WEBVTT -  Part Two: The Phil Spector Episodes

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<v Speaker 1>Also media, Welcome back to Behind the Bastards a podcast,

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<v Speaker 1>but this week is about Filium Specter.

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<v Speaker 2>I'm fairly certain that's not what his first name is.

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<v Speaker 2>Here to correct me, Greasy.

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<v Speaker 3>Will, that's actually I think his name was Philium. I

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<v Speaker 3>have no reason to dispute that. The Yeah, absolutely one

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<v Speaker 3>hundred percent. I do want to lead off with saying

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<v Speaker 3>that I forgot last episode, but I did want to

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<v Speaker 3>mention I have made a playlist of all of Phil

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<v Speaker 3>Spector's music. I thought that it would be very even

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<v Speaker 3>though it's technically whenever you're doing this is educational, so

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<v Speaker 3>you can use music for anything that you want when

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<v Speaker 3>it's educational, but I thought it would be, you know,

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<v Speaker 3>especially with the new prestigious Netflix deal that you guys got,

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<v Speaker 3>I didn't want you to have any you know, copyright

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<v Speaker 3>complications are too. No, I'm just saying, I just don't

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<v Speaker 3>want you guys have any complications. You know, So instead

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<v Speaker 3>of what I think is Phil's most seminal song, instead

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<v Speaker 3>of playing that, I'll play you my interpretation of it.

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<v Speaker 4>Thank you all for listening. I will be here all week.

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<v Speaker 5>The night meant I knew I found my show.

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<v Speaker 6>The kind that talks about ev were freaking now.

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<v Speaker 5>Each shine I listen.

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<v Speaker 6>I can't believe my Holy.

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<v Speaker 5>The more than God than be too naughty, though, Can

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<v Speaker 5>we till me hid behind the sady that you see

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<v Speaker 5>behind the cantles by, behind.

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<v Speaker 2>The business snappy, I'm the best.

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<v Speaker 5>From more crimes consent.

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<v Speaker 1>See oh.

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<v Speaker 7>The weirdows Is Street, dried.

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<v Speaker 2>Leave on.

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<v Speaker 5>Some feet, rocked up that then the darkest shows you

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<v Speaker 5>love that cringe at a briefing.

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<v Speaker 7>Day fall some can gupy behind the Ballet Street, the

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<v Speaker 7>passion of.

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<v Speaker 2>The boothston snappy, so.

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<v Speaker 6>Behind the s Street, the passion looks like the Boston Sniffy.

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<v Speaker 6>The bastards, sweet.

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<v Speaker 4>Bastards.

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<v Speaker 8>That was beautiful.

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<v Speaker 2>Well, that was genuinely one of the sweetest I looked.

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<v Speaker 3>I just want everybody to know, like this was not

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<v Speaker 3>an AI song. I legitimately made that.

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<v Speaker 2>I would never have accused you of that, I know.

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<v Speaker 3>But it's like right now, there's so much like like

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<v Speaker 3>you know, like fifty does fifties song, you know, like

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<v Speaker 3>do up you know, and you're like, ah, no, I legitimate.

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<v Speaker 3>I brought in a girl. Her name is Clancy. I

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<v Speaker 3>shout her out, Shout out Clancy. She was amazing She

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<v Speaker 3>crushed that Ronnie Specter vibe. She absolutely killed it. It

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<v Speaker 3>was amazing and I and I very much appreciate it. Yeah,

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<v Speaker 3>but yeah, you didn't.

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<v Speaker 2>Really show that wall sound thing too that you were

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<v Speaker 2>talking about.

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<v Speaker 3>Yeah, literally, what I was going for was trying to

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<v Speaker 3>sound exactly like Phil Spector's Be My Baby, which is

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<v Speaker 3>where we will pick up.

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<v Speaker 2>Today, Beautiful after beautiful after introduct after this.

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<v Speaker 4>Nailed it, So back to our story, back to our pow.

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<v Speaker 4>Philip Specter.

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<v Speaker 3>His career is exploding, right, this is where we're at

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<v Speaker 3>right now, His career is exploding.

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<v Speaker 4>He is the hottest.

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<v Speaker 3>He is Max Martin in the nineties, right, he just

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<v Speaker 3>wrote Britney Spears and now he's working for Christina Aguilera.

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<v Speaker 4>Yeah, and then he's working.

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<v Speaker 3>For you know, it's just like hit after hit after

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<v Speaker 3>hit after hit. And like I said before, in last episode,

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<v Speaker 3>we talked about he was the.

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<v Speaker 4>Tycoon of teen.

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<v Speaker 8>Hate.

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<v Speaker 4>So yeah, so he's yes, it's very it's a very

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<v Speaker 4>upsetting name and as an.

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<v Speaker 3>A you know this, but to be fair, he is

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<v Speaker 3>probably only like twenty years old, Like he is barely

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<v Speaker 3>not a teen himself at this point. And this is

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<v Speaker 3>a very very peculiar time in history, right, because most

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<v Speaker 3>of his competition is like fifty forty.

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<v Speaker 4>Right, they're like old.

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<v Speaker 3>Dudes, right, it's like like in the early days. Like

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<v Speaker 3>it's very funny. But they talk about this all the time,

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<v Speaker 3>Like basically, if you heard a song by a young

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<v Speaker 3>black girl group, it was written by an old white

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<v Speaker 3>Jewish man. Yeah, yeah, without fail, that's what I mean.

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<v Speaker 3>You know, not quite yet, but very soon the Chess

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<v Speaker 3>Brothers are gonna have Chess Records in Chicago. It's going

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<v Speaker 3>to be everything, you know, everything that exists you know

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<v Speaker 3>in music is gonna come out of there for a

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<v Speaker 3>little while.

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<v Speaker 4>It's like there is absolutely.

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<v Speaker 3>There is just a a a world of old white

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<v Speaker 3>dudes writing writing pop music for teenage girls.

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<v Speaker 4>And Phil Spector is the maverick.

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<v Speaker 3>He's the young guy. He's and he's doing it different.

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<v Speaker 3>He's very different, right, all Right, So the studio becomes

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<v Speaker 3>his creative space. The studio becomes you know, everything to him.

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<v Speaker 3>He's using it as part. It's like the it's it's

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<v Speaker 3>really in these moments too, when he's making these these

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<v Speaker 3>wall of sound productions. It is basically Phil Spector and

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<v Speaker 3>the studio is the is the musician. He's bringing in

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<v Speaker 3>randos from the parking lot to sing backgrounds, like there's

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<v Speaker 3>layers of percussion and shit. It was like if you

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<v Speaker 3>could keep a beat at all, it was like cool,

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<v Speaker 3>go in there and play this thing. He would have

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<v Speaker 3>multiple drums, like all sorts of stuff going on in

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<v Speaker 3>these productions. They were they were the musicians were interchangeable.

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<v Speaker 3>The studio was important to him, gold Star Studios in

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<v Speaker 3>Hollywood on Vine and which is no longer there by

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<v Speaker 3>the record it was it was a shitty studio in

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<v Speaker 3>the nineteen sixties.

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<v Speaker 2>I gotta break it here to say of my favorite

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<v Speaker 2>early in our friendship memories was coming to visit you

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<v Speaker 2>at the studio you were working at in LA for

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<v Speaker 2>the first time with Lenny and like cracking a sixth

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<v Speaker 2>pack when you're like putting the finishing touches on something

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<v Speaker 2>and you're like, you know, this is where they made

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<v Speaker 2>pet sounds, And I was like, oh this building. You're like, no,

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<v Speaker 2>like this room is the room?

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<v Speaker 3>Yeah?

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<v Speaker 4>Here, yeah, right here? Yeah.

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<v Speaker 3>Which again h I mentioned this the first the first episode,

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<v Speaker 3>but uh, you know, part of my love for this

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<v Speaker 3>whole story is that this is all combined. This story

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<v Speaker 3>is all one story, which also includes Charles Manson. I

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<v Speaker 3>don't know if you know that Charles Manson's in this

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<v Speaker 3>whole thing too. And I actually have a little bit like, dang,

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<v Speaker 3>I should pivot from this one the next one.

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<v Speaker 4>I come over here, I should? I should Charles Manson

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<v Speaker 4>Beach Boys.

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<v Speaker 2>Talked a little bit about the Beach Boys and Charlie Manson,

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<v Speaker 2>but not as much as the subject deserves.

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<v Speaker 4>Yeah, oh my god, it is. I mean, it's it.

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<v Speaker 4>We'll get there. We'll get there.

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<v Speaker 3>That's a later but that's a that's a little special

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<v Speaker 3>thing for you guys in the future.

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<v Speaker 4>You'll love it. So yeah, so you know Phil Is

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<v Speaker 4>is working at gold Star. The Beach Boys are are.

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<v Speaker 3>Brian Wilson actually is part of these early like background people,

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<v Speaker 3>not singers. He's like a hanger on. He's like showing

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<v Speaker 3>up places and being like, oh Phil's working, like and

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<v Speaker 3>he's a kid, and he just like, oh, I just

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<v Speaker 3>want to see what Phil is doing. Because Phil is

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<v Speaker 3>the guiding force of what would become the Beach Boys,

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<v Speaker 3>which would then become the Beatles. Is like whole vibe

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<v Speaker 3>on how they just were not doing the Phil is

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<v Speaker 3>the architect of this original sound and he cannot be

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<v Speaker 3>stressed enough how big of a deal this is, Like

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<v Speaker 3>he is like as big as as doctor Dre is. Right,

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<v Speaker 3>like when you think of like, oh, like everybody knows

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<v Speaker 3>doctor Dre, everybody knows Phil Spector. Right across continents they

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<v Speaker 3>know Phil Spector. Everybody knows Phil Spector. Right. He is

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<v Speaker 3>after after the hits that he's crafted already. Just he's

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<v Speaker 3>world he's worldwide, mister worldwide. He's pitfull and.

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<v Speaker 2>So right right, yes, he's the first mister worldwide.

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<v Speaker 3>He is also, as I said, only about like five

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<v Speaker 3>foot three or whatever and anywhere's heels. He starts wearing

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<v Speaker 3>heels all the time because he doesn't want people to

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<v Speaker 3>know how short he is. He starts losing his hair,

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<v Speaker 3>which we'll talk about a little bit. Uh, and so

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<v Speaker 3>he starts wearing wigs and starts like going, this is

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<v Speaker 3>the beginning of all this. At this exactly, he's like

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<v Speaker 3>twenty one and he's like losing his hair at a

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<v Speaker 3>crazy rate.

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<v Speaker 4>He's like all right, real insecure about it.

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<v Speaker 3>Really has a lot of self worth image issues, you know,

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<v Speaker 3>he really just does not like he's doing all this

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<v Speaker 3>because of that, he's trying to go bigger and bigger

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<v Speaker 3>and bigger, because he looks at himself as being just

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<v Speaker 3>like the worst, because you know, mom issues and all that.

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<v Speaker 2>Yeah.

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<v Speaker 3>But by the mid nineteen sixties, Phil Spectr had achieved

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<v Speaker 3>something few producers had ever managed. He had transformed himself

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<v Speaker 3>from songwriter into brand, from collaborator into architect. The Wall

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<v Speaker 3>of Sound was no longer experimental. It was defining popular music.

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<v Speaker 3>But as his professional authority grew, so did his emotional instability.

