:32:13,720 --> 00:32:16,040
Speaker 3: After the show, he ordered, I don't want to see

654
00:32:16,080 --> 00:32:18,360
Speaker 3: you there. I went straight back to my hotel room

655
00:32:18,400 --> 00:32:20,480
Speaker 3: and cried. I suppose I could have gone to the

656
00:32:20,520 --> 00:32:23,280
Speaker 3: party anyways, but I never considered it. I just couldn't

657
00:32:23,320 --> 00:32:26,400
Speaker 3: go against Phil's wishes in those days. Phil couldn't control

658
00:32:26,480 --> 00:32:28,600
Speaker 3: what I did once I got out on stage. But

659
00:32:28,720 --> 00:32:30,880
Speaker 3: that wasn't a problem he had in our personal life.

660
00:32:31,160 --> 00:32:31,720
Speaker 9: So he is.

661
00:32:33,360 --> 00:32:35,160
Speaker 4: It is pretty early. They're not Mary.

662
00:32:35,280 --> 00:32:39,520
Speaker 3: This is very early, and he's already taken control. The

663
00:32:39,640 --> 00:32:44,360
Speaker 3: Beatles asked them to go on tour with the Ronettes,

664
00:32:44,480 --> 00:32:46,440
Speaker 3: and Hill told Ronnie.

665
00:32:46,400 --> 00:32:47,000
Speaker 9: Not to do it.

666
00:32:47,440 --> 00:32:47,960
Speaker 4: Yeah, and.

667
00:32:51,840 --> 00:32:58,160
Speaker 3: He's very anyway, Yes, absolutely, yeah, yeah, fuck those guys,

668
00:32:58,240 --> 00:33:01,120
Speaker 3: those those random blokes from Liverpool or whatever.

669
00:33:01,360 --> 00:33:03,520
Speaker 4: Yeah, no future.

670
00:33:04,000 --> 00:33:06,880
Speaker 3: So so, following the incident where he was urinated on

671
00:33:07,080 --> 00:33:09,959
Speaker 3: spec to developed an intense obsession with personal protection.

672
00:33:10,440 --> 00:33:10,800
Speaker 7: This is.

673
00:33:12,480 --> 00:33:13,600
Speaker 4: This is classic fill right.

674
00:33:13,680 --> 00:33:17,440
Speaker 3: He began collecting firearms, frequently carrying them during studio sessions

675
00:33:17,480 --> 00:33:20,719
Speaker 3: and public appearances. Over time, his guns become more than

676
00:33:20,800 --> 00:33:25,040
Speaker 3: defensive tools. They become theatrical symbols of authority and intimidation.

677
00:33:26,800 --> 00:33:31,760
Speaker 3: Naturally right, Like this guy doesn't just he loves guns, right.

678
00:33:31,960 --> 00:33:34,800
Speaker 2: He likes to scare people with guns a lot, yea,

679
00:33:34,960 --> 00:33:35,640
Speaker 2: and yeah, he.

680
00:33:35,760 --> 00:33:38,200
Speaker 3: Loves a snub nose. He loves a thirty eight dude.

681
00:33:38,240 --> 00:33:42,280
Speaker 3: He just like that's a pocket gun, like crazy little.

682
00:33:42,240 --> 00:33:45,200
Speaker 2: Whip it out and wave it in people's faces. You know,

683
00:33:45,480 --> 00:33:46,280
Speaker 2: that's the perfect.

684
00:33:46,680 --> 00:33:49,520
Speaker 4: Yeah, it's the perfect. And also you can hit him

685
00:33:49,560 --> 00:33:49,760
Speaker 4: with you.

686
00:33:49,920 --> 00:33:51,920
Speaker 3: It's very heavy, it's gotta yeah, I mean that's a

687
00:33:52,120 --> 00:33:54,720
Speaker 3: hit with hitting you. That's a good pistol whipping gun

688
00:33:54,880 --> 00:33:55,600
Speaker 3: for sure. Right.

689
00:33:55,680 --> 00:33:58,240
Speaker 2: Yeah, when you jam it into someone's body, the slide,

690
00:33:58,320 --> 00:34:00,360
Speaker 2: doesn't you know, get out of battery or every like

691
00:34:00,440 --> 00:34:02,280
Speaker 2: you can. You can really just poke people with a

692
00:34:02,360 --> 00:34:03,560
Speaker 2: thirty eight very easily.

693
00:34:03,720 --> 00:34:05,960
Speaker 3: And yes, and let's be real honest too, when it

694
00:34:06,000 --> 00:34:08,080
Speaker 3: comes to a thirty eight, like, it's not like a

695
00:34:08,160 --> 00:34:09,200
Speaker 3: long distance weapon.

696
00:34:09,280 --> 00:34:10,319
Speaker 2: It's not a name gun.

697
00:34:10,520 --> 00:34:13,839
Speaker 4: It's not a naming gun, not at all. All right.

698
00:34:15,080 --> 00:34:18,360
Speaker 3: He also developed a fascination with martial arts, particularly karate.

699
00:34:18,520 --> 00:34:22,759
Speaker 3: All right, no again, this is nineteen sixties America. We're

700
00:34:22,760 --> 00:34:26,319
Speaker 3: about to see Elvis get into the same thing, isn't us.

701
00:34:27,120 --> 00:34:30,319
Speaker 3: This isn't like out of control. Lots of actors are

702
00:34:30,440 --> 00:34:31,719
Speaker 3: like okay, but all right, but.

703
00:34:31,800 --> 00:34:32,799
Speaker 4: Feel's particularly fun.

704
00:34:33,040 --> 00:34:35,080
Speaker 3: So he's watching television right now, and he sees a

705
00:34:35,120 --> 00:34:38,560
Speaker 3: guy named santi Yo Soul break a brick with his hand,

706
00:34:38,920 --> 00:34:39,960
Speaker 3: and and he's it.

707
00:34:40,120 --> 00:34:40,360
Speaker 4: That's it.

708
00:34:40,440 --> 00:34:45,080
Speaker 3: He's sold bro share. Yes, So he starts taking lessons

709
00:34:45,120 --> 00:34:47,120
Speaker 3: from this guy. He finds this guy and starts taking

710
00:34:47,200 --> 00:34:49,720
Speaker 3: lessons from him, right, and he just like goes crazy.

711
00:34:49,760 --> 00:34:53,520
Speaker 3: It's like every day, and he starts he starts walking

712
00:34:53,600 --> 00:34:59,319
Speaker 3: around town just like in a karate gee, just like.

713
00:34:59,520 --> 00:35:03,399
Speaker 2: Yeah, you like this, Like he's inventing being a wee.

714
00:35:03,640 --> 00:35:04,640
Speaker 2: That's amazing.

715
00:35:05,120 --> 00:35:07,200
Speaker 4: Yes, yes, and all right and again and again.

716
00:35:07,320 --> 00:35:10,520
Speaker 3: He doesn't have real hair, so he's he's wearing a wig, right,

717
00:35:10,640 --> 00:35:15,640
Speaker 3: He's wearing an obvious wig and a karate outfit walking around.

718
00:35:17,080 --> 00:35:18,440
Speaker 2: But you can't make fun of him because you know

719
00:35:18,560 --> 00:35:20,520
Speaker 2: he's also going to pull that thirty eight on you if.

720
00:35:20,440 --> 00:35:23,440
Speaker 4: You do yes, and probably armed with the gun. So

721
00:35:23,680 --> 00:35:25,799
Speaker 4: like all of the things right, all right, this is so.

722
00:35:27,520 --> 00:35:27,759
Speaker 1: He is.

723
00:35:28,040 --> 00:35:31,279
Speaker 3: This also gives him access to actual karate practitioners because

724
00:35:31,280 --> 00:35:34,640
Speaker 3: he's taken lessons from these guys. So then he hires them.

725
00:35:34,680 --> 00:35:38,600
Speaker 3: He hires Santy to to be his his bodyguard because

726
00:35:38,600 --> 00:35:40,239
Speaker 3: he's like, well, now I got this tough guy right

727
00:35:40,360 --> 00:35:44,360
Speaker 3: here karate and these guys. Also, I just want to

728
00:35:44,400 --> 00:35:46,520
Speaker 3: point out, like I don't know this to be fact,

729
00:35:46,560 --> 00:35:49,160
Speaker 3: but I just can't stop thinking about this because because

730
00:35:49,920 --> 00:35:51,880
Speaker 3: another bodyguard who's a karate guy.

731
00:35:51,920 --> 00:35:53,040
Speaker 4: He talks about this a little bit.

732
00:35:53,080 --> 00:35:56,120
Speaker 3: But uh, you know, you know that they're getting paid

733
00:35:56,160 --> 00:35:58,440
Speaker 3: a lot of money, yeah, to be around this guy.

734
00:35:58,640 --> 00:36:01,080
Speaker 3: They're making a lot of money off of this guy, right,

735
00:36:01,560 --> 00:36:03,960
Speaker 3: so you know they're like, yeah, bro.

736
00:36:04,040 --> 00:36:05,040
Speaker 4: You're you're killed me with.

737
00:36:07,080 --> 00:36:11,279
Speaker 2: Phil? Really you got the most power, so dangerous. Yeah,

738
00:36:11,440 --> 00:36:13,439
Speaker 2: just a little push knock me right over Phil.

739
00:36:13,560 --> 00:36:15,319
Speaker 4: Wow, Oh my god.

740
00:36:15,360 --> 00:36:17,480
Speaker 2: Well it's also, especially in this period of time, just

741
00:36:17,640 --> 00:36:21,279
Speaker 2: lying about your martial arts qualifications. Oh yeah, spent ten

742
00:36:21,440 --> 00:36:25,399
Speaker 2: years in China learning kung fu from monks. Who's gonna

743
00:36:25,480 --> 00:36:29,000
Speaker 2: check up on that ship? You learn and you're good,

744
00:36:29,360 --> 00:36:29,520
Speaker 2: you know.

745
00:36:30,400 --> 00:36:33,239
Speaker 3: Yeah, you could lie about anything back in the day.

746
00:36:33,400 --> 00:36:34,080
Speaker 2: It's so easy.

747
00:36:34,400 --> 00:36:36,160
Speaker 3: Even when I was like in high school, you could

748
00:36:36,200 --> 00:36:37,920
Speaker 3: still lie about things like what am I gonna do?

749
00:36:38,040 --> 00:36:39,759
Speaker 4: Go to the library and prove you wrong.

750
00:36:40,480 --> 00:36:43,240
Speaker 2: All of the top build native American actress in Hollywood

751
00:36:43,239 --> 00:36:46,359
Speaker 2: were Italian men. Italian guy. Very easy to lie.

752
00:36:47,320 --> 00:36:48,560
Speaker 4: It was so easy, all right.

753
00:36:48,800 --> 00:36:53,600
Speaker 3: So so Santi uh, bodyguards for him, and then he's like,

754
00:36:53,640 --> 00:36:55,440
Speaker 3: Brian got time for this anymore? I'm actually getting a

755
00:36:55,520 --> 00:36:57,680
Speaker 3: legitimate business, like so he passes it off to this

756
00:36:57,760 --> 00:37:00,920
Speaker 3: other guy, and Neil farkas and felt that Specter was

757
00:37:01,000 --> 00:37:03,320
Speaker 3: using his bodyguards as status symbol but also as a

758
00:37:03,400 --> 00:37:04,880
Speaker 3: threat to anyone who might get froggy.