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<v Speaker 3>He got married to a woman named Annette Morar, right,

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<v Speaker 3>and it is such a small blip, like this is

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<v Speaker 3>I should have started with that, But it's such a

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<v Speaker 3>small blip. He marries her and immediately just starts ignoring her,

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<v Speaker 3>has no interest in he He love bombs her.

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<v Speaker 4>He does what we now call love bombs, right, He

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<v Speaker 4>love bombs the ship out of it.

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<v Speaker 3>But then once they get married, because this is like

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<v Speaker 3>a very short courtship, once they get married, he's like

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<v Speaker 3>not interested anymore.

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<v Speaker 4>So that gives me.

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<v Speaker 8>That gives me major, is all I'm saying.

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<v Speaker 3>Yeah, Well, calm down on hating on people for bad relationship.

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<v Speaker 2>And situations, as we have well we wanted to talk.

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<v Speaker 3>I'm doing the best I can look, I figured out,

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<v Speaker 3>I figured out the problem.

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<v Speaker 4>It's me. I'm in the same place I've locked I

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<v Speaker 4>figured out the problem the house all the time, we

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<v Speaker 4>figured out the problem.

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<v Speaker 9>But the real you know, we gotta saying you got

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<v Speaker 9>nine problems, but.

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<v Speaker 8>You're the bitch, and it's.

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<v Speaker 3>Problems and I am all of them, and I have

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<v Speaker 3>been nefariously behind every single one of them.

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<v Speaker 4>Just this will never come back to me.

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<v Speaker 2>All my problems are raither me or the government, which

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<v Speaker 2>is why I really focus on hating the government. True.

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<v Speaker 3>All right, so his paranoia is escalating, his reliance on

0:11:12.040 --> 0:11:14.960
<v Speaker 3>intimidation is becoming really normalized.

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<v Speaker 4>Right.

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<v Speaker 8>Wait, that's actually kind of interesting.

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<v Speaker 9>So he love bombs this person, he's obsessed with her,

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<v Speaker 9>and then they get married, but then he no longer

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<v Speaker 9>wants to like control or stalk her.

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<v Speaker 2>No, he literally he So that's a new behavior.

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<v Speaker 3>He basically it's that classic like as soon as he

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<v Speaker 3>gets it, he's not interested in it. Yeah, as soon

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<v Speaker 3>as he gets it, it pivots, like the whole thing changes, right,

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<v Speaker 3>But he.

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<v Speaker 8>Doesn't want to control her anymore.

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<v Speaker 3>Not not really, it's more of like it's more of

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<v Speaker 3>like he I mean, he is still controlling, right, but

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<v Speaker 3>he just doesn't care at all, you know, like most

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<v Speaker 3>of the time, he's more interested in his career, in

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<v Speaker 3>his work, in what's going on in the studio.

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<v Speaker 4>He builds a studio underneath his house so that he can.

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<v Speaker 3>Just like be down there whenever he's like, anytime he's

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<v Speaker 3>annoyed or like whatever, he just goes downstairs.

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<v Speaker 4>So he has the ultimate like escape plan.

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<v Speaker 2>Yeah, I'm sure if he were to catch her cheating

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<v Speaker 2>on him, he'd be pissed, but he's hardly paying enough

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<v Speaker 2>attention to know.

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<v Speaker 4>Got it, absolutely? Absolutely?

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<v Speaker 3>Yeah, Yeah, he's very much at this point, he's very

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<v Speaker 3>much interested in Phil.

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<v Speaker 4>Phil is what's driving him, right.

0:12:24.200 --> 0:12:28.880
<v Speaker 3>Yeah, So what he's looking for this whole time he

0:12:29.000 --> 0:12:31.440
<v Speaker 3>keeps talking about this is a constant reference. He's looking

0:12:31.520 --> 0:12:34.040
<v Speaker 3>for the voice. He's looking for the voice that perfectly

0:12:34.160 --> 0:12:39.840
<v Speaker 3>compliments his wall of sound, his musical compositions, like being

0:12:39.920 --> 0:12:43.480
<v Speaker 3>all these like big Fuagnerian like opuses and everything. He

0:12:43.600 --> 0:12:47.280
<v Speaker 3>wants a person to be that thing, to be that

0:12:47.559 --> 0:12:49.959
<v Speaker 3>that front and center for all of this to make

0:12:50.000 --> 0:12:52.559
<v Speaker 3>it worth what he's doing. He doesn't feel like he's

0:12:52.600 --> 0:12:54.280
<v Speaker 3>found that with any of his previous stuff.

0:12:54.360 --> 0:12:55.680
<v Speaker 4>So in walks.

0:12:56.600 --> 0:13:00.880
<v Speaker 3>Ronnie Bennett. Ronnie Bennett, let's talk about Ronnie Bennett will

0:13:00.920 --> 0:13:02.600
<v Speaker 3>eventually become his wife's spoiler alert.

0:13:03.440 --> 0:13:05.959
<v Speaker 4>I don't know how much I wrote, so now I

0:13:06.080 --> 0:13:08.559
<v Speaker 4>just gotta I wrote a lot. I wrote a lot.

0:13:08.640 --> 0:13:09.760
<v Speaker 4>There's a lot of words in here.

0:13:10.160 --> 0:13:15.360
<v Speaker 8>I'm forty one pages, you wrote, my friend, yeah, Jael.

0:13:15.760 --> 0:13:18.040
<v Speaker 3>Yes, no, no, no, that's exactly what I was gonna say.

0:13:18.240 --> 0:13:21.280
<v Speaker 3>You know, I'm on the subreddits, I'm on the YouTube's.

0:13:22.040 --> 0:13:23.640
<v Speaker 3>I read the comments. I read the comments because they

0:13:23.720 --> 0:13:26.440
<v Speaker 3>keep me humble, Because like I'll be like posting something

0:13:26.480 --> 0:13:27.959
<v Speaker 3>on the Internet and somebody be like, this guy's a

0:13:28.040 --> 0:13:29.800
<v Speaker 3>fucking loser, and I'm like, oh cool, you.

0:13:29.880 --> 0:13:31.480
<v Speaker 2>Know, I'm really.

0:13:33.840 --> 0:13:35.880
<v Speaker 3>Just you know, I gotta, I gotta keep it real

0:13:35.960 --> 0:13:38.240
<v Speaker 3>out there. But sometimes I see comments on there where

0:13:38.240 --> 0:13:40.080
<v Speaker 3>people be like, I can't believe Robert.

0:13:40.920 --> 0:13:41.280
<v Speaker 4>Fuck you.

0:13:41.559 --> 0:13:43.439
<v Speaker 3>Fuck every one of you who has ever made a

0:13:43.559 --> 0:13:45.320
<v Speaker 3>comment like that. Fuck any of you who have ever

0:13:45.400 --> 0:13:46.840
<v Speaker 3>said anything bad about Sophie too.

0:13:46.880 --> 0:13:49.079
<v Speaker 4>I slapped the shit out of you. And this is

0:13:49.280 --> 0:13:50.880
<v Speaker 4>for the subreddit right now.

0:13:51.200 --> 0:13:53.520
<v Speaker 3>I'm one of you, and I see the things you

0:13:53.679 --> 0:13:55.880
<v Speaker 3>say and I'm disgusted by them.

0:13:56.000 --> 0:13:58.760
<v Speaker 4>Sometimes because I'm like do you know this took me

0:13:59.160 --> 0:13:59.800
<v Speaker 4>a year.

0:14:00.480 --> 0:14:02.920
<v Speaker 3>This took me a whole year to do this.

0:14:03.760 --> 0:14:05.559
<v Speaker 4>I'm busy. I'm a busy person.

0:14:05.880 --> 0:14:07.480
<v Speaker 3>But even whenever I was like, like, you know, I

0:14:07.600 --> 0:14:09.599
<v Speaker 3>told you like last week, oh I'm done with this,

0:14:09.760 --> 0:14:12.199
<v Speaker 3>and I was like mostly done, but I wrote another

0:14:12.280 --> 0:14:14.240
<v Speaker 3>like three thousand words because I was like, well, there's

0:14:14.280 --> 0:14:15.280
<v Speaker 3>some parts I'm missing and.

0:14:15.280 --> 0:14:18.120
<v Speaker 2>All this because ship.

0:14:19.320 --> 0:14:21.880
<v Speaker 4>This is hard. And I hear all your little Internet

0:14:22.000 --> 0:14:25.120
<v Speaker 4>comments like oh you said some weird ship or what. Yeah,

0:14:25.120 --> 0:14:26.240
<v Speaker 4>I'm doing my best, dude.

0:14:26.280 --> 0:14:29.480
<v Speaker 3>It's like I'm improvising at the same time, I'm obviously

0:14:29.640 --> 0:14:31.760
<v Speaker 3>drinking a little bit and like, you know, you guys.

0:14:31.600 --> 0:14:34.280
<v Speaker 2>Got to cut me a break, got to do that.

0:14:34.520 --> 0:14:34.720
<v Speaker 7>Yeah.

0:14:36.400 --> 0:14:39.120
<v Speaker 4>I don't know anybody else operates, but this is how

0:14:39.200 --> 0:14:39.960
<v Speaker 4>I do things.

0:14:40.600 --> 0:14:44.600
<v Speaker 3>Speaking which purchase, greasy does it, recording course taught by me.

0:14:45.240 --> 0:14:52.440
<v Speaker 4>I'm very responsible marketing, incredible word thank you. Yeah so

0:14:53.160 --> 0:14:53.520
<v Speaker 4>so yeah.

0:14:53.600 --> 0:14:57.120
<v Speaker 3>So. Ronnie is born into a family shape. She's born

0:14:57.160 --> 0:15:00.680
<v Speaker 3>in Spanish Harlem, New York City, August tenthnineteen forty three,

0:15:00.720 --> 0:15:04.040
<v Speaker 3>four years after Phil was born, just down the street. Basically,

0:15:05.080 --> 0:15:07.560
<v Speaker 3>they probably lived almost in the same area at this time.

0:15:08.000 --> 0:15:09.440
<v Speaker 4>Essentially all right.

0:15:09.520 --> 0:15:13.680
<v Speaker 3>So her father, Lewis Bennett, was an Irish American and

0:15:13.920 --> 0:15:17.560
<v Speaker 3>her mother was African American Cherokee. Her father was also

0:15:17.720 --> 0:15:20.080
<v Speaker 3>a drummer and a drunk, something that can still be

0:15:20.160 --> 0:15:23.600
<v Speaker 3>found together in massive quantities around the world. You can

0:15:23.680 --> 0:15:27.400
<v Speaker 3>have a drummer and drinking anywhere you go. It's true,

0:15:27.560 --> 0:15:29.880
<v Speaker 3>you can find it. It's this prevalentist Coca cola man.

0:15:29.960 --> 0:15:38.480
<v Speaker 3>It's there. So he's also a failure, right. He can't

0:15:38.880 --> 0:15:41.560
<v Speaker 3>he can't keep a job, he can't do anything. He's

0:15:41.640 --> 0:15:43.720
<v Speaker 3>just a mess most of the time. So she grows

0:15:43.840 --> 0:15:48.520
<v Speaker 3>up not really down with alcohol. Right, this is important

0:15:48.520 --> 0:15:48.960
<v Speaker 3>for later, but.

0:15:49.040 --> 0:15:51.760
<v Speaker 2>She starts her life understandable.

0:15:51.240 --> 0:15:53.800
<v Speaker 3>Being traumatized by a little bit by alcohol. She always

0:15:53.840 --> 0:15:56.120
<v Speaker 3>loves her dad, but she definitely feels like, you know,

0:15:56.320 --> 0:15:57.440
<v Speaker 3>this is an alcohol thing.

0:15:57.880 --> 0:15:58.080
<v Speaker 2>Yeah.

0:15:59.200 --> 0:16:02.840
<v Speaker 3>She loves singing. She's really big on like Frankie Lyman.

0:16:02.920 --> 0:16:05.760
<v Speaker 3>She loves Frankie Lyman. She thinks he's the best ever.

0:16:05.880 --> 0:16:09.720
<v Speaker 3>Dinah Washington just voices that were raw and like real,

0:16:10.160 --> 0:16:15.440
<v Speaker 3>real authentic feeling, right, And she also gravitated towards performance.

0:16:16.240 --> 0:16:19.240
<v Speaker 3>She was always like, you know, like the classic front

0:16:19.280 --> 0:16:21.280
<v Speaker 3>woman thing. You know, it's like when she was a

0:16:21.280 --> 0:16:23.400
<v Speaker 3>little kid, she was always singing into microphones. You know,

0:16:23.560 --> 0:16:27.200
<v Speaker 3>it's like that story, right. Her father being a drummer

0:16:27.200 --> 0:16:29.800
<v Speaker 3>and a failed drummer did not discourage her mother because

0:16:29.800 --> 0:16:32.120
<v Speaker 3>her father left pretty early, but it didn't discourage her

0:16:32.160 --> 0:16:36.560
<v Speaker 3>mother from encouraging Ronnie's musical talent. She didn't just like

0:16:36.640 --> 0:16:39.440
<v Speaker 3>all of a sudden, I mean, if it was me, like, dude,

0:16:39.440 --> 0:16:41.520
<v Speaker 3>I had ex girlfriends that were like, my ex boyfriend

0:16:41.560 --> 0:16:43.040
<v Speaker 3>was a drummer and he failed at music, so you

0:16:43.120 --> 0:16:45.160
<v Speaker 3>can't possibly make money off of music.

0:16:45.200 --> 0:16:47.680
<v Speaker 4>And I'm like, you know, maybe you're wrong.

0:16:47.760 --> 0:16:50.320
<v Speaker 3>I don't know, to be fair, I didn't make a

0:16:50.360 --> 0:16:53.280
<v Speaker 3>lot of money off of it, so whatever. So yeah,

0:16:53.320 --> 0:16:57.120
<v Speaker 3>so her mom, her mom supports her. Her dad's always

0:16:57.480 --> 0:17:00.320
<v Speaker 3>waxing poetic about his days as a musician, and so

0:17:00.720 --> 0:17:03.200
<v Speaker 3>she grows up as that being like a really important thing.

0:17:03.760 --> 0:17:03.920
<v Speaker 2>Right.

0:17:04.600 --> 0:17:07.320
<v Speaker 3>She was always singing at school events, neighborhood functions.

0:17:08.160 --> 0:17:10.000
<v Speaker 4>She she got a style. Right.

0:17:10.119 --> 0:17:12.119
<v Speaker 3>There's something that happens when you do a lot of

0:17:12.280 --> 0:17:14.879
<v Speaker 3>music is eventually, at first you're just learning, you're just

0:17:14.960 --> 0:17:18.280
<v Speaker 3>trying to replicate other people's things. But eventually, once you

0:17:18.359 --> 0:17:21.439
<v Speaker 3>do it enough, you develop style. Right, and for her,

0:17:21.560 --> 0:17:24.160
<v Speaker 3>she developed a very unique style. It was very raw,

0:17:24.560 --> 0:17:27.359
<v Speaker 3>It wasn't musically perfect, but it had just.

0:17:28.040 --> 0:17:31.280
<v Speaker 4>A tone that was just beautiful. Everybody recognized it, right.

0:17:31.920 --> 0:17:35.240
<v Speaker 3>So her oldest sister Estelle and her cousin Nedra formed

0:17:35.640 --> 0:17:38.480
<v Speaker 3>a vocal group called the Darling Sisters. The trio practice

0:17:38.520 --> 0:17:42.000
<v Speaker 3>constantly singing in school hallways, street corners, in their apartments.

0:17:42.200 --> 0:17:44.480
<v Speaker 3>That's like a thing that still happens in this time period,

0:17:44.560 --> 0:17:48.679
<v Speaker 3>people like out doting on the corner, just singing in public. Bro,

0:17:48.800 --> 0:17:50.560
<v Speaker 3>if you saw that shit now, you'd be like, oh

0:17:50.640 --> 0:17:52.320
<v Speaker 3>my god, fucking influencers of this shit?

0:17:52.359 --> 0:17:53.520
<v Speaker 4>Shit is it about to say?

0:17:53.680 --> 0:17:57.119
<v Speaker 2>Unfortunately, I would assume it's some like incredibly irritating like

0:17:57.240 --> 0:18:00.600
<v Speaker 2>TikTok thing or whatever, some fucking viral bullshit or something.

0:18:00.840 --> 0:18:02.679
<v Speaker 4>Yeah, I don't want to be a part of your

0:18:02.680 --> 0:18:03.760
<v Speaker 4>fucking videos, weirdo.

0:18:04.080 --> 0:18:06.119
<v Speaker 2>You know it'd be a huge as.

0:18:07.520 --> 0:18:10.000
<v Speaker 4>I would absolutely. I mean, like, you guys suck anyways,

0:18:10.000 --> 0:18:10.480
<v Speaker 4>I don't even.

0:18:10.400 --> 0:18:15.760
<v Speaker 2>Want to you from making music, and I'll tell you so.

0:18:16.440 --> 0:18:19.359
<v Speaker 4>The group was eventually renamed the Rawnettes and namely captured

0:18:19.400 --> 0:18:23.080
<v Speaker 4>their identity and Ronnie's emerging role as a front woman

0:18:23.160 --> 0:18:24.760
<v Speaker 4>you know Ronnie and the Rawnettes.

0:18:24.800 --> 0:18:28.400
<v Speaker 2>It's very sure normals toteduely.

0:18:27.640 --> 0:18:32.600
<v Speaker 3>Yeah, you know, but you know, Ronnie's lead vocals really

0:18:32.680 --> 0:18:38.560
<v Speaker 3>do become the defining characteristic of this whole thing. Their

0:18:38.600 --> 0:18:42.679
<v Speaker 3>early performances were energetic, glamorous, and slightly rebellious. Ronnie developed

0:18:42.720 --> 0:18:46.480
<v Speaker 3>distinctive stage presence that blended confidence with vulnerability. She wore

0:18:46.600 --> 0:18:49.840
<v Speaker 3>dramatic eye makeup, teased her hair into towering beehives, and

0:18:50.040 --> 0:18:52.760
<v Speaker 3>moved with a swagger that contrasted with her petite frame.

0:18:53.080 --> 0:18:56.640
<v Speaker 3>She was creating an image that felt simultaneously innocent and dangerous,

0:18:56.680 --> 0:18:58.560
<v Speaker 3>and aesthetic that would later become iconic.

0:18:58.600 --> 0:19:00.119
<v Speaker 4>In nineteen Sixtyes, Pop Colder.

0:19:00.320 --> 0:19:03.080
<v Speaker 3>Sophie, if you would please show Phil and the lovely

0:19:03.240 --> 0:19:09.240
<v Speaker 3>Ladies of the Ronets. Yeahful they didn't invent that beehive hairdoo. Yeah,

0:19:09.520 --> 0:19:13.200
<v Speaker 3>but they're the reason it became popular, right. It was

0:19:13.320 --> 0:19:16.760
<v Speaker 3>like their adoption of it was the thing that made

0:19:16.800 --> 0:19:20.359
<v Speaker 3>that you I mean, that was my grandmother had one

0:19:20.400 --> 0:19:22.159
<v Speaker 3>of those when I was a kid. Still and it

0:19:22.240 --> 0:19:25.359
<v Speaker 3>was like the eighties, like it stayed on for twenty

0:19:25.440 --> 0:19:28.480
<v Speaker 3>some years. How popular that was. So it's like their

0:19:28.560 --> 0:19:32.880
<v Speaker 3>cultural irrelevance just cannot be understated in any way. They

0:19:32.920 --> 0:19:38.040
<v Speaker 3>were incredibly important to the look of the early sixties,

0:19:38.960 --> 0:19:42.400
<v Speaker 3>so breaking into the professional music industry proved difficult for them.

0:19:42.680 --> 0:19:45.480
<v Speaker 3>The Run has performed at clubs and talent contests dance

0:19:45.600 --> 0:19:48.800
<v Speaker 3>venues all throughout New York City, struggling to secure recording

0:19:48.840 --> 0:19:52.760
<v Speaker 3>contracts or industry attention. The persistence reflected both ambition and

0:19:52.880 --> 0:19:55.760
<v Speaker 3>necessary necessity because music was.

0:19:55.760 --> 0:19:58.840
<v Speaker 4>Important to Ronnie. Like she it was get rich, d

0:19:58.920 --> 0:20:01.160
<v Speaker 4>die tryan on this. You know she was fifty cent

0:20:01.720 --> 0:20:02.679
<v Speaker 4>hard right now.

0:20:03.720 --> 0:20:06.680
<v Speaker 3>Eventually the group secured opportunities to perform at venues that

0:20:06.760 --> 0:20:09.160
<v Speaker 3>expose them to evolving pop and rhythm and blues.

0:20:08.960 --> 0:20:10.480
<v Speaker 4>Scene of the nineteen sixties New York.

0:20:10.800 --> 0:20:14.000
<v Speaker 3>They performed at the Peppermint Lounge and other popular clubs,

0:20:14.359 --> 0:20:16.480
<v Speaker 3>and again Ronnie driving the way.

0:20:17.200 --> 0:20:18.840
<v Speaker 4>Yeah, they were starting to get.

0:20:18.920 --> 0:20:22.119
<v Speaker 2>Sorry, go ahead, just because this is an inspector and

0:20:22.240 --> 0:20:25.320
<v Speaker 2>I know what's coming is like based on just how

0:20:25.359 --> 0:20:28.840
<v Speaker 2>he treats artists, like the replaceability of them treating him

0:20:28.880 --> 0:20:31.200
<v Speaker 2>just like another tool. And hearing a story like this

0:20:31.320 --> 0:20:34.120
<v Speaker 2>that really drives home. Just like, no to get anywhere

0:20:34.320 --> 0:20:36.560
<v Speaker 2>close to people hearing you on the radio, you have

0:20:36.680 --> 0:20:39.920
<v Speaker 2>to have been relentless about making it your life, like

0:20:40.119 --> 0:20:43.840
<v Speaker 2>as evidentally unhinged in your dedication to this career.

0:20:44.000 --> 0:20:46.400
<v Speaker 3>Especially at this time, right, Like, and it's a really

0:20:46.480 --> 0:20:49.920
<v Speaker 3>good point, Like it cannot the dedication cannot be understated.

0:20:49.960 --> 0:20:51.960
<v Speaker 3>It's like at this point, in order to get a

0:20:52.040 --> 0:20:55.480
<v Speaker 3>record made, right, that cost a lot of money, you know,

0:20:55.760 --> 0:20:57.800
<v Speaker 3>like yeah, for the time, you know, it'd be like.

0:20:57.800 --> 0:21:00.159
<v Speaker 4>One hundred or two hundred dollars or something like that.

0:21:00.280 --> 0:21:02.800
<v Speaker 3>To record a song at the studio, Like two hundred

0:21:02.800 --> 0:21:05.640
<v Speaker 3>dollars is like a whole month's paycheck.