759
00:37:05,440 --> 00:37:07,120
Speaker 4: So he's like, you know, walking around and got these guys,

760
00:37:07,200 --> 00:37:08,640
Speaker 4: you know, like, what are you gonna do?

761
00:37:08,840 --> 00:37:11,760
Speaker 3: Kind of shit very Jack Doherty coded, you know Jack Doherty,

762
00:37:13,000 --> 00:37:15,080
Speaker 3: the young kid, the Zennils or whatever, will know who

763
00:37:15,120 --> 00:37:15,680
Speaker 3: the fuck that is.

764
00:37:15,680 --> 00:37:18,480
Speaker 4: Anyway, he's he's you know, he's doing that.

765
00:37:18,680 --> 00:37:22,640
Speaker 3: He's he's going up to clubs on Sunset Strip, getting

766
00:37:22,640 --> 00:37:24,960
Speaker 3: in front of everybody, and then when somebody dares to

767
00:37:25,080 --> 00:37:28,720
Speaker 3: question him, he says fuck you, and they're like, okay,

768
00:37:28,719 --> 00:37:31,200
Speaker 3: well let's fight. And then from out of behind him

769
00:37:31,200 --> 00:37:34,640
Speaker 3: comes some actual karate guys you know. Plus also two

770
00:37:35,200 --> 00:37:38,480
Speaker 3: actual karate guys in the sixties must have beat the

771
00:37:38,640 --> 00:37:41,360
Speaker 3: ship out of everybody. Dude, like they're still in like

772
00:37:41,480 --> 00:37:44,160
Speaker 3: the world of like wild Haymakers.

773
00:37:43,600 --> 00:37:46,440
Speaker 2: And everyone else is doing like the Captain Kirk two hundred,

774
00:37:47,480 --> 00:37:49,400
Speaker 2: you actually know how to hit somebody?

775
00:37:49,560 --> 00:37:59,680
Speaker 3: Yeah, doing this thing, you know Jack, Yeah, yeah exactly.

776
00:37:59,840 --> 00:38:02,200
Speaker 3: So So it's like like actual karate guys. I think

777
00:38:02,200 --> 00:38:03,960
Speaker 3: about this all the time. Like Dave must have just

778
00:38:04,080 --> 00:38:05,920
Speaker 3: mopped the floor. It's not like now you might actually

779
00:38:06,000 --> 00:38:07,759
Speaker 3: run into like a UFC guy like or.

780
00:38:07,800 --> 00:38:10,160
Speaker 2: Like an MMA guy. The guys who actually do that

781
00:38:10,320 --> 00:38:10,600
Speaker 2: now just.

782
00:38:10,640 --> 00:38:14,520
Speaker 4: Walking but he's just karate guys walking around anyway.

783
00:38:14,680 --> 00:38:19,280
Speaker 3: So so yeah, so he he basically is just antagonizing

784
00:38:19,320 --> 00:38:23,200
Speaker 3: people and purposefully to cause problems and then has his

785
00:38:23,280 --> 00:38:25,840
Speaker 3: bodyguards beat the shit out of them, which is super

786
00:38:25,920 --> 00:38:29,600
Speaker 3: fucked up so a meal though he says this is

787
00:38:29,680 --> 00:38:32,560
Speaker 3: from breaking the wall of sound quote. Specter had never

788
00:38:32,640 --> 00:38:35,000
Speaker 3: quite got the hang of karate. He might have worn

789
00:38:35,040 --> 00:38:37,279
Speaker 3: a black belt tied around his ge and he might

790
00:38:37,360 --> 00:38:40,800
Speaker 3: have boasted a journalists that in case of real trouble,

791
00:38:40,840 --> 00:38:44,280
Speaker 3: I could totally kill a guy. But according to Emil Farcas,

792
00:38:44,400 --> 00:38:46,760
Speaker 3: he just play acted. He'd do a lot of chopping

793
00:38:46,840 --> 00:38:49,000
Speaker 3: his hands in the air, but he was nowhere near

794
00:38:49,040 --> 00:38:49,719
Speaker 3: a black.

795
00:38:51,320 --> 00:38:54,080
Speaker 2: He's like a chopping his hands in the air. If

796
00:38:54,160 --> 00:38:56,560
Speaker 2: the thing someone's going for it as a chop, you

797
00:38:56,680 --> 00:39:01,399
Speaker 2: can kind of guess, I know, you couldn't really hurt

798
00:39:01,520 --> 00:39:02,279
Speaker 2: people that way.

799
00:39:02,400 --> 00:39:06,640
Speaker 4: But generally he's hitting him with the hyah, yeah.

800
00:39:08,160 --> 00:39:11,120
Speaker 3: You know, I mean, it's it's hilarious to picture like

801
00:39:11,239 --> 00:39:13,880
Speaker 3: in your brain, right, I just always have to remind

802
00:39:13,960 --> 00:39:15,600
Speaker 3: myself because he's a giant in the world.

803
00:39:15,920 --> 00:39:17,880
Speaker 4: But he is a five foot three man. He's a

804
00:39:17,960 --> 00:39:19,640
Speaker 4: tiny little dude out here.

805
00:39:19,760 --> 00:39:23,120
Speaker 3: Karate choppings, incredible wearing a karate gar.

806
00:39:23,200 --> 00:39:26,200
Speaker 2: He's a man who believes he's a martial artist.

807
00:39:26,600 --> 00:39:27,040
Speaker 1: My god.

808
00:39:27,760 --> 00:39:30,440
Speaker 4: But all right, but what he was good at was

809
00:39:30,560 --> 00:39:31,160
Speaker 4: playing pool.

810
00:39:31,280 --> 00:39:33,759
Speaker 3: Apparently he was pretty good at playing pool, and so

811
00:39:33,880 --> 00:39:37,239
Speaker 3: he hired this pro player, Willie Musconi, and paid him

812
00:39:37,239 --> 00:39:39,440
Speaker 3: one hundred and seventy five thousand dollars a year to

813
00:39:39,480 --> 00:39:41,440
Speaker 3: hang out at his house and teach him how to

814
00:39:41,480 --> 00:39:41,959
Speaker 3: play pool.

815
00:39:43,280 --> 00:39:50,120
Speaker 4: Okay, that's cool, yeah, and then hold on, hold on.

816
00:39:51,000 --> 00:39:54,040
Speaker 3: Then he would go to pool halls and hustle people

817
00:39:54,080 --> 00:39:57,200
Speaker 3: with him, and then when people got mad, he'd have

818
00:39:57,320 --> 00:39:58,719
Speaker 3: his bodyguards beat the shit out.

819
00:39:58,640 --> 00:40:04,879
Speaker 2: Of He's really he's really scraping all of the fun

820
00:40:04,960 --> 00:40:08,120
Speaker 2: you can have when you're rich enough for bodyguards. He's like,

821
00:40:08,200 --> 00:40:10,560
Speaker 2: I just have a posse of dangerous men that have

822
00:40:10,680 --> 00:40:13,239
Speaker 2: to beat people up if I'm if I'm a dick,

823
00:40:13,920 --> 00:40:16,200
Speaker 2: I am surprisingly more rich guys don't do this.

824
00:40:16,440 --> 00:40:20,080
Speaker 3: To be honest, and honestly, I'm gonna be honest man

825
00:40:20,120 --> 00:40:22,760
Speaker 3: if I ever get that kind of money, like walking

826
00:40:22,800 --> 00:40:24,239
Speaker 3: around with bodyguard's money.

827
00:40:24,640 --> 00:40:27,160
Speaker 4: Oh that's all I'm gonna do. Yeah, Yeah, that's all

828
00:40:27,200 --> 00:40:27,759
Speaker 4: I'm gonna do.

829
00:40:29,800 --> 00:40:32,239
Speaker 3: So he would throw crazy parties and then disappear. He's

830
00:40:32,239 --> 00:40:35,120
Speaker 3: a weird dude right now, He's like, uh, he throw

831
00:40:35,160 --> 00:40:37,239
Speaker 3: these crazy parties and he disappear the whole night and

832
00:40:37,320 --> 00:40:39,239
Speaker 3: then reappear right as people are about to leave, and

833
00:40:39,360 --> 00:40:42,680
Speaker 3: he would get super mad if the girls wanted to

834
00:40:42,760 --> 00:40:45,080
Speaker 3: go home, super mad.

835
00:40:46,200 --> 00:40:47,120
Speaker 2: Yeah, I'm not surprised.

836
00:40:48,840 --> 00:40:52,160
Speaker 3: He has got real He hates to be alone first

837
00:40:52,200 --> 00:40:56,000
Speaker 3: of all, and he establishes this, but he also just

838
00:40:56,160 --> 00:41:00,480
Speaker 3: has like specifically when women want to leave he is

839
00:41:01,080 --> 00:41:01,840
Speaker 3: he gets.

840
00:41:01,680 --> 00:41:02,719
Speaker 4: Upset every single time.

841
00:41:02,840 --> 00:41:03,600
Speaker 2: Not cool with him?

842
00:41:03,880 --> 00:41:07,520
Speaker 3: Yeah, Phil would This is from a meal Farcas again

843
00:41:07,840 --> 00:41:10,000
Speaker 3: from breaking down the Wallace Hund. Phil would get very

844
00:41:10,080 --> 00:41:12,480
Speaker 3: upset with women walked out on him. Farcas says he

845
00:41:12,520 --> 00:41:15,239
Speaker 3: would rant and rave, you'll never work again, I'll get

846
00:41:15,320 --> 00:41:15,840
Speaker 3: you fired.

847
00:41:15,920 --> 00:41:16,240
Speaker 4: Whatever.

848
00:41:16,600 --> 00:41:18,879
Speaker 3: But then again, you'd have this thing at parties where

849
00:41:18,880 --> 00:41:21,319
Speaker 3: you might have twenty girls each and each one would

850
00:41:21,360 --> 00:41:23,080
Speaker 3: try to last out the other to see who was

851
00:41:23,120 --> 00:41:25,360
Speaker 3: going to stay the night with him. But the feeling

852
00:41:25,440 --> 00:41:27,640
Speaker 3: I got was that Phil sort of realized that most

853
00:41:27,680 --> 00:41:30,560
Speaker 3: of these people were around for the external rather the internal,

854
00:41:30,880 --> 00:41:32,800
Speaker 3: and he would have preferred that he wasn't liked for

855
00:41:32,880 --> 00:41:35,319
Speaker 3: the limousines and the money and all that. He would

856
00:41:35,360 --> 00:41:37,960
Speaker 3: have really liked to be loved for himself, and there

857
00:41:38,000 --> 00:41:39,960
Speaker 3: were girls who liked him for that. I think the

858
00:41:40,040 --> 00:41:42,479
Speaker 3: problem was that Phil could never believe that these people

859
00:41:42,520 --> 00:41:43,680
Speaker 3: could love him for who he was.

860
00:41:45,040 --> 00:41:47,600
Speaker 2: I'm not surprised he had trouble believing people could love

861
00:41:47,680 --> 00:41:49,160
Speaker 2: him for who he was, because he's a dick.