0:21:05.280 --> 0:21:08.480
<v Speaker 2>For people, Like it's a crazy amount of money.

0:21:08.960 --> 0:21:11.320
<v Speaker 3>Yes, it's a lot of money for a lot of people.

0:21:11.440 --> 0:21:14.240
<v Speaker 3>So and it's still kind of that way today. In fact,

0:21:14.280 --> 0:21:16.280
<v Speaker 3>if you're interested in working with Greasy Will, you can

0:21:16.320 --> 0:21:17.439
<v Speaker 3>find them at the Grease factory.

0:21:17.680 --> 0:21:19.800
<v Speaker 4>Greasy Will do right.

0:21:21.760 --> 0:21:22.119
<v Speaker 2>Anyway.

0:21:22.320 --> 0:21:24.160
<v Speaker 4>So you know, it's very expensive.

0:21:24.240 --> 0:21:26.800
<v Speaker 3>So even to just get something recorded as expensive, then

0:21:27.200 --> 0:21:29.200
<v Speaker 3>you have to get it to a DJ. You have

0:21:29.280 --> 0:21:31.320
<v Speaker 3>to get it on the radio, because the only way

0:21:31.359 --> 0:21:34.160
<v Speaker 3>you will ever sell anything is if it's on the radio.

0:21:34.240 --> 0:21:35.600
<v Speaker 3>So you got to get it on the radio, and

0:21:35.680 --> 0:21:38.159
<v Speaker 3>then it has to build local support, and then it

0:21:38.240 --> 0:21:40.640
<v Speaker 3>has to build regional support and then it has to build.

0:21:40.640 --> 0:21:40.760
<v Speaker 7>You know.

0:21:40.840 --> 0:21:43.639
<v Speaker 4>It's like sometimes this is like a years long process

0:21:43.800 --> 0:21:45.680
<v Speaker 4>to get music to be heard.

0:21:45.880 --> 0:21:48.880
<v Speaker 8>So she's hustling, she's like relentless in trying to get

0:21:48.920 --> 0:21:49.760
<v Speaker 8>her stuff out there.

0:21:50.520 --> 0:21:52.479
<v Speaker 4>Absolutely, absolutely, uh.

0:21:53.440 --> 0:21:56.640
<v Speaker 3>She strongly believed that the right producer would eventually understand

0:21:56.680 --> 0:21:59.760
<v Speaker 3>how to capture her voice authentically, and she continued to

0:21:59.760 --> 0:22:03.760
<v Speaker 3>performing relentlessly, touring, rehearsing and refining her stage present. She

0:22:03.840 --> 0:22:06.240
<v Speaker 3>saw her career not as a sudden break waiting to happen,

0:22:06.320 --> 0:22:10.760
<v Speaker 3>but something that she would build through persistence and emotional honesty.

0:22:10.960 --> 0:22:13.439
<v Speaker 4>So, yes, that's exactly it. She worked.

0:22:13.640 --> 0:22:15.040
<v Speaker 3>She put in the work from the time she was

0:22:15.119 --> 0:22:17.720
<v Speaker 3>like fourteen years old, just grind it all the time.

0:22:19.400 --> 0:22:21.000
<v Speaker 2>Yeah, I'd say it's the only way to do it,

0:22:21.040 --> 0:22:22.440
<v Speaker 2>but it's the only It's not it's but it's the

0:22:22.520 --> 0:22:25.280
<v Speaker 2>only way to do it. If like you're not somebody

0:22:25.320 --> 0:22:27.240
<v Speaker 2>who's coming from somewhere, you know.

0:22:28.040 --> 0:22:30.919
<v Speaker 3>Absolutely absolutely, yeah, yeah, yeah. You know, there's a lot

0:22:30.920 --> 0:22:33.040
<v Speaker 3>of Nepa babies in the music industry right now, so

0:22:33.119 --> 0:22:38.160
<v Speaker 3>we don't have to pretend. So they're rising through New York.

0:22:38.240 --> 0:22:42.040
<v Speaker 3>It's nineteen sixty three and she's looking for this producer,

0:22:42.119 --> 0:22:45.080
<v Speaker 3>and coincidentally, a producer is looking for his voice, his muse,

0:22:45.160 --> 0:22:47.600
<v Speaker 3>his wall of sound, his girl who will be that

0:22:47.880 --> 0:22:52.919
<v Speaker 3>for him? And they meet they though literally it's very funny.

0:22:53.640 --> 0:22:57.080
<v Speaker 3>They literally just they just call, you know. It's like

0:22:57.280 --> 0:23:00.280
<v Speaker 3>it's like nineteen sixty three, just like you just look

0:23:00.359 --> 0:23:01.840
<v Speaker 3>up in the telephone.

0:23:02.840 --> 0:23:04.840
<v Speaker 8>Hey, you want to produce my album?

0:23:05.800 --> 0:23:06.000
<v Speaker 2>Yeah.

0:23:06.160 --> 0:23:08.600
<v Speaker 3>It's like when I think about the old days of

0:23:08.680 --> 0:23:11.200
<v Speaker 3>how things were done, it's like, what you just called somebody.

0:23:11.400 --> 0:23:13.640
<v Speaker 4>I won't even answer a phone call from a number

0:23:13.680 --> 0:23:15.080
<v Speaker 4>I don't know right now.

0:23:15.680 --> 0:23:18.439
<v Speaker 2>Yeah, you just pick up the phone and yeah, get

0:23:18.480 --> 0:23:20.879
<v Speaker 2>a fucking music deal based on that. Yeah, you know,

0:23:21.240 --> 0:23:23.880
<v Speaker 2>so they're assuming your call timed in well with when

0:23:23.880 --> 0:23:26.600
<v Speaker 2>he'd just done a line. Yeah, you might be able

0:23:26.680 --> 0:23:28.080
<v Speaker 2>to fucking make some shit happen.

0:23:29.000 --> 0:23:30.200
<v Speaker 4>Absolutely so.

0:23:30.320 --> 0:23:30.520
<v Speaker 3>Yeah.

0:23:30.640 --> 0:23:33.359
<v Speaker 4>So I was like, all right, So they just called him.

0:23:33.359 --> 0:23:35.120
<v Speaker 3>They call him, they call him, and he's like, oh, yeah,

0:23:35.160 --> 0:23:37.320
<v Speaker 3>I've heard of you guys, because they're making a noise

0:23:37.359 --> 0:23:39.959
<v Speaker 3>in New York right uh and Phil at this time too,

0:23:41.400 --> 0:23:44.040
<v Speaker 3>there's a lot of geographical confusion with a lot of

0:23:44.080 --> 0:23:46.399
<v Speaker 3>the stuff that he is bouncing back and forth between

0:23:46.480 --> 0:23:48.760
<v Speaker 3>California and New York all the time like that.

0:23:48.920 --> 0:23:50.879
<v Speaker 4>It's like he loves working in gold Stars.

0:23:50.920 --> 0:23:53.240
<v Speaker 3>So he goes out to California to work at gold

0:23:53.320 --> 0:23:58.200
<v Speaker 3>Star at the studio, but he he doesn't like the

0:23:58.320 --> 0:24:00.960
<v Speaker 3>New York scene is still the scene, right, so he's

0:24:01.000 --> 0:24:02.240
<v Speaker 3>got to like go to New York and then he

0:24:02.280 --> 0:24:03.760
<v Speaker 3>flies back and then he'll work there for a while.

0:24:04.119 --> 0:24:06.159
<v Speaker 3>So a lot of times that it might seem like

0:24:06.200 --> 0:24:09.400
<v Speaker 3>he is just like transporting across the country and the story,

0:24:09.480 --> 0:24:10.159
<v Speaker 3>but he really is.

0:24:11.200 --> 0:24:14.520
<v Speaker 4>So he heard phil in Ronnie.

0:24:14.560 --> 0:24:17.560
<v Speaker 3>He heard the voice that he had he'd been waiting for,

0:24:17.760 --> 0:24:21.760
<v Speaker 3>the emotional landscape that he had spent years construction would

0:24:21.800 --> 0:24:22.840
<v Speaker 3>fit perfectly with her.

0:24:23.000 --> 0:24:23.119
<v Speaker 4>Right.

0:24:24.520 --> 0:24:29.440
<v Speaker 3>The professional relationship, though, immediately blurs into personal fixation. Yeah,

0:24:29.560 --> 0:24:33.480
<v Speaker 3>he starts, he starts spending you know, extraordinary amounts of

0:24:33.560 --> 0:24:37.240
<v Speaker 3>time rehearsing Ronnie, rehearsing Ronnie. He's always rehearsing Ronnie. Like

0:24:37.680 --> 0:24:39.879
<v Speaker 3>it's like, Ronnie, stay after, we got to do this,

0:24:39.960 --> 0:24:42.320
<v Speaker 3>you know, Ronnie, Ronnie. It's like always Ronnie. And of

0:24:42.359 --> 0:24:44.399
<v Speaker 3>course she is the front woman. I'm not saying, you know,

0:24:44.520 --> 0:24:49.000
<v Speaker 3>that's not important or whatever, but it's like very obvious, right,

0:24:49.080 --> 0:24:53.879
<v Speaker 3>that he is, that he is trying to isolate her

0:24:53.960 --> 0:24:58.120
<v Speaker 3>as a great isolation is began disguised as mentorship.

0:24:58.240 --> 0:24:58.960
<v Speaker 4>Exactly right.

0:25:01.560 --> 0:25:06.160
<v Speaker 2>Yes, you know what else hasn't happened before advertisements. We're

0:25:06.240 --> 0:25:09.119
<v Speaker 2>the first podcast to do that. So yeah, you're welcome.

0:25:09.400 --> 0:25:19.120
<v Speaker 3>Yes, let's do it, and we're back. We're back into

0:25:19.240 --> 0:25:22.119
<v Speaker 3>Phil Spector. Actually, I don't know if I like that,

0:25:23.080 --> 0:25:28.880
<v Speaker 3>soby's faith Yeah, yeah, all right, So yeah, it's easy

0:25:28.960 --> 0:25:32.000
<v Speaker 3>to portray Ronnie as a victim, and only as a victim, right,

0:25:32.080 --> 0:25:34.640
<v Speaker 3>but it kind of it denies the fact that Phil

0:25:34.680 --> 0:25:37.000
<v Speaker 3>Spector is Phil Spector at this time. He is a

0:25:37.240 --> 0:25:42.000
<v Speaker 3>legendary person in the music industry, and she fell into

0:25:42.119 --> 0:25:44.200
<v Speaker 3>love with him as well. It was not one sided.

0:25:44.280 --> 0:25:46.320
<v Speaker 3>It was not just Phil love bombing her, but it

0:25:46.600 --> 0:25:49.439
<v Speaker 3>was in fact, quote, I already knew I liked him

0:25:49.480 --> 0:25:51.760
<v Speaker 3>that first day, and I knew he liked me too.

0:25:52.400 --> 0:25:55.200
<v Speaker 3>It really was love at first sight on both our parts.

0:25:55.280 --> 0:25:57.520
<v Speaker 3>Even though I hardly said three words the whole night,

0:25:58.080 --> 0:26:00.480
<v Speaker 3>I didn't have to say anything else. We commune in

0:26:00.560 --> 0:26:03.280
<v Speaker 3>other ways. Every time Phil put that song back on,

0:26:03.520 --> 0:26:06.000
<v Speaker 3>I was wondering. I wondered if he wasn't trying to

0:26:06.040 --> 0:26:08.399
<v Speaker 3>tell me something because it Shirre didn't speak to me.

0:26:08.720 --> 0:26:10.879
<v Speaker 3>I couldn't stop thinking that today I really met the

0:26:10.920 --> 0:26:12.320
<v Speaker 3>boy I was going to marry.

0:26:12.520 --> 0:26:14.440
<v Speaker 8>And that's from Ronnie's book Be My Baby.

0:26:15.680 --> 0:26:17.399
<v Speaker 4>Yes, from Ronnie's book Be My Baby.

0:26:18.280 --> 0:26:20.960
<v Speaker 2>I'm so bummed about.

0:26:22.880 --> 0:26:25.960
<v Speaker 4>He showers her with gifts, attention, grand declarations of devotion

0:26:26.160 --> 0:26:27.879
<v Speaker 4>like he is just he's on it right.

0:26:28.200 --> 0:26:28.440
<v Speaker 2>Yeah.

0:26:29.600 --> 0:26:32.000
<v Speaker 3>However, remember I said that Phil has his studio in

0:26:32.080 --> 0:26:35.000
<v Speaker 3>his house, right, yes, and he is still married.

0:26:35.720 --> 0:26:40.000
<v Speaker 4>Oh, his wife lives upstairs. So again, this is also

0:26:40.040 --> 0:26:40.880
<v Speaker 4>from Ronnie's book.

0:26:41.600 --> 0:26:44.560
<v Speaker 3>She goes to visit him, and she says, quote, I'd

0:26:44.640 --> 0:26:47.440
<v Speaker 3>never been in a panhouse before Phil or anyone else,

0:26:47.640 --> 0:26:50.200
<v Speaker 3>so naturally, when I walked in, I couldn't resist peeking

0:26:50.280 --> 0:26:51.879
<v Speaker 3>into all the closets and poking.

0:26:51.680 --> 0:26:53.200
<v Speaker 4>Around behind all the closed doors.

0:26:53.600 --> 0:26:55.440
<v Speaker 3>I opened one door and was surprised to find a

0:26:55.480 --> 0:26:57.679
<v Speaker 3>bedroom where six or seven pairs of women's shoes were

0:26:57.680 --> 0:27:01.240
<v Speaker 3>scattered all over the floor. Asked Phil who they belonged to,

0:27:01.600 --> 0:27:04.840
<v Speaker 3>and he nearly turned pink. Will you stop snooping around

0:27:04.840 --> 0:27:07.080
<v Speaker 3>where you don't belong, he snapped. I think it was

0:27:07.160 --> 0:27:10.440
<v Speaker 3>the first time I ever saw Phil lose his temper. Okay, honey,

0:27:10.520 --> 0:27:13.000
<v Speaker 3>I said, I'm sorry. He must have noticed the hurt

0:27:13.080 --> 0:27:15.560
<v Speaker 3>look in my eyes because he softened his tone immediately.

0:27:15.920 --> 0:27:19.200
<v Speaker 3>Those are my sister Shirley's shoes, he explained. She stays

0:27:19.240 --> 0:27:20.399
<v Speaker 3>here sometimes when she's.

0:27:20.280 --> 0:27:20.800
<v Speaker 4>In New York.

0:27:20.920 --> 0:27:22.920
<v Speaker 8>Liar, Liar, pants on fire.

0:27:23.680 --> 0:27:24.720
<v Speaker 2>Your sister Shirley.

0:27:25.040 --> 0:27:27.879
<v Speaker 3>Yeah, bro, getting mad was the distraction to come up

0:27:27.920 --> 0:27:30.119
<v Speaker 3>with the excuse, right, He was like, what are you

0:27:30.200 --> 0:27:30.960
<v Speaker 3>looking around for?

0:27:31.840 --> 0:27:33.800
<v Speaker 4>Oh, yes, sister shoes. But those are my sister shoes.

0:27:33.800 --> 0:27:35.200
<v Speaker 4>If I'd have thought of that before, I wouldn't have

0:27:35.200 --> 0:27:37.600
<v Speaker 4>gotten mad first. If I'd have thought his sister's shoes immediately,

0:27:37.600 --> 0:27:38.400
<v Speaker 4>I would have gotten mad.

0:27:38.920 --> 0:27:46.280
<v Speaker 3>Come on, so, uh, you know he abrupt, defensive, you know, aggressive,

0:27:46.720 --> 0:27:48.560
<v Speaker 3>This is this is a pattern that would kind of

0:27:48.600 --> 0:27:52.000
<v Speaker 3>define the relationship. You know, Curiosity would be met with

0:27:52.080 --> 0:27:55.440
<v Speaker 3>intimidation or reality would be replaced with Phil's version of truth.

0:27:56.000 --> 0:27:57.400
<v Speaker 2>Right, he's gaslight.

0:27:57.600 --> 0:27:58.240
<v Speaker 4>She accepts that.

0:27:59.320 --> 0:28:02.920
<v Speaker 3>Yeah, yeah, she accepts that as the truth, right, and

0:28:03.520 --> 0:28:08.040
<v Speaker 3>just doesn't even question it. She does say that she

0:28:08.200 --> 0:28:13.440
<v Speaker 3>recognized that Phil Phil was had some issues, right. She

0:28:13.560 --> 0:28:16.520
<v Speaker 3>was like, he's got some confidence issues. And this is

0:28:16.560 --> 0:28:20.600
<v Speaker 3>another quote that I could get it Okay, so important,

0:28:20.800 --> 0:28:21.840
<v Speaker 3>so so important.

0:28:21.960 --> 0:28:23.720
<v Speaker 4>Listen to this all right. So this is from her

0:28:23.760 --> 0:28:25.399
<v Speaker 4>book Be My Baby. Quote.

0:28:25.680 --> 0:28:28.160
<v Speaker 3>Phil first started losing his hair around the time we met.

0:28:28.520 --> 0:28:30.200
<v Speaker 3>In fact, there's a picture that was taken when he

0:28:30.280 --> 0:28:32.960
<v Speaker 3>signed us in March nineteen sixty three, which also was

0:28:33.000 --> 0:28:34.840
<v Speaker 3>the first day I ever saw him wearing a two pay.

0:28:35.320 --> 0:28:37.280
<v Speaker 3>It was so obvious if you knew him, but he

0:28:37.359 --> 0:28:39.240
<v Speaker 3>still went to great lengths to hide the fact that

0:28:39.360 --> 0:28:42.800
<v Speaker 3>he wore wigs. Even when we slept together. After we'd

0:28:42.840 --> 0:28:44.760
<v Speaker 3>do our foreplay, he'd get up from bed and make

0:28:44.800 --> 0:28:46.080
<v Speaker 3>sure the lights were all out.

0:28:46.560 --> 0:28:48.240
<v Speaker 4>That way I couldn't watch him when he took his

0:28:48.400 --> 0:28:48.800
<v Speaker 4>hair off.

0:28:49.200 --> 0:28:51.360
<v Speaker 3>Then he'd stumble into the bathroom in the dark so

0:28:51.440 --> 0:28:54.000
<v Speaker 3>he could rub this acid tone solvent all over his head.

0:28:54.360 --> 0:28:56.160
<v Speaker 3>It was the smelliest stuff in the world, but I

0:28:56.240 --> 0:28:58.400
<v Speaker 3>guess it was the only thing he could get the tongue.

0:28:58.720 --> 0:29:00.240
<v Speaker 4>The two pay glue off his out.

0:29:00.800 --> 0:29:04.360
<v Speaker 3>So's he's like twenty one, and he's like lost all

0:29:04.400 --> 0:29:07.520
<v Speaker 3>his hair already, and he is incredibly the.

0:29:09.120 --> 0:29:11.360
<v Speaker 2>Worst way to ooh.

0:29:11.920 --> 0:29:15.840
<v Speaker 4>Sorry, and everybody knows. Everybody around him knows, but like

0:29:15.960 --> 0:29:17.719
<v Speaker 4>he's so powerful, you don't say anything.

0:29:17.920 --> 0:29:22.720
<v Speaker 3>Sure sure, And so it's just like everybody's just just

0:29:22.880 --> 0:29:25.240
<v Speaker 3>kind of accepting that this is a thing that has happened,

0:29:25.240 --> 0:29:27.320
<v Speaker 3>and nobody says anything, and they just let him go on.

0:29:27.400 --> 0:29:30.320
<v Speaker 4>With his little delusion about not being bald. You know,

0:29:30.520 --> 0:29:31.360
<v Speaker 4>I'm not really bald.

0:29:31.760 --> 0:29:35.840
<v Speaker 2>Yeah, yeah, of course, Phil, Absolutely. I always wonder with

0:29:35.920 --> 0:29:39.040
<v Speaker 2>guys like that, do you know that everyone knows? Is

0:29:39.080 --> 0:29:41.920
<v Speaker 2>this like a power thing? Are you truly deluded?

0:29:42.080 --> 0:29:44.200
<v Speaker 3>I'm so excited that you brought this up, and I

0:29:44.280 --> 0:29:46.960
<v Speaker 3>can't wait for it down the road when we discuss

0:29:47.080 --> 0:29:49.400
<v Speaker 3>Phil in his hair, because we have to at some

0:29:49.520 --> 0:29:52.440
<v Speaker 3>point in time really get into Phil psyche about his hair.

0:29:52.640 --> 0:29:54.560
<v Speaker 2>And spoiler, is a big deal for him.

0:29:54.960 --> 0:29:56.560
<v Speaker 4>It's a big deal. It's a big deal.

0:29:57.160 --> 0:30:01.160
<v Speaker 3>He just flat out does does never, never acknowledges that

0:30:01.280 --> 0:30:06.240
<v Speaker 3>he wears wings. It's amazing, all right. So, uh and

0:30:06.560 --> 0:30:09.360
<v Speaker 3>that's gonna get even funnier in a couple of paragraphs here.

0:30:10.040 --> 0:30:10.400
<v Speaker 4>All right.

0:30:10.480 --> 0:30:13.720
<v Speaker 3>So Phil brings Ronnie to California under the promise of

0:30:13.800 --> 0:30:16.160
<v Speaker 3>expanding her career opportunities away from her family.

0:30:16.440 --> 0:30:19.800
<v Speaker 4>She's now cross the country New York to California.

0:30:19.920 --> 0:30:20.440
<v Speaker 7>Way, you know.

0:30:22.480 --> 0:30:24.920
<v Speaker 3>During this whole time, Ronnie claims to have not known

0:30:24.960 --> 0:30:27.160
<v Speaker 3>that Phil was married. She didn't find out until they

0:30:27.160 --> 0:30:29.240
<v Speaker 3>had been sleeping together for several months, when a fellow

0:30:29.320 --> 0:30:31.600
<v Speaker 3>musician finally broke the news to her. She had been

0:30:31.640 --> 0:30:33.800
<v Speaker 3>in love with Phil and ignored all the warnings, but

0:30:33.960 --> 0:30:36.120
<v Speaker 3>now it was clear, it didn't change your love. She

0:30:36.280 --> 0:30:39.760
<v Speaker 3>still loved him, and he still loved her, and he

0:30:39.880 --> 0:30:42.440
<v Speaker 3>loved bombs her with the house and they move in together.

0:30:44.480 --> 0:30:44.680
<v Speaker 4>Yeah.

0:30:44.720 --> 0:30:46.800
<v Speaker 3>So she's literally just in like the bathroom one day

0:30:46.840 --> 0:30:49.640
<v Speaker 3>and somebody's like, oh, yeah, because you know, because his wife.