862
00:41:49,920 --> 00:41:52,920
Speaker 4: Yeah, I mean it's sad, but I'm also yeah.

863
00:41:53,440 --> 00:41:57,600
Speaker 3: Yeah, it is very strong like like uh like yeah, dude,

864
00:41:57,640 --> 00:42:00,399
Speaker 3: of course nobody like Stiffler, right, it's like Stiffler like, yeah,

865
00:42:00,400 --> 00:42:01,440
Speaker 3: of course no one likes you.

866
00:42:01,640 --> 00:42:06,080
Speaker 2: Bro giant prick to everyone man like, yeah, you're not liked.

867
00:42:08,840 --> 00:42:10,960
Speaker 3: You know who won't get mad when you try and

868
00:42:11,520 --> 00:42:14,160
Speaker 3: leave their parties in the middle of the night. These

869
00:42:14,560 --> 00:42:17,240
Speaker 3: these sponsors paid money.

870
00:42:17,320 --> 00:42:19,880
Speaker 8: I want to say me because if my parties don't.

871
00:42:19,680 --> 00:42:23,359
Speaker 2: Go that late, but the Party of Capitalism, that one

872
00:42:23,480 --> 00:42:35,239
Speaker 2: keeps on going forever. Yeah, and we're back, okay, will

873
00:42:36,160 --> 00:42:36,760
Speaker 2: take it away.

874
00:42:37,320 --> 00:42:42,120
Speaker 3: Yes, So it's nineteen sixty four, the Runnettes toured England

875
00:42:42,320 --> 00:42:44,880
Speaker 3: with the Beatles. They go they do, actually go to

876
00:42:44,960 --> 00:42:49,080
Speaker 3: the Beatles to tour with the Beatles, and Phil insists

877
00:42:49,200 --> 00:42:53,239
Speaker 3: on being there. He is super jealousy that he does

878
00:42:53,320 --> 00:42:55,320
Speaker 3: not like it. You gotta keep in mind, too, the

879
00:42:55,400 --> 00:42:58,759
Speaker 3: Beatles are the next evolutionary step.

880
00:42:58,520 --> 00:42:59,080
Speaker 4: In this chain.

881
00:42:59,160 --> 00:43:01,879
Speaker 3: We went who now producers are and bands are gone,

882
00:43:02,080 --> 00:43:04,759
Speaker 3: and Phil Spector represented the most important version of that.

883
00:43:04,840 --> 00:43:06,880
Speaker 3: But it's nineteen sixty four and the Beatles are about

884
00:43:06,880 --> 00:43:11,720
Speaker 3: to crossover in America and Phil Spector is incredibly threatened

885
00:43:11,760 --> 00:43:14,279
Speaker 3: by them. They have been tearing up the charts and

886
00:43:14,760 --> 00:43:18,279
Speaker 3: kind of pushing him out very much so. So when

887
00:43:18,320 --> 00:43:20,200
Speaker 3: the Ronnets are asked to go on tour with the Beatles,

888
00:43:20,239 --> 00:43:25,320
Speaker 3: he's like and so he goes to England to supervise.

889
00:43:25,480 --> 00:43:26,960
Speaker 3: You know, he has to go over and watch and

890
00:43:27,000 --> 00:43:29,640
Speaker 3: make sure no one's putting the moves on the own girl.

891
00:43:29,800 --> 00:43:32,759
Speaker 3: You know, he said from Ronnie. This is from Be

892
00:43:32,960 --> 00:43:37,160
Speaker 3: My Baby, Ronni's book. Phil never came out and said it,

893
00:43:37,239 --> 00:43:39,040
Speaker 3: but I could tell he didn't like the idea of

894
00:43:39,120 --> 00:43:41,480
Speaker 3: a spending too much time with the Beatles. I don't

895
00:43:41,520 --> 00:43:45,040
Speaker 3: think his ego could stand the competition. Beatles were leaving

896
00:43:45,080 --> 00:43:47,239
Speaker 3: to start their first US tour in a few days,

897
00:43:47,280 --> 00:43:48,960
Speaker 3: and when John asked me if we wanted to fly

898
00:43:49,160 --> 00:43:51,640
Speaker 3: back with them on their chartered jet, I didn't have

899
00:43:51,800 --> 00:43:53,560
Speaker 3: the nerve to ask Phil if it was okay, So

900
00:43:53,640 --> 00:43:57,200
Speaker 3: I mad my mom make the suggestion. You know, Phil,

901
00:43:57,360 --> 00:43:59,360
Speaker 3: she told him it might be good publicity if the

902
00:43:59,400 --> 00:44:02,440
Speaker 3: girls went back on the jet with the Beatles. No,

903
00:44:02,640 --> 00:44:04,640
Speaker 3: he told her, I have already bought their tickets, and

904
00:44:04,719 --> 00:44:07,920
Speaker 3: that was all that said. So he tells them, no, man,

905
00:44:08,000 --> 00:44:10,080
Speaker 3: I got tickets for you already. You can't fly back

906
00:44:10,120 --> 00:44:11,240
Speaker 3: on the plane with the Beatles.

907
00:44:11,280 --> 00:44:11,920
Speaker 4: Are you crazy?

908
00:44:12,360 --> 00:44:14,360
Speaker 3: I'm just gonna let my girlfriend get on a fucking

909
00:44:14,440 --> 00:44:17,040
Speaker 3: plane a private play with a bunch of rock stars.

910
00:44:17,440 --> 00:44:21,000
Speaker 3: Hell no, that's a horrible idea. Yeah, yeah, hell no.

911
00:44:22,120 --> 00:44:24,239
Speaker 3: Uh So he buys them. He buys them private or

912
00:44:24,440 --> 00:44:29,040
Speaker 3: commercial flights back, right, she says. She continues, My mother

913
00:44:29,160 --> 00:44:31,439
Speaker 3: and they landed the next day at Jfkin. She says,

914
00:44:31,560 --> 00:44:33,399
Speaker 3: My mother and I watched the whole thing on TV.

915
00:44:33,960 --> 00:44:35,880
Speaker 3: We're amazed at how many kids showed up at the

916
00:44:35,880 --> 00:44:39,120
Speaker 3: airport screaming and carrying banners. But what surprised me even

917
00:44:39,200 --> 00:44:41,960
Speaker 3: more was something that happened after the plane landed. The

918
00:44:42,040 --> 00:44:43,840
Speaker 3: jet was on the ground and the cameras zoomed in

919
00:44:43,920 --> 00:44:45,600
Speaker 3: on the door that was about to open up to

920
00:44:45,640 --> 00:44:48,520
Speaker 3: give America its first glimpse of the Fab four. But

921
00:44:48,600 --> 00:44:51,000
Speaker 3: when that hatch finally did swing open, who do you

922
00:44:51,080 --> 00:44:53,520
Speaker 3: think was with them? I almost faded when I looked

923
00:44:53,560 --> 00:44:56,160
Speaker 3: at the TV and saw Phil Spector following the Beatles

924
00:44:56,440 --> 00:45:00,200
Speaker 3: out of their place. So he's like, you can't fly

925
00:45:00,320 --> 00:45:02,239
Speaker 3: back with the Beatles, and then he flies back with

926
00:45:02,320 --> 00:45:02,720
Speaker 3: the Beatles.

927
00:45:02,760 --> 00:45:05,319
Speaker 2: I want to fly back with the Beatles absolutely. Yeah.

928
00:45:05,680 --> 00:45:05,919
Speaker 4: Yeah.

929
00:45:06,080 --> 00:45:08,480
Speaker 3: So like there's like thousands of people greeting him at

930
00:45:08,520 --> 00:45:10,719
Speaker 3: the airport and they're like and there's Phil Spector and

931
00:45:10,760 --> 00:45:19,200
Speaker 3: they're like that sick, amazing, amazing pettiness, amazing that is

932
00:45:19,560 --> 00:45:22,440
Speaker 3: that is Tom Petty right there, dude, that's amazing.

933
00:45:22,560 --> 00:45:27,000
Speaker 2: Yeah, that's like a grand level of dickery. Like it'sulary.

934
00:45:27,200 --> 00:45:29,680
Speaker 3: You can't ride with the hottest band that's going on

935
00:45:29,800 --> 00:45:32,480
Speaker 3: in the world right now, but I can't and you.

936
00:45:32,520 --> 00:45:38,720
Speaker 4: Have to take a definitely. Yeah, so funny. So Ronnie's

937
00:45:38,760 --> 00:45:40,880
Speaker 4: life keeps like it's more and more confined.

938
00:45:40,960 --> 00:45:43,279
Speaker 3: She's starting to get like kind of more trapped by

939
00:45:43,320 --> 00:45:47,320
Speaker 3: Phil and everything and Phil starts working repeatedly at the

940
00:45:47,400 --> 00:45:49,239
Speaker 3: studio gold Star. I mentioned it before. It was like

941
00:45:49,320 --> 00:45:51,960
Speaker 3: the scene of his Wall of Sound, and it's really important, like.

942
00:45:52,000 --> 00:45:55,960
Speaker 4: It is kind of like a big deal. It's it's hate.

943
00:45:55,760 --> 00:45:58,840
Speaker 3: Ashbury for the hippie movement, right or you know or

944
00:45:59,080 --> 00:46:02,439
Speaker 3: or or would stocks. It's an important moment in time

945
00:46:02,800 --> 00:46:05,600
Speaker 3: where a bunch of people come together for a thing

946
00:46:05,960 --> 00:46:09,520
Speaker 3: that is like significant. And gold Star is there. Gold

947
00:46:09,560 --> 00:46:11,520
Speaker 3: Star is where the Wrecking Crew kind of was born.

948
00:46:11,840 --> 00:46:14,359
Speaker 3: It's where Phil was doing all these hits. And it's

949
00:46:14,400 --> 00:46:16,640
Speaker 3: a shithole for the record, but Phil loves it. He

950
00:46:16,719 --> 00:46:19,759
Speaker 3: turns it into his fortress, right. He just like like

951
00:46:20,440 --> 00:46:22,520
Speaker 3: he no one's allowed to come in unless he says so.

952
00:46:22,680 --> 00:46:25,400
Speaker 3: He's booking so much time there, like he lives in

953
00:46:25,520 --> 00:46:30,480
Speaker 3: this studio and at this studio. He uh, he is

954
00:46:30,640 --> 00:46:37,280
Speaker 3: working with Sonny Bono and share Sonny Bono, side Bastard

955
00:46:37,400 --> 00:46:41,160
Speaker 3: Sonny Bono, Sonny Bono, We're gonna side Bastard Sonny Bono. Uh,

956
00:46:41,560 --> 00:46:44,200
Speaker 3: Sonny Bono is a is a big giant dick and

957
00:46:44,440 --> 00:46:48,000
Speaker 3: we first of all bro He's like the most first

958
00:46:48,000 --> 00:46:50,080
Speaker 3: of all. First of all, I mean the Copyright Productions

959
00:46:50,120 --> 00:46:52,080
Speaker 3: actor that he did just so Disney could keep Mickey

960
00:46:52,160 --> 00:46:55,080
Speaker 3: Mouse in fucking in there in there. That that sucks, right,

961
00:46:55,239 --> 00:46:58,759
Speaker 3: But also, how do you go from being Sonny and

962
00:46:58,840 --> 00:47:02,560
Speaker 3: share like this whole like they they sang on on

963
00:47:03,880 --> 00:47:05,320
Speaker 3: Mama's and Papa songs and stuff.