0:30:50.400 --> 0:30:52.440
<v Speaker 4>And she's like wait what, She's like, yeah, he's married.

0:30:52.480 --> 0:30:53.360
<v Speaker 4>You didn't know he's married.

0:30:53.880 --> 0:30:54.360
<v Speaker 2>He's married.

0:30:54.360 --> 0:30:56.640
<v Speaker 4>What are you talking about? So she's just like she's hurt.

0:30:56.880 --> 0:30:58.760
<v Speaker 3>But she's like, uh, you know, I mean he comes

0:30:58.800 --> 0:31:00.680
<v Speaker 3>and tells her, of course, you know, nat, Oh it's

0:31:00.720 --> 0:31:02.160
<v Speaker 3>not we're done, we're getting divorced.

0:31:02.200 --> 0:31:03.719
<v Speaker 4>We don't love each other. It's a whole thing, right.

0:31:04.600 --> 0:31:07.840
<v Speaker 3>So Phil lied to Ronnie's mother about the nature of

0:31:07.880 --> 0:31:11.440
<v Speaker 3>their relationship too, and tells her that they're married already

0:31:11.480 --> 0:31:13.640
<v Speaker 3>because she's like, you guys can't be living together in shit,

0:31:13.680 --> 0:31:14.800
<v Speaker 3>And he's like, no, we're already married.

0:31:14.840 --> 0:31:15.240
<v Speaker 4>It's fine.

0:31:15.480 --> 0:31:18.600
<v Speaker 2>And she's like, I don't believe its so bad.

0:31:18.640 --> 0:31:21.680
<v Speaker 4>I believe it's a lie. Yeah, yeah, I don't believe you,

0:31:21.760 --> 0:31:25.040
<v Speaker 4>but I do need to, like, you know, figure this

0:31:25.200 --> 0:31:25.800
<v Speaker 4>all out right?

0:31:26.280 --> 0:31:27.880
<v Speaker 8>How old is Ronnie at this time?

0:31:29.160 --> 0:31:32.960
<v Speaker 3>Ronnie is like nineteen years old, like twenty nineteen, twenty,

0:31:33.080 --> 0:31:37.640
<v Speaker 3>and Phil is Phil is like twenty two, twenty three

0:31:37.720 --> 0:31:40.440
<v Speaker 3>years old, like he was born in thirty nine, so

0:31:40.600 --> 0:31:43.520
<v Speaker 3>twenty four, he's twenty four, okay. He would have these

0:31:43.680 --> 0:31:47.720
<v Speaker 3>wild swings between like heavy love and then targeted insults.

0:31:48.240 --> 0:31:50.200
<v Speaker 3>One night, after a show, he flew into a rage

0:31:50.240 --> 0:31:53.520
<v Speaker 3>after a cameraman compliments her, and he loses his mind.

0:31:54.280 --> 0:31:57.000
<v Speaker 3>Quote from Ronnie's book quote. This was a big thing

0:31:57.080 --> 0:31:59.520
<v Speaker 3>with Phil. If I lost control in front of a crowd.

0:31:59.560 --> 0:32:01.400
<v Speaker 3>He hated it because that meant I was out of

0:32:01.480 --> 0:32:04.320
<v Speaker 3>his control, and on top of everything else, you came

0:32:04.400 --> 0:32:07.400
<v Speaker 3>in off key. He could only ever criticize my singing

0:32:07.520 --> 0:32:10.160
<v Speaker 3>for technical reasons because he knew I didn't read music,

0:32:10.440 --> 0:32:13.680
<v Speaker 3>so I couldn't argue. Don't bother coming to the party.

0:32:13.720 --> 0:32:16.040
<v Speaker 3>After the show, he ordered, I don't want to see

0:32:16.080 --> 0:32:18.360
<v Speaker 3>you there. I went straight back to my hotel room

0:32:18.400 --> 0:32:20.480
<v Speaker 3>and cried. I suppose I could have gone to the

0:32:20.520 --> 0:32:23.280
<v Speaker 3>party anyways, but I never considered it. I just couldn't

0:32:23.320 --> 0:32:26.400
<v Speaker 3>go against Phil's wishes in those days. Phil couldn't control

0:32:26.480 --> 0:32:28.600
<v Speaker 3>what I did once I got out on stage. But

0:32:28.720 --> 0:32:30.880
<v Speaker 3>that wasn't a problem he had in our personal life.

0:32:31.160 --> 0:32:31.720
<v Speaker 9>So he is.

0:32:33.360 --> 0:32:35.160
<v Speaker 4>It is pretty early. They're not Mary.

0:32:35.280 --> 0:32:39.520
<v Speaker 3>This is very early, and he's already taken control. The

0:32:39.640 --> 0:32:44.360
<v Speaker 3>Beatles asked them to go on tour with the Ronettes,

0:32:44.480 --> 0:32:46.440
<v Speaker 3>and Hill told Ronnie.

0:32:46.400 --> 0:32:47.000
<v Speaker 9>Not to do it.

0:32:47.440 --> 0:32:47.960
<v Speaker 4>Yeah, and.

0:32:51.840 --> 0:32:58.160
<v Speaker 3>He's very anyway, Yes, absolutely, yeah, yeah, fuck those guys,

0:32:58.240 --> 0:33:01.120
<v Speaker 3>those those random blokes from Liverpool or whatever.

0:33:01.360 --> 0:33:03.520
<v Speaker 4>Yeah, no future.

0:33:04.000 --> 0:33:06.880
<v Speaker 3>So so, following the incident where he was urinated on

0:33:07.080 --> 0:33:09.959
<v Speaker 3>spec to developed an intense obsession with personal protection.

0:33:10.440 --> 0:33:10.800
<v Speaker 7>This is.

0:33:12.480 --> 0:33:13.600
<v Speaker 4>This is classic fill right.

0:33:13.680 --> 0:33:17.440
<v Speaker 3>He began collecting firearms, frequently carrying them during studio sessions

0:33:17.480 --> 0:33:20.719
<v Speaker 3>and public appearances. Over time, his guns become more than

0:33:20.800 --> 0:33:25.040
<v Speaker 3>defensive tools. They become theatrical symbols of authority and intimidation.

0:33:26.800 --> 0:33:31.760
<v Speaker 3>Naturally right, Like this guy doesn't just he loves guns, right.

0:33:31.960 --> 0:33:34.800
<v Speaker 2>He likes to scare people with guns a lot, yea,

0:33:34.960 --> 0:33:35.640
<v Speaker 2>and yeah, he.

0:33:35.760 --> 0:33:38.200
<v Speaker 3>Loves a snub nose. He loves a thirty eight dude.

0:33:38.240 --> 0:33:42.280
<v Speaker 3>He just like that's a pocket gun, like crazy little.

0:33:42.240 --> 0:33:45.200
<v Speaker 2>Whip it out and wave it in people's faces. You know,

0:33:45.480 --> 0:33:46.280
<v Speaker 2>that's the perfect.

0:33:46.680 --> 0:33:49.520
<v Speaker 4>Yeah, it's the perfect. And also you can hit him

0:33:49.560 --> 0:33:49.760
<v Speaker 4>with you.

0:33:49.920 --> 0:33:51.920
<v Speaker 3>It's very heavy, it's gotta yeah, I mean that's a

0:33:52.120 --> 0:33:54.720
<v Speaker 3>hit with hitting you. That's a good pistol whipping gun

0:33:54.880 --> 0:33:55.600
<v Speaker 3>for sure. Right.

0:33:55.680 --> 0:33:58.240
<v Speaker 2>Yeah, when you jam it into someone's body, the slide,

0:33:58.320 --> 0:34:00.360
<v Speaker 2>doesn't you know, get out of battery or every like

0:34:00.440 --> 0:34:02.280
<v Speaker 2>you can. You can really just poke people with a

0:34:02.360 --> 0:34:03.560
<v Speaker 2>thirty eight very easily.

0:34:03.720 --> 0:34:05.960
<v Speaker 3>And yes, and let's be real honest too, when it

0:34:06.000 --> 0:34:08.080
<v Speaker 3>comes to a thirty eight, like, it's not like a

0:34:08.160 --> 0:34:09.200
<v Speaker 3>long distance weapon.

0:34:09.280 --> 0:34:10.319
<v Speaker 2>It's not a name gun.

0:34:10.520 --> 0:34:13.839
<v Speaker 4>It's not a naming gun, not at all. All right.

0:34:15.080 --> 0:34:18.360
<v Speaker 3>He also developed a fascination with martial arts, particularly karate.

0:34:18.520 --> 0:34:22.759
<v Speaker 3>All right, no again, this is nineteen sixties America. We're

0:34:22.760 --> 0:34:26.319
<v Speaker 3>about to see Elvis get into the same thing, isn't us.

0:34:27.120 --> 0:34:30.319
<v Speaker 3>This isn't like out of control. Lots of actors are

0:34:30.440 --> 0:34:31.719
<v Speaker 3>like okay, but all right, but.

0:34:31.800 --> 0:34:32.799
<v Speaker 4>Feel's particularly fun.

0:34:33.040 --> 0:34:35.080
<v Speaker 3>So he's watching television right now, and he sees a

0:34:35.120 --> 0:34:38.560
<v Speaker 3>guy named santi Yo Soul break a brick with his hand,

0:34:38.920 --> 0:34:39.960
<v Speaker 3>and and he's it.

0:34:40.120 --> 0:34:40.360
<v Speaker 4>That's it.

0:34:40.440 --> 0:34:45.080
<v Speaker 3>He's sold bro share. Yes, So he starts taking lessons

0:34:45.120 --> 0:34:47.120
<v Speaker 3>from this guy. He finds this guy and starts taking

0:34:47.200 --> 0:34:49.720
<v Speaker 3>lessons from him, right, and he just like goes crazy.

0:34:49.760 --> 0:34:53.520
<v Speaker 3>It's like every day, and he starts he starts walking

0:34:53.600 --> 0:34:59.319
<v Speaker 3>around town just like in a karate gee, just like.

0:34:59.520 --> 0:35:03.399
<v Speaker 2>Yeah, you like this, Like he's inventing being a wee.

0:35:03.640 --> 0:35:04.640
<v Speaker 2>That's amazing.

0:35:05.120 --> 0:35:07.200
<v Speaker 4>Yes, yes, and all right and again and again.

0:35:07.320 --> 0:35:10.520
<v Speaker 3>He doesn't have real hair, so he's he's wearing a wig, right,

0:35:10.640 --> 0:35:15.640
<v Speaker 3>He's wearing an obvious wig and a karate outfit walking around.

0:35:17.080 --> 0:35:18.440
<v Speaker 2>But you can't make fun of him because you know

0:35:18.560 --> 0:35:20.520
<v Speaker 2>he's also going to pull that thirty eight on you if.

0:35:20.440 --> 0:35:23.440
<v Speaker 4>You do yes, and probably armed with the gun. So

0:35:23.680 --> 0:35:25.799
<v Speaker 4>like all of the things right, all right, this is so.

0:35:27.520 --> 0:35:27.759
<v Speaker 1>He is.

0:35:28.040 --> 0:35:31.279
<v Speaker 3>This also gives him access to actual karate practitioners because

0:35:31.280 --> 0:35:34.640
<v Speaker 3>he's taken lessons from these guys. So then he hires them.