964
00:47:05,360 --> 00:47:06,080
Speaker 4: Yeah, yeah, they were.

965
00:47:06,400 --> 00:47:08,720
Speaker 3: How do you do that and then become a Republican senator?

966
00:47:09,120 --> 00:47:12,880
Speaker 4: You know, like that's like the ultimate betrayal.

967
00:47:12,400 --> 00:47:16,640
Speaker 2: Of a human being ended as a Republican senator.

968
00:47:16,880 --> 00:47:20,040
Speaker 3: He wasn't a Republican sellout senator fucker.

969
00:47:20,920 --> 00:47:21,920
Speaker 2: Yeah, amazing.

970
00:47:22,520 --> 00:47:24,400
Speaker 3: He was the one and also the subject of one

971
00:47:24,400 --> 00:47:27,279
Speaker 3: of my favorite eminem lines, Sonny Bono Ski's.

972
00:47:26,960 --> 00:47:31,399
Speaker 4: Horses and hitting some trees. Oh, I love that great.

973
00:47:31,680 --> 00:47:35,200
Speaker 3: So so Ronnie develops a close relationship with Cherr, who

974
00:47:35,239 --> 00:47:36,960
Speaker 3: became one of the few people that Ronnie could confide

975
00:47:37,000 --> 00:47:40,799
Speaker 3: him because she's also living very similar situation at this time.

976
00:47:40,920 --> 00:47:43,680
Speaker 3: Sonny and cher is about as famous as Ikeantina about

977
00:47:43,719 --> 00:47:47,680
Speaker 3: his famous as Ronnie and Phil Ironic that they would

978
00:47:47,719 --> 00:47:52,800
Speaker 3: all work together with very strange. And it's really interesting

979
00:47:52,840 --> 00:47:55,560
Speaker 3: too because in all of these situations, it shows that

980
00:47:55,960 --> 00:47:58,040
Speaker 3: the men in these situations who.

981
00:47:57,960 --> 00:48:01,480
Speaker 4: Are very dominant to their women. Also, oh, are all

982
00:48:01,520 --> 00:48:02,520
Speaker 4: subserving to Phil.

983
00:48:03,719 --> 00:48:07,759
Speaker 3: Sonny Bono bends over for Phil, like completely, like he

984
00:48:07,960 --> 00:48:12,600
Speaker 3: is he yes, absolutely, he is he is he lets uh,

985
00:48:12,719 --> 00:48:15,200
Speaker 3: I mean he, I mean Phil is the god at

986
00:48:15,239 --> 00:48:18,239
Speaker 3: the time. Sonny Bono is nobody. He's a gopher. He's

987
00:48:18,280 --> 00:48:21,520
Speaker 3: a runner at a studio, and Phil treats him like

988
00:48:21,640 --> 00:48:25,600
Speaker 3: a runner at the studio is horrible to him. He

989
00:48:25,680 --> 00:48:28,640
Speaker 3: treats him awfully. Sidone, this is a really funny story.

990
00:48:28,800 --> 00:48:31,640
Speaker 3: When Ronnie first met Cher, she thought she was a hooker.

991
00:48:32,800 --> 00:48:37,160
Speaker 4: She like, she like, yeah, she thought Share was a hooker.

992
00:48:37,239 --> 00:48:39,080
Speaker 4: She was like, oh, this must be Sonny Bono's hooker.

993
00:48:40,360 --> 00:48:42,719
Speaker 4: Oh my god, and she just she just says that,

994
00:48:42,920 --> 00:48:43,200
Speaker 4: which is.

995
00:48:44,200 --> 00:48:48,520
Speaker 3: There's a lot of things in these like interviews and

996
00:48:48,600 --> 00:48:51,719
Speaker 3: books and stuff that I've read, Like, I I love

997
00:48:52,040 --> 00:48:53,920
Speaker 3: Phil s Becker, so I've read many books on him.

998
00:48:54,360 --> 00:48:57,920
Speaker 3: I watch every documentary I love, I love Phil Spector

999
00:48:58,440 --> 00:49:02,719
Speaker 3: and I'm so interested by so uh. When I watch

1000
00:49:02,800 --> 00:49:05,880
Speaker 3: and read all these things, it's insane to see, like

1001
00:49:06,719 --> 00:49:10,040
Speaker 3: how open and honest people are about the horrible things

1002
00:49:10,080 --> 00:49:12,200
Speaker 3: that they think can say out loud.

1003
00:49:12,480 --> 00:49:14,319
Speaker 4: It's so crazy. Why did you write this in a book?

1004
00:49:14,440 --> 00:49:17,080
Speaker 4: You wrote that you thought Share was a hooker? Anyone

1005
00:49:17,239 --> 00:49:21,239
Speaker 4: that just say that that was it was totally free

1006
00:49:21,280 --> 00:49:24,279
Speaker 4: to shut the monk up. Nobody you want it. No

1007
00:49:24,320 --> 00:49:26,279
Speaker 4: one's gonna be like, hey, man, do you ever think

1008
00:49:26,280 --> 00:49:27,000
Speaker 4: Share was a hooker?

1009
00:49:27,440 --> 00:49:27,600
Speaker 2: Right?

1010
00:49:27,920 --> 00:49:31,560
Speaker 4: Like you just yeah, okay, incredible, so funny.

1011
00:49:31,719 --> 00:49:36,440
Speaker 3: So anyway, so they got a complicated relationship, Sonny and Phil,

1012
00:49:36,960 --> 00:49:41,120
Speaker 3: and it blossoms into this very like subservient relationship where

1013
00:49:41,200 --> 00:49:43,920
Speaker 3: Sonny just does everything that Phil asks.

1014
00:49:44,120 --> 00:49:47,480
Speaker 4: He like whatever Phil tells him, like, hey, don't let

1015
00:49:47,520 --> 00:49:48,839
Speaker 4: the girls do this, He's like okay.

1016
00:49:48,840 --> 00:49:51,840
Speaker 3: And he becomes like an enforcer for Share and Ronnie

1017
00:49:51,840 --> 00:49:54,760
Speaker 3: Bennett's relationship in a lot of ways. And it's very again,

1018
00:49:54,960 --> 00:49:58,440
Speaker 3: he's like getting other people to carry out his like possessive,

1019
00:49:58,640 --> 00:50:00,520
Speaker 3: weird details of his life stuff.

1020
00:50:00,520 --> 00:50:01,240
Speaker 4: It's very strange.

1021
00:50:01,680 --> 00:50:06,640
Speaker 3: All right. So Phil has had a killer career, right,

1022
00:50:06,760 --> 00:50:09,279
Speaker 3: He's had a killer career. Things have been going good

1023
00:50:09,360 --> 00:50:13,960
Speaker 3: for him. The Beatles come to America, things start to change.

1024
00:50:14,000 --> 00:50:16,040
Speaker 3: He does, he still has some hits. Things are going

1025
00:50:16,160 --> 00:50:20,600
Speaker 3: good or whatever. But we're about to hit nineteen sixty six.

1026
00:50:21,280 --> 00:50:25,320
Speaker 3: And in nineteen sixty six, he produced River Deep, Mountain

1027
00:50:25,440 --> 00:50:31,439
Speaker 3: High for Tina Turner. Yes, and he to him, he says,

1028
00:50:31,520 --> 00:50:33,080
Speaker 3: this was the greatest thing he ever did. It was

1029
00:50:33,120 --> 00:50:35,920
Speaker 3: the ultimate realization of the wall of sound.

1030
00:50:36,040 --> 00:50:36,320
Speaker 6: It was.

1031
00:50:36,400 --> 00:50:39,359
Speaker 3: If you listen to this song, it is such a song.

1032
00:50:40,000 --> 00:50:42,399
Speaker 3: It's phenomenal. It's a cacophony of sound.

1033
00:50:42,480 --> 00:50:43,960
Speaker 4: It is a it is.

1034
00:50:44,320 --> 00:50:47,399
Speaker 3: I mean, it's like you cannot tell other than Tina's voice.

1035
00:50:47,640 --> 00:50:50,120
Speaker 3: You cannot tell a single thing that is happening in

1036
00:50:50,160 --> 00:50:52,600
Speaker 3: the background. You can kind of hear like a guitar

1037
00:50:52,719 --> 00:50:55,600
Speaker 3: riff in the beginning of Barn, but that could be anything, right.

1038
00:50:55,719 --> 00:50:58,200
Speaker 3: It's like the whole sound is so amorphous, it has

1039
00:50:58,280 --> 00:51:01,640
Speaker 3: no shape, it has no it's so drenched in reverb

1040
00:51:01,680 --> 00:51:04,040
Speaker 3: and it's just noise behind what's going on.

1041
00:51:04,200 --> 00:51:06,320
Speaker 4: It's so brilliant and so beautiful.

1042
00:51:06,360 --> 00:51:06,560
Speaker 2: It is.

1043
00:51:07,080 --> 00:51:09,279
Speaker 3: Yeah, it does rip, and it's very reminiscent of like

1044
00:51:09,400 --> 00:51:12,200
Speaker 3: modern day like shoegaze type stuff is like this. You know,

1045
00:51:12,280 --> 00:51:17,560
Speaker 3: it's got a really cool atmosphere. It's all atmosphere and emotion. Yeah,

1046
00:51:19,280 --> 00:51:27,200
Speaker 3: even notoriously shitty side bastards, notoriously shitty side bastard Ike

1047
00:51:27,320 --> 00:51:29,320
Speaker 3: Turner boud.

1048
00:51:30,719 --> 00:51:33,200
Speaker 2: It is it is a Music Industry episode, We're gonna

1049
00:51:33,200 --> 00:51:34,560
Speaker 2: have a lot of side bastards.

1050
00:51:34,920 --> 00:51:40,000
Speaker 3: I just really like the effect myself as well. By

1051
00:51:40,040 --> 00:51:42,279
Speaker 3: the way, Yeah, I think you should make it into

1052
00:51:42,320 --> 00:51:43,080
Speaker 3: the regular rotation.

1053
00:51:43,360 --> 00:51:43,919
Speaker 4: It's so nice.

1054
00:51:44,920 --> 00:51:46,239
Speaker 2: I have a soundboard.

1055
00:51:46,360 --> 00:51:46,800
Speaker 9: I need it.

1056
00:51:47,800 --> 00:51:49,879
Speaker 4: There we go, it's so good. It's so good.

1057
00:51:50,680 --> 00:51:55,000
Speaker 3: Yeah, so notoriously shitty side bastard Ike Turner, Yeah, revered

1058
00:51:55,080 --> 00:51:57,880
Speaker 3: Phil let him be in control. You're talking about a

1059
00:51:57,960 --> 00:52:01,360
Speaker 3: band Ike in the Ike gets Right featuring Tina Turner.

1060
00:52:01,520 --> 00:52:05,120
Speaker 4: Like, like we're talking, Ike is the control freak of

1061
00:52:05,200 --> 00:52:06,440
Speaker 4: control freaks, and.

1062
00:52:06,880 --> 00:52:11,040
Speaker 8: He's submissive to this weird little guy Sophie.

1063
00:52:11,080 --> 00:52:14,200
Speaker 3: In the beginning, we asked, we asked this question, why

1064
00:52:14,400 --> 00:52:18,160
Speaker 3: do we allow people to be horrible and shitty and

1065
00:52:18,560 --> 00:52:20,320
Speaker 3: just because they can make a really cool it's the

1066
00:52:20,440 --> 00:52:23,680
Speaker 3: same that, it's the same world. Why why do those

1067
00:52:23,760 --> 00:52:27,320
Speaker 3: people allow this other person who's also shitty to to

1068
00:52:28,040 --> 00:52:30,640
Speaker 3: get away with being in control of them? Because the

1069
00:52:30,800 --> 00:52:35,040
Speaker 3: music industry, because you can write a good song, you're

1070
00:52:35,200 --> 00:52:38,160
Speaker 3: you can get away with murder sort of not not

1071
00:52:38,280 --> 00:52:43,480
Speaker 3: completely spoiler alert, and like do people like he is

1072
00:52:44,000 --> 00:52:49,880
Speaker 3: visiness wearing that's missively wearing wings. Nobody is confused about this,

1073
00:52:50,360 --> 00:52:53,279
Speaker 3: and he is wearing platform shoes. He has five foot three,

1074
00:52:53,320 --> 00:52:56,560
Speaker 3: he's wearing platform shoes that barely make him five to five,

1075
00:52:56,640 --> 00:52:59,600
Speaker 3: which is still really really sure.

1076
00:53:00,280 --> 00:53:05,560
Speaker 2: Yeah, you know, no, Hi knows nothing wrong with it,

1077
00:53:05,680 --> 00:53:07,520
Speaker 2: but it clearly is fucking with him.

1078
00:53:07,760 --> 00:53:09,880
Speaker 9: I mean, this is this is what pops up when

1079
00:53:09,920 --> 00:53:12,399
Speaker 9: I searched Phil Spector in nineteen sixty six.

1080
00:53:12,680 --> 00:53:17,640
Speaker 2: Okay, look at that. Oh no, the glasses, the days

1081
00:53:17,719 --> 00:53:19,760
Speaker 2: diamond glasses is amazing.

1082
00:53:20,000 --> 00:53:21,279
Speaker 4: This is a little early for this.

1083
00:53:21,719 --> 00:53:25,120
Speaker 3: Those glasses are honestly with but but I want to

1084
00:53:25,160 --> 00:53:28,719
Speaker 3: share this picture real quick because this is also very important.

1085
00:53:29,360 --> 00:53:33,160
Speaker 4: Robert, Oh god, I have been waiting to show you

1086
00:53:33,320 --> 00:53:34,719
Speaker 4: this picture. I can't wait.

1087
00:53:34,760 --> 00:53:35,239
Speaker 2: This is so good.

1088
00:53:35,320 --> 00:53:38,600
Speaker 3: All right, So this is Phil Spector in nineteen sixty six,

1089
00:53:38,640 --> 00:53:40,759
Speaker 3: around the same time. Around the same time. This is

1090
00:53:40,880 --> 00:53:44,960
Speaker 3: him with his his security guard, George Brandt. Oh my god.

1091
00:53:45,200 --> 00:53:48,320
Speaker 2: So they're they're sitting in some sort of old timey

1092
00:53:48,480 --> 00:53:52,880
Speaker 2: van and George Brandt like Phil is in George Brandt's lap.

1093
00:53:53,000 --> 00:53:57,719
Speaker 2: He looks like a child because Phil's holding a gun

1094
00:53:57,800 --> 00:53:59,920
Speaker 2: and pointing it out the window, and he's got like

1095
00:54:00,160 --> 00:54:02,960
Speaker 2: a fucking like, what what's that?

1096
00:54:03,280 --> 00:54:06,439
Speaker 3: It looks like a labrador or like like like a dog,

1097
00:54:06,640 --> 00:54:09,839
Speaker 3: like what a poodle? Like a poodle hair situation going

1098
00:54:09,920 --> 00:54:11,279
Speaker 3: on my head like a.

1099
00:54:14,840 --> 00:54:15,040
Speaker 7: Gun.

1100
00:54:15,520 --> 00:54:18,640
Speaker 2: And his bodyguard has his arm around Phil and is

1101
00:54:18,719 --> 00:54:21,759
Speaker 2: like holding him in place. And his hand is like

1102
00:54:22,000 --> 00:54:25,279
Speaker 2: as big as both of Phil's hands put together like

1103
00:54:25,480 --> 00:54:29,760
Speaker 2: one hand. Like this contrast between the two men is jarring.

1104
00:54:29,960 --> 00:54:32,040
Speaker 8: It's like the flappy hats.

1105
00:54:33,080 --> 00:54:39,480
Speaker 3: Incredible. Yeah, it is very It is so incredible. I

1106
00:54:39,680 --> 00:54:42,600
Speaker 3: cannot believe that he took that picture.

1107
00:54:42,400 --> 00:54:45,640
Speaker 4: And was like, yeah, print that ship.

1108
00:54:47,600 --> 00:54:47,960
Speaker 2: Crazy.

1109
00:54:48,120 --> 00:54:49,040
Speaker 4: It's so funny.

1110
00:54:49,360 --> 00:54:52,640
Speaker 3: He's he's a tiny person that really gives you like

1111
00:54:52,880 --> 00:54:53,919
Speaker 3: a perspective.

1112
00:54:54,080 --> 00:54:57,399
Speaker 2: He's look very silly posing with a gun.

1113
00:54:57,560 --> 00:55:00,200
Speaker 3: George brand This is George Brandon. George Brand is a

1114
00:55:00,320 --> 00:55:02,600
Speaker 3: kind of big. He's like six' one or something like that,

1115
00:55:02,960 --> 00:55:04,840
Speaker 3: but he's not that's not huge.

1116
00:55:04,920 --> 00:55:07,200
Speaker 4: That's me. I'm six foot, you know, he's like my.

1117
00:55:07,400 --> 00:55:10,120
Speaker 2: Size, but he looks like a giant compared to him.

1118
00:55:11,719 --> 00:55:17,640
Speaker 8: Ike Turner and Sonny bowing to him in submission.

1119
00:55:17,719 --> 00:55:22,360
Speaker 3: That's crazy, yes, yeah, yes, but that's the power of

1120
00:55:22,920 --> 00:55:26,200
Speaker 3: a hit maker. That's the power of pretty cool. It's

1121
00:55:26,280 --> 00:55:29,520
Speaker 3: like somebody who's controlling the industry and that kind of

1122
00:55:29,600 --> 00:55:34,160
Speaker 3: power is But as I said, uh, this this uh

1123
00:55:34,640 --> 00:55:36,960
Speaker 3: well I didn't say it, but spoiler alert, it doesn't

1124
00:55:37,000 --> 00:55:40,600
Speaker 3: last long. He produced this river, deep, Mountain, dit high

1125
00:55:40,640 --> 00:55:44,239
Speaker 3: for Tina Turner. And he spends enormous amount of money.

1126
00:55:44,280 --> 00:55:46,360
Speaker 3: This is signed to his lebel to the Phyllis records.

1127
00:55:46,719 --> 00:55:46,839
Speaker 2: Uh.

1128
00:55:46,960 --> 00:55:50,560
Speaker 3: And he he spends a ton of money, right, emotional energy,

1129
00:55:51,280 --> 00:55:54,680
Speaker 3: just everything. Time, he puts everything. This is his magno opus,

1130
00:55:54,840 --> 00:55:58,239
Speaker 3: This is his his his thing, right he he thinks

1131
00:55:58,239 --> 00:56:01,840
Speaker 3: it's the best thing he's ever done. Massive orchestration, intricate layering,

1132
00:56:02,120 --> 00:56:05,280
Speaker 3: one of the most powerful vocal performances ever recorded. Spector

1133
00:56:05,360 --> 00:56:08,239
Speaker 3: later described it as the greatest work of his career. Yeah,

1134
00:56:08,480 --> 00:56:10,920
Speaker 3: in the United States, it failed miserably.

1135
00:56:11,160 --> 00:56:12,480
Speaker 2: That's so wild.

1136
00:56:13,120 --> 00:56:17,520
Speaker 4: It fails horribly. Now, Yeah, Spector says. Spector's belief and

1137
00:56:17,880 --> 00:56:18,759
Speaker 4: a lot of people's belief.

1138
00:56:18,760 --> 00:56:21,120
Speaker 3: I've heard a lot of opinions on this, but the

1139
00:56:21,200 --> 00:56:24,719
Speaker 3: belief is generally it was too white for black audiences

1140
00:56:24,800 --> 00:56:27,920
Speaker 3: and too black for white audiences. It was that rare

1141
00:56:28,080 --> 00:56:30,719
Speaker 3: moment of in between. It had orchestration, and but it

1142
00:56:30,800 --> 00:56:33,840
Speaker 3: had Tina. But it had wall of sound mud, but

1143
00:56:33,960 --> 00:56:36,279
Speaker 3: it had Tina. But you know, it's like it's like

1144
00:56:36,520 --> 00:56:40,240
Speaker 3: it was so confusing for DJs at the time because

1145
00:56:40,280 --> 00:56:42,960
Speaker 3: you either played race records or you played white records,

1146
00:56:43,040 --> 00:56:43,520
Speaker 3: and that was it.

1147
00:56:43,800 --> 00:56:46,200
Speaker 4: Like it was like where does this fall? We don't know.

1148
00:56:46,320 --> 00:56:50,279
Speaker 3: Phil Spector is taking this to a logical like conclusion,

1149
00:56:50,400 --> 00:56:51,719
Speaker 3: but it it just doesn't hit.

1150
00:56:52,239 --> 00:56:56,080
Speaker 2: Yeah this it did.

1151
00:56:56,239 --> 00:56:58,160
Speaker 3: It did have success in the United Kingdom. In the UK,

1152
00:56:58,440 --> 00:57:03,279
Speaker 3: it did chart, but the domestic rejection just devastated him.

1153
00:57:03,360 --> 00:57:05,840
Speaker 3: For a man who equated control with emotional safety, the

1154
00:57:05,880 --> 00:57:09,200
Speaker 3: failure felt deeply personal. If he could not guarantee success

1155
00:57:09,239 --> 00:57:12,200
Speaker 3: through perfection, then his entire identity as a producer was

1156
00:57:12,239 --> 00:57:13,480
Speaker 3: suddenly unstable.

1157
00:57:13,600 --> 00:57:17,440
Speaker 4: Right, So this this breaks him, Like this is the

1158
00:57:17,720 --> 00:57:18,680
Speaker 4: breaking point.

1159
00:57:18,720 --> 00:57:21,720
Speaker 3: It he He takes out a full page ad in

1160
00:57:21,800 --> 00:57:25,520
Speaker 3: a newspaper in America saying Benedict Arnold was right.

1161
00:57:26,680 --> 00:57:30,840
Speaker 4: Whoa, yeah, because England liked it in America didn't.

1162
00:57:30,880 --> 00:57:35,680
Speaker 2: Whoa, That's nuts. That's a crazy place for your head

1163
00:57:35,760 --> 00:57:41,240
Speaker 2: to go, right, okay, bro.