0:35:34.680 --> 0:35:38.600
<v Speaker 3>He hires Santy to to be his his bodyguard because

0:35:38.600 --> 0:35:40.239
<v Speaker 3>he's like, well, now I got this tough guy right

0:35:40.360 --> 0:35:44.360
<v Speaker 3>here karate and these guys. Also, I just want to

0:35:44.400 --> 0:35:46.520
<v Speaker 3>point out, like I don't know this to be fact,

0:35:46.560 --> 0:35:49.160
<v Speaker 3>but I just can't stop thinking about this because because

0:35:49.920 --> 0:35:51.880
<v Speaker 3>another bodyguard who's a karate guy.

0:35:51.920 --> 0:35:53.040
<v Speaker 4>He talks about this a little bit.

0:35:53.080 --> 0:35:56.120
<v Speaker 3>But uh, you know, you know that they're getting paid

0:35:56.160 --> 0:35:58.440
<v Speaker 3>a lot of money, yeah, to be around this guy.

0:35:58.640 --> 0:36:01.080
<v Speaker 3>They're making a lot of money off of this guy, right,

0:36:01.560 --> 0:36:03.960
<v Speaker 3>so you know they're like, yeah, bro.

0:36:04.040 --> 0:36:05.040
<v Speaker 4>You're you're killed me with.

0:36:07.080 --> 0:36:11.279
<v Speaker 2>Phil? Really you got the most power, so dangerous. Yeah,

0:36:11.440 --> 0:36:13.439
<v Speaker 2>just a little push knock me right over Phil.

0:36:13.560 --> 0:36:15.319
<v Speaker 4>Wow, Oh my god.

0:36:15.360 --> 0:36:17.480
<v Speaker 2>Well it's also, especially in this period of time, just

0:36:17.640 --> 0:36:21.279
<v Speaker 2>lying about your martial arts qualifications. Oh yeah, spent ten

0:36:21.440 --> 0:36:25.399
<v Speaker 2>years in China learning kung fu from monks. Who's gonna

0:36:25.480 --> 0:36:29.000
<v Speaker 2>check up on that ship? You learn and you're good,

0:36:29.360 --> 0:36:29.520
<v Speaker 2>you know.

0:36:30.400 --> 0:36:33.239
<v Speaker 3>Yeah, you could lie about anything back in the day.

0:36:33.400 --> 0:36:34.080
<v Speaker 2>It's so easy.

0:36:34.400 --> 0:36:36.160
<v Speaker 3>Even when I was like in high school, you could

0:36:36.200 --> 0:36:37.920
<v Speaker 3>still lie about things like what am I gonna do?

0:36:38.040 --> 0:36:39.759
<v Speaker 4>Go to the library and prove you wrong.

0:36:40.480 --> 0:36:43.240
<v Speaker 2>All of the top build native American actress in Hollywood

0:36:43.239 --> 0:36:46.359
<v Speaker 2>were Italian men. Italian guy. Very easy to lie.

0:36:47.320 --> 0:36:48.560
<v Speaker 4>It was so easy, all right.

0:36:48.800 --> 0:36:53.600
<v Speaker 3>So so Santi uh, bodyguards for him, and then he's like,

0:36:53.640 --> 0:36:55.440
<v Speaker 3>Brian got time for this anymore? I'm actually getting a

0:36:55.520 --> 0:36:57.680
<v Speaker 3>legitimate business, like so he passes it off to this

0:36:57.760 --> 0:37:00.920
<v Speaker 3>other guy, and Neil farkas and felt that Specter was

0:37:01.000 --> 0:37:03.320
<v Speaker 3>using his bodyguards as status symbol but also as a

0:37:03.400 --> 0:37:04.880
<v Speaker 3>threat to anyone who might get froggy.

0:37:05.440 --> 0:37:07.120
<v Speaker 4>So he's like, you know, walking around and got these guys,

0:37:07.200 --> 0:37:08.640
<v Speaker 4>you know, like, what are you gonna do?

0:37:08.840 --> 0:37:11.760
<v Speaker 3>Kind of shit very Jack Doherty coded, you know Jack Doherty,

0:37:13.000 --> 0:37:15.080
<v Speaker 3>the young kid, the Zennils or whatever, will know who

0:37:15.120 --> 0:37:15.680
<v Speaker 3>the fuck that is.

0:37:15.680 --> 0:37:18.480
<v Speaker 4>Anyway, he's he's you know, he's doing that.

0:37:18.680 --> 0:37:22.640
<v Speaker 3>He's he's going up to clubs on Sunset Strip, getting

0:37:22.640 --> 0:37:24.960
<v Speaker 3>in front of everybody, and then when somebody dares to

0:37:25.080 --> 0:37:28.720
<v Speaker 3>question him, he says fuck you, and they're like, okay,

0:37:28.719 --> 0:37:31.200
<v Speaker 3>well let's fight. And then from out of behind him

0:37:31.200 --> 0:37:34.640
<v Speaker 3>comes some actual karate guys you know. Plus also two

0:37:35.200 --> 0:37:38.480
<v Speaker 3>actual karate guys in the sixties must have beat the

0:37:38.640 --> 0:37:41.360
<v Speaker 3>ship out of everybody. Dude, like they're still in like

0:37:41.480 --> 0:37:44.160
<v Speaker 3>the world of like wild Haymakers.

0:37:43.600 --> 0:37:46.440
<v Speaker 2>And everyone else is doing like the Captain Kirk two hundred,

0:37:47.480 --> 0:37:49.400
<v Speaker 2>you actually know how to hit somebody?

0:37:49.560 --> 0:37:59.680
<v Speaker 3>Yeah, doing this thing, you know Jack, Yeah, yeah exactly.

0:37:59.840 --> 0:38:02.200
<v Speaker 3>So So it's like like actual karate guys. I think

0:38:02.200 --> 0:38:03.960
<v Speaker 3>about this all the time. Like Dave must have just

0:38:04.080 --> 0:38:05.920
<v Speaker 3>mopped the floor. It's not like now you might actually

0:38:06.000 --> 0:38:07.759
<v Speaker 3>run into like a UFC guy like or.

0:38:07.800 --> 0:38:10.160
<v Speaker 2>Like an MMA guy. The guys who actually do that

0:38:10.320 --> 0:38:10.600
<v Speaker 2>now just.

0:38:10.640 --> 0:38:14.520
<v Speaker 4>Walking but he's just karate guys walking around anyway.

0:38:14.680 --> 0:38:19.280
<v Speaker 3>So so yeah, so he he basically is just antagonizing

0:38:19.320 --> 0:38:23.200
<v Speaker 3>people and purposefully to cause problems and then has his

0:38:23.280 --> 0:38:25.840
<v Speaker 3>bodyguards beat the shit out of them, which is super

0:38:25.920 --> 0:38:29.600
<v Speaker 3>fucked up so a meal though he says this is

0:38:29.680 --> 0:38:32.560
<v Speaker 3>from breaking the wall of sound quote. Specter had never

0:38:32.640 --> 0:38:35.000
<v Speaker 3>quite got the hang of karate. He might have worn

0:38:35.040 --> 0:38:37.279
<v Speaker 3>a black belt tied around his ge and he might

0:38:37.360 --> 0:38:40.800
<v Speaker 3>have boasted a journalists that in case of real trouble,

0:38:40.840 --> 0:38:44.280
<v Speaker 3>I could totally kill a guy. But according to Emil Farcas,

0:38:44.400 --> 0:38:46.760
<v Speaker 3>he just play acted. He'd do a lot of chopping

0:38:46.840 --> 0:38:49.000
<v Speaker 3>his hands in the air, but he was nowhere near

0:38:49.040 --> 0:38:49.719
<v Speaker 3>a black.

0:38:51.320 --> 0:38:54.080
<v Speaker 2>He's like a chopping his hands in the air. If

0:38:54.160 --> 0:38:56.560
<v Speaker 2>the thing someone's going for it as a chop, you

0:38:56.680 --> 0:39:01.399
<v Speaker 2>can kind of guess, I know, you couldn't really hurt

0:39:01.520 --> 0:39:02.279
<v Speaker 2>people that way.

0:39:02.400 --> 0:39:06.640
<v Speaker 4>But generally he's hitting him with the hyah, yeah.

0:39:08.160 --> 0:39:11.120
<v Speaker 3>You know, I mean, it's it's hilarious to picture like

0:39:11.239 --> 0:39:13.880
<v Speaker 3>in your brain, right, I just always have to remind

0:39:13.960 --> 0:39:15.600
<v Speaker 3>myself because he's a giant in the world.

0:39:15.920 --> 0:39:17.880
<v Speaker 4>But he is a five foot three man. He's a

0:39:17.960 --> 0:39:19.640
<v Speaker 4>tiny little dude out here.

0:39:19.760 --> 0:39:23.120
<v Speaker 3>Karate choppings, incredible wearing a karate gar.

0:39:23.200 --> 0:39:26.200
<v Speaker 2>He's a man who believes he's a martial artist.

0:39:26.600 --> 0:39:27.040
<v Speaker 1>My god.

0:39:27.760 --> 0:39:30.440
<v Speaker 4>But all right, but what he was good at was

0:39:30.560 --> 0:39:31.160
<v Speaker 4>playing pool.

0:39:31.280 --> 0:39:33.759
<v Speaker 3>Apparently he was pretty good at playing pool, and so

0:39:33.880 --> 0:39:37.239
<v Speaker 3>he hired this pro player, Willie Musconi, and paid him

0:39:37.239 --> 0:39:39.440
<v Speaker 3>one hundred and seventy five thousand dollars a year to

0:39:39.480 --> 0:39:41.440
<v Speaker 3>hang out at his house and teach him how to

0:39:41.480 --> 0:39:41.959
<v Speaker 3>play pool.

0:39:43.280 --> 0:39:50.120
<v Speaker 4>Okay, that's cool, yeah, and then hold on, hold on.

0:39:51.000 --> 0:39:54.040
<v Speaker 3>Then he would go to pool halls and hustle people

0:39:54.080 --> 0:39:57.200
<v Speaker 3>with him, and then when people got mad, he'd have

0:39:57.320 --> 0:39:58.719
<v Speaker 3>his bodyguards beat the shit out.

0:39:58.640 --> 0:40:04.879
<v Speaker 2>Of He's really he's really scraping all of the fun

0:40:04.960 --> 0:40:08.120
<v Speaker 2>you can have when you're rich enough for bodyguards. He's like,

0:40:08.200 --> 0:40:10.560
<v Speaker 2>I just have a posse of dangerous men that have

0:40:10.680 --> 0:40:13.239
<v Speaker 2>to beat people up if I'm if I'm a dick,

0:40:13.920 --> 0:40:16.200
<v Speaker 2>I am surprisingly more rich guys don't do this.

0:40:16.440 --> 0:40:20.080
<v Speaker 3>To be honest, and honestly, I'm gonna be honest man

0:40:20.120 --> 0:40:22.760
<v Speaker 3>if I ever get that kind of money, like walking

0:40:22.800 --> 0:40:24.239
<v Speaker 3>around with bodyguard's money.

0:40:24.640 --> 0:40:27.160
<v Speaker 4>Oh that's all I'm gonna do. Yeah, Yeah, that's all

0:40:27.200 --> 0:40:27.759
<v Speaker 4>I'm gonna do.

0:40:29.800 --> 0:40:32.239
<v Speaker 3>So he would throw crazy parties and then disappear. He's

0:40:32.239 --> 0:40:35.120
<v Speaker 3>a weird dude right now, He's like, uh, he throw

0:40:35.160 --> 0:40:37.239
<v Speaker 3>these crazy parties and he disappear the whole night and

0:40:37.320 --> 0:40:39.239
<v Speaker 3>then reappear right as people are about to leave, and

0:40:39.360 --> 0:40:42.680
<v Speaker 3>he would get super mad if the girls wanted to

0:40:42.760 --> 0:40:45.080
<v Speaker 3>go home, super mad.