1164
00:57:42,720 --> 00:57:46,720
Speaker 3: So after that, everybody's like, Okay, well we're not spinning

1165
00:57:46,760 --> 00:57:49,440
Speaker 3: this record anymore. This dude just called us all traders,

1166
00:57:49,520 --> 00:57:52,360
Speaker 3: like he said, he said, England should have won the war.

1167
00:57:52,600 --> 00:57:54,680
Speaker 2: But yeah, that guy Little.

1168
00:57:57,040 --> 00:58:00,200
Speaker 4: So Fill's failure with River Deep Mountain High calls him

1169
00:58:00,200 --> 00:58:01,360
Speaker 4: to pull out of music completely.

1170
00:58:01,640 --> 00:58:04,600
Speaker 3: He announced his retirement from music and spent the days

1171
00:58:04,640 --> 00:58:06,960
Speaker 3: wandering around his mansion, desponded and depressed.

1172
00:58:07,280 --> 00:58:09,000
Speaker 4: This is a common theme with Phil as well. He

1173
00:58:09,040 --> 00:58:11,680
Speaker 4: spends a lot of time wandering around his mansion depressed.

1174
00:58:12,640 --> 00:58:16,720
Speaker 3: Dennis Hopper was actually chronicling the process of making River

1175
00:58:16,800 --> 00:58:19,640
Speaker 3: Deep Mountain High. He was doing like a documentary film

1176
00:58:20,040 --> 00:58:23,960
Speaker 3: on the process, and because he'd been around, he saw

1177
00:58:24,120 --> 00:58:26,040
Speaker 3: this and how it reacted Phil. He offers Phil a

1178
00:58:26,120 --> 00:58:28,840
Speaker 3: job playing a drug dealer, an easy rider, which is

1179
00:58:28,880 --> 00:58:34,240
Speaker 3: an amazing, amazing film, amazing role. They said literally, they're like, yeah,

1180
00:58:34,240 --> 00:58:36,680
Speaker 3: we get him. We let him be an easy writer.

1181
00:58:37,920 --> 00:58:40,439
Speaker 3: The story I read framed it as like, oh yeah,

1182
00:58:40,480 --> 00:58:41,880
Speaker 3: you know, like it'll pick him up, it'll make him

1183
00:58:41,920 --> 00:58:42,280
Speaker 3: feel better.

1184
00:58:42,400 --> 00:58:42,600
Speaker 2: Yeah.

1185
00:58:43,600 --> 00:58:46,040
Speaker 3: But then when you actually hear, like the Dennis Hopper interview,

1186
00:58:46,080 --> 00:58:47,720
Speaker 3: he's like, yeah, he had a Rolls Royce and he

1187
00:58:47,760 --> 00:58:48,520
Speaker 3: would let us use it.

1188
00:58:49,440 --> 00:58:50,600
Speaker 4: We'd put him in the movie.

1189
00:58:51,320 --> 00:58:53,400
Speaker 2: We couldn't afford it. Otherwise it was easy writer.

1190
00:58:53,680 --> 00:58:57,880
Speaker 4: You know, we're like money five thousand dollars.

1191
00:59:01,480 --> 00:59:03,440
Speaker 3: So other than that, other than his time on Easy Rider,

1192
00:59:03,440 --> 00:59:05,440
Speaker 3: he spend most of his time playing pool and often

1193
00:59:05,520 --> 00:59:06,960
Speaker 3: hanging with his friend Lenny Bruce.

1194
00:59:07,040 --> 00:59:09,240
Speaker 4: Are you familiar with Oh my god, Yeah, of course.

1195
00:59:10,240 --> 00:59:13,439
Speaker 2: I mean Lenny Bruce was the inspired George Carlin. He's

1196
00:59:13,560 --> 00:59:14,800
Speaker 2: kind of the er he's not.

1197
00:59:15,040 --> 00:59:17,920
Speaker 3: He's like the first first stand up comic, but he's

1198
00:59:17,960 --> 00:59:20,200
Speaker 3: like the first show some people say.

1199
00:59:20,040 --> 00:59:22,080
Speaker 2: The first really good stand up comedian.

1200
00:59:22,200 --> 00:59:24,920
Speaker 4: But yeah, yeah, yeah yeah, And big.

1201
00:59:24,480 --> 00:59:29,840
Speaker 3: Dude Phil loves him, right, Phil just idolizes him.

1202
00:59:29,880 --> 00:59:30,680
Speaker 4: He thinks he's amazing.

1203
00:59:30,960 --> 00:59:33,360
Speaker 3: He's Phil Spector, so he's big enough to just be like, yeah,

1204
00:59:33,560 --> 00:59:36,160
Speaker 3: just hanging. Lenny Bruce is, by the way, in his

1205
00:59:36,240 --> 00:59:39,120
Speaker 3: personal life a massive pieces basically.

1206
00:59:39,600 --> 00:59:41,400
Speaker 2: And horrible drug problems.

1207
00:59:41,560 --> 00:59:45,000
Speaker 3: Yeah, horrible drug problems, horrible everything problems.

1208
00:59:45,120 --> 00:59:46,360
Speaker 4: Lenny Bruce is a mess.

1209
00:59:46,600 --> 00:59:50,760
Speaker 3: And for those of you who are not familiar with

1210
00:59:50,840 --> 00:59:53,680
Speaker 3: Lenny Bruce, I if you look it up, you're going

1211
00:59:53,760 --> 00:59:54,880
Speaker 3: to be a lot.

1212
00:59:55,080 --> 00:59:57,440
Speaker 4: There's a lot of n word Lenny Bruce rants, is

1213
00:59:57,520 --> 00:59:58,080
Speaker 4: what I'm saying.

1214
00:59:58,480 --> 01:00:02,439
Speaker 9: Yeah, a lot of They also try to like fictionalize

1215
01:00:02,520 --> 01:00:05,400
Speaker 9: romanticize him in that Marvelous Missus Masel show that was

1216
01:00:05,480 --> 01:00:06,040
Speaker 9: on Amazon.

1217
01:00:06,120 --> 01:00:08,200
Speaker 8: They make him a character in that and they make

1218
01:00:08,320 --> 01:00:11,240
Speaker 8: him like this, like yeah, because.

1219
01:00:11,000 --> 01:00:12,120
Speaker 4: He did not want.

1220
01:00:14,440 --> 01:00:17,320
Speaker 2: Because of his influence on like comedy from a freedom

1221
01:00:17,320 --> 01:00:20,600
Speaker 2: of speech standpoint, which he really did stand and pay for, yes,

1222
01:00:20,720 --> 01:00:23,400
Speaker 2: but that they also whitewash a lot of like he was.

1223
01:00:24,000 --> 01:00:29,000
Speaker 2: He was a messy motherfucker among comedians, and the medians

1224
01:00:29,040 --> 01:00:30,400
Speaker 2: are almost all messy.

1225
01:00:30,880 --> 01:00:34,080
Speaker 3: There's a lot of stories about him showing up at

1226
01:00:34,120 --> 01:00:37,200
Speaker 3: Phil's house and like and like, you know, Phil having

1227
01:00:37,240 --> 01:00:39,600
Speaker 3: to like basically kick him out and be like and

1228
01:00:39,760 --> 01:00:42,760
Speaker 3: apologize to his guests. Phil, Phil, the guy who held

1229
01:00:42,800 --> 01:00:45,919
Speaker 3: people at gunpoint, waved guns around, had to be like, yeah, guys, sorry,

1230
01:00:46,000 --> 01:00:46,720
Speaker 3: Lenny's messy.

1231
01:00:47,560 --> 01:00:51,800
Speaker 4: Yeah, yeah, Lenny's messy.

1232
01:00:51,920 --> 01:00:52,200
Speaker 7: Guys.

1233
01:00:52,360 --> 01:00:54,960
Speaker 2: You know, you know, he's my friend. Doesn't always use

1234
01:00:55,000 --> 01:00:58,920
Speaker 2: the right terms. He can be kind of in appropriate,

1235
01:01:00,200 --> 01:01:00,560
Speaker 2: all right.

1236
01:01:00,720 --> 01:01:02,880
Speaker 3: So the two men bonded over a shared sense of

1237
01:01:02,960 --> 01:01:08,560
Speaker 3: being misunderstood outsiders navigating industries that simultaneously rewarded and rejected them,

1238
01:01:08,760 --> 01:01:12,919
Speaker 3: which is extremely valid. They're both kind of outsiders while

1239
01:01:13,000 --> 01:01:16,280
Speaker 3: also being like praised and glorified.

1240
01:01:15,880 --> 01:01:18,280
Speaker 2: Also kind of at the top of their their careers.

1241
01:01:19,200 --> 01:01:20,320
Speaker 4: It's very strange.

1242
01:01:21,520 --> 01:01:24,840
Speaker 3: Bruce admired Spector's musical intensity Inspector appeared to be drawn

1243
01:01:24,840 --> 01:01:28,440
Speaker 3: to Bruce's defiant rejection of authority and social norms. He

1244
01:01:28,640 --> 01:01:31,880
Speaker 3: quotes Lenny Bruce all the time. He'll Lenny Bruce says.

1245
01:01:32,040 --> 01:01:34,360
Speaker 3: You know, it's like always how he goes. He loves

1246
01:01:34,400 --> 01:01:39,240
Speaker 3: Lenny Bruce. He loves Lenny Bruce so much that Phil

1247
01:01:39,400 --> 01:01:42,880
Speaker 3: keeps a blown up image of Lenny Bruce above his bed.

1248
01:01:43,720 --> 01:01:45,000
Speaker 3: What oh what.

1249
01:01:46,680 --> 01:01:48,080
Speaker 4: Ronnie? Ronnie?

1250
01:01:51,200 --> 01:02:00,520
Speaker 2: Oh okay, so where is guy and Wasted together? Okay, yeah,

1251
01:02:00,560 --> 01:02:02,160
Speaker 2: it's weird, Okay.

1252
01:02:03,200 --> 01:02:05,560
Speaker 3: I like when I wrote this, I literally had this

1253
01:02:05,720 --> 01:02:08,160
Speaker 3: like funny mental image of me having me having a

1254
01:02:08,280 --> 01:02:11,680
Speaker 3: Robert Evans above my bed and like your shirtless, you know,

1255
01:02:12,080 --> 01:02:15,920
Speaker 3: like just like just like you know, over the shoulder

1256
01:02:16,080 --> 01:02:18,440
Speaker 3: kind of look, you know, just like I just I

1257
01:02:18,600 --> 01:02:20,040
Speaker 3: was like, yes, dude, that's how I want.

1258
01:02:19,960 --> 01:02:22,840
Speaker 4: My relationship with Robert to be. Is like like like

1259
01:02:23,320 --> 01:02:24,880
Speaker 4: quasi sexual.

1260
01:02:24,520 --> 01:02:28,440
Speaker 2: And relationship absolutely.

1261
01:02:29,400 --> 01:02:30,040
Speaker 8: My goodness.

1262
01:02:30,520 --> 01:02:34,200
Speaker 3: So, so Specters get he gets his belief that he's

1263
01:02:34,720 --> 01:02:36,760
Speaker 3: existing outside of conventional society.

1264
01:02:36,800 --> 01:02:37,880
Speaker 4: By hanging out with Lenny Bruce.

1265
01:02:37,960 --> 01:02:41,120
Speaker 3: It validates that for him, you know, and that society

1266
01:02:41,280 --> 01:02:44,720
Speaker 3: just didn't understand him. This is why River Deep Mountain

1267
01:02:44,800 --> 01:02:46,960
Speaker 3: High failed. It's just like Lenny Bruce, right, It's like

1268
01:02:47,360 --> 01:02:49,960
Speaker 3: society just doesn't get how important this is.

1269
01:02:52,000 --> 01:02:54,320
Speaker 8: But then but then Lenny Lenny dies.

1270
01:02:54,920 --> 01:02:56,400
Speaker 4: But then Lenny Bruce does die.

1271
01:02:56,480 --> 01:02:59,919
Speaker 2: Doesn't have a long life expectancy. It's a Lenny Bruce type.

1272
01:03:00,480 --> 01:03:03,440
Speaker 3: On August third, nineteen sixty six, Lenny was found on

1273
01:03:03,520 --> 01:03:05,400
Speaker 3: the floor of his bathroom with his pants around his

1274
01:03:05,480 --> 01:03:08,919
Speaker 3: ankles and a needle stuck in his arm. Yeah, yeah,

1275
01:03:09,200 --> 01:03:13,680
Speaker 3: that's how that that goes, right. He died of an overdose.

1276
01:03:14,280 --> 01:03:16,560
Speaker 3: He died in an overdose on the toilet, which is

1277
01:03:16,960 --> 01:03:20,720
Speaker 3: very Elvis and sad. Very I mean Bruce said, yeah,

1278
01:03:21,280 --> 01:03:24,320
Speaker 3: very Lenny Bruce. Yeah, Lenny Bruce was the original Lenny

1279
01:03:24,320 --> 01:03:25,720
Speaker 3: brucey od died on the toilet.

1280
01:03:26,120 --> 01:03:26,360
Speaker 4: Yeah.

1281
01:03:27,920 --> 01:03:31,120
Speaker 3: So Phil was devastated to lose his friend. He's so

1282
01:03:31,320 --> 01:03:35,280
Speaker 3: sad about this and again mopes around the house for days,

1283
01:03:35,400 --> 01:03:38,720
Speaker 3: you know. But a few days later, a cop shows

1284
01:03:38,840 --> 01:03:42,400
Speaker 3: up at his I think it was his lawyer's house.

1285
01:03:42,520 --> 01:03:44,320
Speaker 3: It might have it is either his friend or a lawyer.

1286
01:03:44,360 --> 01:03:47,320
Speaker 3: But cop shows up and says, hey, I got I

1287
01:03:47,360 --> 01:03:49,920
Speaker 3: got these pictures of Lenny Bruce from the crime scene.

1288
01:03:50,760 --> 01:03:53,280
Speaker 3: Either you buy him or I'm selling them to the tabloids. Right,

1289
01:03:53,800 --> 01:03:57,240
Speaker 3: and so Phil spent five k of his own money

1290
01:03:57,400 --> 01:03:59,760
Speaker 3: just he purchased him. Spent five thousand dollars of his

1291
01:03:59,800 --> 01:04:00,920
Speaker 3: own money, which at that time is.

1292
01:04:01,000 --> 01:04:02,600
Speaker 2: Like a house. Yeah, that's a lot of money.

1293
01:04:02,880 --> 01:04:05,760
Speaker 3: Yeah, you know, spends five thousand dollars of his own

1294
01:04:05,840 --> 01:04:08,840
Speaker 3: money to purchase those photos to keep them out of

1295
01:04:08,880 --> 01:04:09,200
Speaker 3: the press.

1296
01:04:10,640 --> 01:04:14,600
Speaker 4: He also paid for Lenny's funeral, and then after Lenny's funeral.

1297
01:04:14,440 --> 01:04:16,680
Speaker 3: He locked himself in his house for weeks on end

1298
01:04:17,400 --> 01:04:19,520
Speaker 3: and didn't talk to anybody because he was so depressed

1299
01:04:19,520 --> 01:04:20,400
Speaker 3: at the loss of his friend.

1300
01:04:22,280 --> 01:04:23,480
Speaker 4: That's one of those real.

1301
01:04:24,920 --> 01:04:28,200
Speaker 2: He is capable of deeply caring for someone, and it's

1302
01:04:28,320 --> 01:04:28,960
Speaker 2: Lenny Bruce.

1303
01:04:29,920 --> 01:04:32,640
Speaker 4: Yeah, exactly, That's what I'm saying.

1304
01:04:32,640 --> 01:04:35,880
Speaker 3: It's like, it's a really weird moment because you're like, yeah,

1305
01:04:35,960 --> 01:04:37,120
Speaker 3: that's sad, but also.

1306
01:04:37,280 --> 01:04:40,760
Speaker 2: This is the first really human emotion we've gotten. Yeah,

1307
01:04:40,840 --> 01:04:44,640
Speaker 2: like yeah, okay, interesting, but also huh, you.

1308
01:04:44,760 --> 01:04:48,080
Speaker 4: Know back to Ronnie.

1309
01:04:48,200 --> 01:04:53,520
Speaker 3: Right, Ronnie's mom finally is like, you guys aren't really married, right,

1310
01:04:54,080 --> 01:04:56,880
Speaker 3: So so she's like, you're not living with somebody if

1311
01:04:56,920 --> 01:04:59,080
Speaker 3: you're not married to them. She like uses her mind

1312
01:04:59,120 --> 01:05:01,160
Speaker 3: over the whole thing. Yeah, She's like, you guys need

1313
01:05:01,240 --> 01:05:05,200
Speaker 3: to get married, right. So Phil, you know, he still

1314
01:05:05,240 --> 01:05:07,280
Speaker 3: lies to her. He tries like lie, but she comes

1315
01:05:07,320 --> 01:05:09,360
Speaker 3: out to California and she's like, nope, don't believe you.

1316
01:05:09,640 --> 01:05:11,680
Speaker 3: And see she takes Ronnie and makes her move back

1317
01:05:12,000 --> 01:05:14,360
Speaker 3: to New York, which is again very crazy. This is

1318
01:05:14,400 --> 01:05:17,240
Speaker 3: like an era where being twenty one is actually what's

1319
01:05:17,320 --> 01:05:19,400
Speaker 3: considered an adult at this time. I mean it kind

1320
01:05:19,440 --> 01:05:21,200
Speaker 3: of still is a little bit, but in the manner

1321
01:05:21,240 --> 01:05:23,040
Speaker 3: of like if you were under twenty one, you could

1322
01:05:23,040 --> 01:05:26,600
Speaker 3: actually be told what to do by your parents. Right. Still, yeah,

1323
01:05:26,640 --> 01:05:29,360
Speaker 3: you're not really and also no money and all sorts

1324
01:05:29,360 --> 01:05:32,680
Speaker 3: of shit anyway, so she forced her to move back

1325
01:05:32,720 --> 01:05:35,320
Speaker 3: to New York. Ronnie hates being in New York. She

1326
01:05:35,360 --> 01:05:37,440
Speaker 3: hates being around her relatives. She feels like they're all

1327
01:05:37,520 --> 01:05:40,920
Speaker 3: like gold diggers kind of, and she wants to get

1328
01:05:40,960 --> 01:05:43,400
Speaker 3: back to California. So Phil comes and rescues her and

1329
01:05:43,720 --> 01:05:46,480
Speaker 3: takes her back to California. But as soon as they

1330
01:05:46,560 --> 01:05:48,840
Speaker 3: get back, he gets right back into being jealous, you know,

1331
01:05:50,280 --> 01:05:53,160
Speaker 3: And it wasn't until she threatens to leave him that.

1332
01:05:53,400 --> 01:05:55,160
Speaker 4: He finally does commit to marrying her.

1333
01:05:55,720 --> 01:06:00,360
Speaker 3: Ah they're planning to be married on April fourteenth. Okay

1334
01:06:00,480 --> 01:06:05,080
Speaker 3: was shot and killed on April fourth and Phil goes

1335
01:06:05,120 --> 01:06:09,800
Speaker 3: into a despair. Super common Phil anytime somebody famous dies

1336
01:06:09,840 --> 01:06:13,720
Speaker 3: that he has had any association with at all, which

1337
01:06:13,800 --> 01:06:17,440
Speaker 3: does happen a lot, you know sixties, in all, he

1338
01:06:17,800 --> 01:06:20,800
Speaker 3: falls into like these horrible depressive states where he just

1339
01:06:20,840 --> 01:06:24,160
Speaker 3: like mopes around. He was just playing MLK speeches on

1340
01:06:24,360 --> 01:06:26,840
Speaker 3: repeat in his house at like top volume, which I'm

1341
01:06:26,840 --> 01:06:29,720
Speaker 3: sure he had a killer stereo, right, he's perspective, So

1342
01:06:30,080 --> 01:06:33,320
Speaker 3: he's just blasting MLK speeches at like top volume in

1343
01:06:33,440 --> 01:06:35,920
Speaker 3: his house and like crying in the living room. It's

1344
01:06:35,960 --> 01:06:39,919
Speaker 3: like super crazy, which brings me to a point about

1345
01:06:39,920 --> 01:06:41,840
Speaker 3: Phil that I think is super interesting. For all of

1346
01:06:41,920 --> 01:06:46,680
Speaker 3: Phil's flaws, racism is neuterous, not once, not ever. He

1347
01:06:46,920 --> 01:06:50,240
Speaker 3: is always when we look at these relationships, it's like

1348
01:06:50,320 --> 01:06:52,680
Speaker 3: it is always black girl groups that he's like, you know,

1349
01:06:52,880 --> 01:06:56,120
Speaker 3: doing this abuse to. But black is never really like

1350
01:06:56,200 --> 01:06:59,120
Speaker 3: a consideration. It is women that is the consideration that

1351
01:06:59,360 --> 01:07:01,960
Speaker 3: like is an issue with women. For as awful as

1352
01:07:02,040 --> 01:07:06,680
Speaker 3: he is, he's never awful about black people. He loves

1353
01:07:06,760 --> 01:07:09,800
Speaker 3: black people. In fact, Ronnie thinks that he wished he

1354
01:07:09,960 --> 01:07:10,360
Speaker 3: was black.

1355
01:07:11,000 --> 01:07:15,280
Speaker 2: Yeah, and he he cried, cried given him like the

1356
01:07:15,400 --> 01:07:17,880
Speaker 2: industry he's in at the time. Yeah, okay, yeah, that

1357
01:07:17,960 --> 01:07:19,400
Speaker 2: makes sense. Actually. Yeah.

1358
01:07:19,720 --> 01:07:22,600
Speaker 3: So he eventually snaps out of his depression and they

1359
01:07:23,000 --> 01:07:25,040
Speaker 3: return to their wedding plans. They get married on the fourteenth.

1360
01:07:25,080 --> 01:07:27,440
Speaker 3: The marriage itself was performed at a Justice of the

1361
01:07:27,480 --> 01:07:31,560
Speaker 3: Peace ceremony. They know, for a millionaire record producer, he doesn't.

1362
01:07:31,600 --> 01:07:33,200
Speaker 3: He half asses the hell out of it. He does

1363
01:07:33,440 --> 01:07:35,680
Speaker 3: justice to the peace, and as someone who's done a

1364
01:07:35,680 --> 01:07:37,400
Speaker 3: couple of Justice of the Peace marriages, you know, I

1365
01:07:37,520 --> 01:07:38,280
Speaker 3: get it right.

1366
01:07:38,680 --> 01:07:40,400
Speaker 4: Sometimes I just want to get it over with, you know,

1367
01:07:40,640 --> 01:07:41,720
Speaker 4: I got stuff to do today.

1368
01:07:42,040 --> 01:07:42,200
Speaker 2: Yeah.

1369
01:07:42,600 --> 01:07:46,600
Speaker 4: One his chauffeur's brother was his best man.

1370
01:07:48,160 --> 01:07:50,320
Speaker 3: After the wedding, they celebrated by going to a concert,

1371
01:07:50,560 --> 01:07:52,600
Speaker 3: and then Phil sent Ronnie and her mother home with

1372
01:07:52,680 --> 01:07:55,680
Speaker 3: his driver and went to visit his mother out of

1373
01:07:55,800 --> 01:07:57,960
Speaker 3: guilt of not having told her about the wedding.

1374
01:07:58,040 --> 01:07:59,280
Speaker 4: So he feels bad.

1375
01:08:00,000 --> 01:08:02,840
Speaker 3: He's like, oh, actually, I can't believe I didn't tell

1376
01:08:02,840 --> 01:08:05,000
Speaker 3: my mom about the wedding. I should have told her

1377
01:08:05,040 --> 01:08:08,400
Speaker 3: about this, right, So I probably should have done that.

1378
01:08:08,600 --> 01:08:11,480
Speaker 3: So he goes right, and Ronnie and her mom go

1379
01:08:11,600 --> 01:08:12,240
Speaker 3: back to the house.

1380
01:08:12,520 --> 01:08:12,640
Speaker 7: Right.

1381
01:08:13,520 --> 01:08:16,080
Speaker 3: Ronnie goes home. She puts on some lingerie. She gets

1382
01:08:16,280 --> 01:08:18,240
Speaker 3: wedding night. Bro We wedding night, you know.

1383
01:08:18,439 --> 01:08:21,960
Speaker 4: She gets all up and she waits and waits and

1384
01:08:22,040 --> 01:08:23,280
Speaker 4: waits and waits. Ho always go by.

1385
01:08:23,360 --> 01:08:27,439
Speaker 3: Phil does not come back, and she's like, uh, okay,

1386
01:08:27,560 --> 01:08:30,880
Speaker 3: well the hell. Finally he returns home, laid his hell,

1387
01:08:31,200 --> 01:08:34,639
Speaker 3: drunk his hell, and he's mad. He walked into our room,

1388
01:08:34,720 --> 01:08:36,479
Speaker 3: she says. This is from her book, Be My Baby.

1389
01:08:36,960 --> 01:08:39,120
Speaker 3: Quote he when he walked into our room, I could

1390
01:08:39,160 --> 01:08:41,639
Speaker 3: tell the last thing he was interested in was my body.

1391
01:08:41,800 --> 01:08:43,559
Speaker 4: Remember she's wearing lingerie and everything.

1392
01:08:44,040 --> 01:08:45,960
Speaker 3: He was a completely different person than the man I

1393
01:08:46,040 --> 01:08:49,280
Speaker 3: had sat with at the concert three hours earlier. You bitch,

1394
01:08:49,360 --> 01:08:51,920
Speaker 3: he shouted. I couldn't believe how mad he looked, and

1395
01:08:52,080 --> 01:08:54,560
Speaker 3: worse than I'd ever seen him. He was raving so

1396
01:08:54,720 --> 01:08:57,040
Speaker 3: loud that the veins in his neck were bulging blue.

1397
01:08:57,560 --> 01:09:00,599
Speaker 3: I know your game, Veronica, he shouted, You just want

1398
01:09:00,680 --> 01:09:01,120
Speaker 3: my money.

1399
01:09:01,479 --> 01:09:02,400
Speaker 4: That is it, isn't it.

1400
01:09:02,800 --> 01:09:04,479
Speaker 3: I was so scared that I got up and ran

1401
01:09:04,640 --> 01:09:06,840
Speaker 3: out of the bedroom and into the hallway. If Phil

1402
01:09:06,960 --> 01:09:08,760
Speaker 3: was going to kill me, I wanted him to do

1403
01:09:08,880 --> 01:09:12,600
Speaker 3: it where there might be witnesses. What's wrong, Phil, what

1404
01:09:12,680 --> 01:09:15,240
Speaker 3: did your mother tell you the truth? He panted that

1405
01:09:15,400 --> 01:09:18,240
Speaker 3: this whole marriage is about one thing, my money. He

1406
01:09:18,439 --> 01:09:20,760
Speaker 3: was so mad he could barely catch his breath. Now,

1407
01:09:22,080 --> 01:09:24,840
Speaker 3: Ronnie and her mother locked themselves inside a bathroom for hours,

1408
01:09:24,960 --> 01:09:27,360
Speaker 3: hiding from Phil's rage and unpredictable behavior.

1409
01:09:28,200 --> 01:09:28,519
Speaker 4: Quote.

1410
01:09:29,160 --> 01:09:30,960
Speaker 3: My mother and I had been living on that pale

1411
01:09:30,960 --> 01:09:33,320
Speaker 3: blue carpet for over an hour when Phil finally warm

1412
01:09:33,360 --> 01:09:36,080
Speaker 3: himself out and went to bed. After that, we got

1413
01:09:36,160 --> 01:09:38,880
Speaker 3: kind of drowsy ourselves. I was just drifting off to

1414
01:09:38,960 --> 01:09:42,160
Speaker 3: sleep when I heard my mother sigh. Ronnie, Ronnie, Ronnie,

1415
01:09:42,320 --> 01:09:45,040
Speaker 3: what did you marry? I moved in close to her,

1416
01:09:45,080 --> 01:09:48,120
Speaker 3: and I started to cry. Isn't this something I sniffed here?

1417
01:09:48,200 --> 01:09:50,120
Speaker 3: It is my wedding night, and I'm spending it curled

1418
01:09:50,160 --> 01:09:51,639
Speaker 3: up on the bathroom floor with my mother.

1419
01:09:52,680 --> 01:09:53,080
Speaker 2: Geez.

1420
01:09:54,560 --> 01:09:58,439
Speaker 4: So it is her wedding day, her wedding day, her

1421
01:09:58,600 --> 01:09:59,439
Speaker 4: wedding day.

1422
01:09:59,560 --> 01:10:01,719
Speaker 3: He goes to a show and then he comes home drunk,

1423
01:10:01,880 --> 01:10:05,360
Speaker 3: drops her off, comes home drunk, screaming and threatening her.

1424
01:10:05,439 --> 01:10:09,280
Speaker 3: An hour, he spent an hour banging on the bathroom door,

1425
01:10:09,400 --> 01:10:12,639
Speaker 3: threatening her, screaming, at her with her and her mom

1426
01:10:12,960 --> 01:10:16,720
Speaker 3: just in the bathroom, cut it up on the floor crying.

1427
01:10:18,920 --> 01:10:24,080
Speaker 4: And that extremely happy moment. Cool is where we will

1428
01:10:24,200 --> 01:10:25,240
Speaker 4: leave this episode.

1429
01:10:25,560 --> 01:10:28,759
Speaker 2: That's Part two Baby, Part two Dune.

1430
01:10:29,560 --> 01:10:32,760
Speaker 3: I am greasy will you can find me all over

1431
01:10:32,840 --> 01:10:35,240
Speaker 3: the internet. I have lots of things for sale if

1432
01:10:35,280 --> 01:10:37,960
Speaker 3: you ever want to buy them. And it is the

1433
01:10:38,040 --> 01:10:43,400
Speaker 3: same thing. You're supporting people's you're supporting people's livelihoods. Yes,

1434
01:10:43,960 --> 01:10:47,280
Speaker 3: my assistants they're drug free, so you know when I

1435
01:10:47,400 --> 01:10:50,640
Speaker 3: pay them money, it's not going to drugs. That is right.

1436
01:10:51,680 --> 01:10:53,840
Speaker 4: That is super courteous. That's the best you can say

1437
01:10:53,840 --> 01:10:54,519
Speaker 4: about anybody.

1438
01:10:54,640 --> 01:10:56,680
Speaker 2: That's right. That's right. Whereas I take all of my

1439
01:10:56,840 --> 01:10:59,960
Speaker 2: profits and hand them out underneath the bridge so that yeah,

1440
01:11:00,040 --> 01:11:00,960
Speaker 2: we can buy drugs.

1441
01:11:01,040 --> 01:11:03,560
Speaker 3: Not You might as well pay me in heroin, you know,

1442
01:11:03,920 --> 01:11:05,680
Speaker 3: like just pay me in heroin.

1443
01:11:05,479 --> 01:11:08,479
Speaker 2: Just because like strangers I give money to in heroin.

1444
01:11:11,520 --> 01:11:15,200
Speaker 4: You are Robert Evans, my good friend and found it.

1445
01:11:15,360 --> 01:11:19,560
Speaker 3: I write okay on the internet and also here Andrew

1446
01:11:19,680 --> 01:11:20,280
Speaker 3: on Netflix.

1447
01:11:20,360 --> 01:11:22,639
Speaker 4: On Netflix, you might be this on the Netflix.

1448
01:11:22,880 --> 01:11:22,960
Speaker 9: Bro.

1449
01:11:23,120 --> 01:11:25,599
Speaker 4: This is the closest I will ever come to success.

1450
01:11:26,080 --> 01:11:29,920
Speaker 2: You could watch this watch another one of Netflix's classic

1451
01:11:30,000 --> 01:11:34,120
Speaker 2: hit shows like whatever movie is out now.

1452
01:11:34,040 --> 01:11:36,560
Speaker 3: That one about that pervert guy that kidnaps people and

1453
01:11:36,680 --> 01:11:37,639
Speaker 3: keeps them in their basement.

1454
01:11:38,000 --> 01:11:41,840
Speaker 2: Sure you could be watching the pervert next Wow.

1455
01:11:45,400 --> 01:11:47,920
Speaker 8: Behind the Bastards is a production of cool Zone Media.

1456
01:11:48,120 --> 01:11:50,800
Speaker 8: For more from cool Zone Media, visit our website cool

1457
01:11:50,840 --> 01:11:54,000
Speaker 8: Zonemedia dot com or check us out on the iHeartRadio app,

1458
01:11:54,040 --> 01:11:58,439
Speaker 8: Apple Podcasts, or wherever you get your podcasts. Full video episodes,

1459
01:11:58,479 --> 01:12:01,080
Speaker 8: but Behind the Bastards are now streaming on Netflix, dropping

1460
01:12:01,120 --> 01:12:03,960
Speaker 8: every Tuesday and Thursday. Kit remind me on Netflix you

1461
01:12:04,040 --> 01:12:07,479
Speaker 8: don't miss an episode. For clips and our older episode catalog,

1462
01:12:07,600 --> 01:12:10,680
Speaker 8: continue to subscribe to our YouTube channel YouTube dot com

1463
01:12:10,880 --> 01:12:14,800
Speaker 8: slash at Behind the Bastards. We love about forty percent

1464
01:12:14,880 --> 01:12:16,280
Speaker 8: of you, statistically speaking.