0:40:46.200 --> 0:40:47.120
<v Speaker 2>Yeah, I'm not surprised.

0:40:48.840 --> 0:40:52.160
<v Speaker 3>He has got real He hates to be alone first

0:40:52.200 --> 0:40:56.000
<v Speaker 3>of all, and he establishes this, but he also just

0:40:56.160 --> 0:41:00.480
<v Speaker 3>has like specifically when women want to leave he is

0:41:01.080 --> 0:41:01.840
<v Speaker 3>he gets.

0:41:01.680 --> 0:41:02.719
<v Speaker 4>Upset every single time.

0:41:02.840 --> 0:41:03.600
<v Speaker 2>Not cool with him?

0:41:03.880 --> 0:41:07.520
<v Speaker 3>Yeah, Phil would This is from a meal Farcas again

0:41:07.840 --> 0:41:10.000
<v Speaker 3>from breaking down the Wallace Hund. Phil would get very

0:41:10.080 --> 0:41:12.480
<v Speaker 3>upset with women walked out on him. Farcas says he

0:41:12.520 --> 0:41:15.239
<v Speaker 3>would rant and rave, you'll never work again, I'll get

0:41:15.320 --> 0:41:15.840
<v Speaker 3>you fired.

0:41:15.920 --> 0:41:16.240
<v Speaker 4>Whatever.

0:41:16.600 --> 0:41:18.879
<v Speaker 3>But then again, you'd have this thing at parties where

0:41:18.880 --> 0:41:21.319
<v Speaker 3>you might have twenty girls each and each one would

0:41:21.360 --> 0:41:23.080
<v Speaker 3>try to last out the other to see who was

0:41:23.120 --> 0:41:25.360
<v Speaker 3>going to stay the night with him. But the feeling

0:41:25.440 --> 0:41:27.640
<v Speaker 3>I got was that Phil sort of realized that most

0:41:27.680 --> 0:41:30.560
<v Speaker 3>of these people were around for the external rather the internal,

0:41:30.880 --> 0:41:32.800
<v Speaker 3>and he would have preferred that he wasn't liked for

0:41:32.880 --> 0:41:35.319
<v Speaker 3>the limousines and the money and all that. He would

0:41:35.360 --> 0:41:37.960
<v Speaker 3>have really liked to be loved for himself, and there

0:41:38.000 --> 0:41:39.960
<v Speaker 3>were girls who liked him for that. I think the

0:41:40.040 --> 0:41:42.479
<v Speaker 3>problem was that Phil could never believe that these people

0:41:42.520 --> 0:41:43.680
<v Speaker 3>could love him for who he was.

0:41:45.040 --> 0:41:47.600
<v Speaker 2>I'm not surprised he had trouble believing people could love

0:41:47.680 --> 0:41:49.160
<v Speaker 2>him for who he was, because he's a dick.

0:41:49.920 --> 0:41:52.920
<v Speaker 4>Yeah, I mean it's sad, but I'm also yeah.

0:41:53.440 --> 0:41:57.600
<v Speaker 3>Yeah, it is very strong like like uh like yeah, dude,

0:41:57.640 --> 0:42:00.399
<v Speaker 3>of course nobody like Stiffler, right, it's like Stiffler like, yeah,

0:42:00.400 --> 0:42:01.440
<v Speaker 3>of course no one likes you.

0:42:01.640 --> 0:42:06.080
<v Speaker 2>Bro giant prick to everyone man like, yeah, you're not liked.

0:42:08.840 --> 0:42:10.960
<v Speaker 3>You know who won't get mad when you try and

0:42:11.520 --> 0:42:14.160
<v Speaker 3>leave their parties in the middle of the night. These

0:42:14.560 --> 0:42:17.240
<v Speaker 3>these sponsors paid money.

0:42:17.320 --> 0:42:19.880
<v Speaker 8>I want to say me because if my parties don't.

0:42:19.680 --> 0:42:23.359
<v Speaker 2>Go that late, but the Party of Capitalism, that one

0:42:23.480 --> 0:42:35.239
<v Speaker 2>keeps on going forever. Yeah, and we're back, okay, will

0:42:36.160 --> 0:42:36.760
<v Speaker 2>take it away.

0:42:37.320 --> 0:42:42.120
<v Speaker 3>Yes, So it's nineteen sixty four, the Runnettes toured England

0:42:42.320 --> 0:42:44.880
<v Speaker 3>with the Beatles. They go they do, actually go to

0:42:44.960 --> 0:42:49.080
<v Speaker 3>the Beatles to tour with the Beatles, and Phil insists

0:42:49.200 --> 0:42:53.239
<v Speaker 3>on being there. He is super jealousy that he does

0:42:53.320 --> 0:42:55.320
<v Speaker 3>not like it. You gotta keep in mind, too, the

0:42:55.400 --> 0:42:58.759
<v Speaker 3>Beatles are the next evolutionary step.

0:42:58.520 --> 0:42:59.080
<v Speaker 4>In this chain.

0:42:59.160 --> 0:43:01.879
<v Speaker 3>We went who now producers are and bands are gone,

0:43:02.080 --> 0:43:04.759
<v Speaker 3>and Phil Spector represented the most important version of that.

0:43:04.840 --> 0:43:06.880
<v Speaker 3>But it's nineteen sixty four and the Beatles are about

0:43:06.880 --> 0:43:11.720
<v Speaker 3>to crossover in America and Phil Spector is incredibly threatened

0:43:11.760 --> 0:43:14.279
<v Speaker 3>by them. They have been tearing up the charts and

0:43:14.760 --> 0:43:18.279
<v Speaker 3>kind of pushing him out very much so. So when

0:43:18.320 --> 0:43:20.200
<v Speaker 3>the Ronnets are asked to go on tour with the Beatles,

0:43:20.239 --> 0:43:25.320
<v Speaker 3>he's like and so he goes to England to supervise.

0:43:25.480 --> 0:43:26.960
<v Speaker 3>You know, he has to go over and watch and

0:43:27.000 --> 0:43:29.640
<v Speaker 3>make sure no one's putting the moves on the own girl.

0:43:29.800 --> 0:43:32.759
<v Speaker 3>You know, he said from Ronnie. This is from Be

0:43:32.960 --> 0:43:37.160
<v Speaker 3>My Baby, Ronni's book. Phil never came out and said it,

0:43:37.239 --> 0:43:39.040
<v Speaker 3>but I could tell he didn't like the idea of

0:43:39.120 --> 0:43:41.480
<v Speaker 3>a spending too much time with the Beatles. I don't

0:43:41.520 --> 0:43:45.040
<v Speaker 3>think his ego could stand the competition. Beatles were leaving

0:43:45.080 --> 0:43:47.239
<v Speaker 3>to start their first US tour in a few days,

0:43:47.280 --> 0:43:48.960
<v Speaker 3>and when John asked me if we wanted to fly

0:43:49.160 --> 0:43:51.640
<v Speaker 3>back with them on their chartered jet, I didn't have

0:43:51.800 --> 0:43:53.560
<v Speaker 3>the nerve to ask Phil if it was okay, So

0:43:53.640 --> 0:43:57.200
<v Speaker 3>I mad my mom make the suggestion. You know, Phil,

0:43:57.360 --> 0:43:59.360
<v Speaker 3>she told him it might be good publicity if the

0:43:59.400 --> 0:44:02.440
<v Speaker 3>girls went back on the jet with the Beatles. No,

0:44:02.640 --> 0:44:04.640
<v Speaker 3>he told her, I have already bought their tickets, and

0:44:04.719 --> 0:44:07.920
<v Speaker 3>that was all that said. So he tells them, no, man,

0:44:08.000 --> 0:44:10.080
<v Speaker 3>I got tickets for you already. You can't fly back

0:44:10.120 --> 0:44:11.240
<v Speaker 3>on the plane with the Beatles.

0:44:11.280 --> 0:44:11.920
<v Speaker 4>Are you crazy?

0:44:12.360 --> 0:44:14.360
<v Speaker 3>I'm just gonna let my girlfriend get on a fucking

0:44:14.440 --> 0:44:17.040
<v Speaker 3>plane a private play with a bunch of rock stars.

0:44:17.440 --> 0:44:21.000
<v Speaker 3>Hell no, that's a horrible idea. Yeah, yeah, hell no.

0:44:22.120 --> 0:44:24.239
<v Speaker 3>Uh So he buys them. He buys them private or

0:44:24.440 --> 0:44:29.040
<v Speaker 3>commercial flights back, right, she says. She continues, My mother

0:44:29.160 --> 0:44:31.439
<v Speaker 3>and they landed the next day at Jfkin. She says,

0:44:31.560 --> 0:44:33.399
<v Speaker 3>My mother and I watched the whole thing on TV.

0:44:33.960 --> 0:44:35.880
<v Speaker 3>We're amazed at how many kids showed up at the

0:44:35.880 --> 0:44:39.120
<v Speaker 3>airport screaming and carrying banners. But what surprised me even

0:44:39.200 --> 0:44:41.960
<v Speaker 3>more was something that happened after the plane landed. The

0:44:42.040 --> 0:44:43.840
<v Speaker 3>jet was on the ground and the cameras zoomed in

0:44:43.920 --> 0:44:45.600
<v Speaker 3>on the door that was about to open up to

0:44:45.640 --> 0:44:48.520
<v Speaker 3>give America its first glimpse of the Fab four. But

0:44:48.600 --> 0:44:51.000
<v Speaker 3>when that hatch finally did swing open, who do you

0:44:51.080 --> 0:44:53.520
<v Speaker 3>think was with them? I almost faded when I looked

0:44:53.560 --> 0:44:56.160
<v Speaker 3>at the TV and saw Phil Spector following the Beatles

0:44:56.440 --> 0:45:00.200
<v Speaker 3>out of their place. So he's like, you can't fly

0:45:00.320 --> 0:45:02.239
<v Speaker 3>back with the Beatles, and then he flies back with

0:45:02.320 --> 0:45:02.720
<v Speaker 3>the Beatles.

0:45:02.760 --> 0:45:05.319
<v Speaker 2>I want to fly back with the Beatles absolutely. Yeah.

0:45:05.680 --> 0:45:05.919
<v Speaker 4>Yeah.

0:45:06.080 --> 0:45:08.480
<v Speaker 3>So like there's like thousands of people greeting him at

0:45:08.520 --> 0:45:10.719
<v Speaker 3>the airport and they're like and there's Phil Spector and

0:45:10.760 --> 0:45:19.200
<v Speaker 3>they're like that sick, amazing, amazing pettiness, amazing that is

0:45:19.560 --> 0:45:22.440
<v Speaker 3>that is Tom Petty right there, dude, that's amazing.

0:45:22.560 --> 0:45:27.000
<v Speaker 2>Yeah, that's like a grand level of dickery. Like it'sulary.

0:45:27.200 --> 0:45:29.680
<v Speaker 3>You can't ride with the hottest band that's going on

0:45:29.800 --> 0:45:32.480
<v Speaker 3>in the world right now, but I can't and you.

0:45:32.520 --> 0:45:38.720
<v Speaker 4>Have to take a definitely. Yeah, so funny. So Ronnie's

0:45:38.760 --> 0:45:40.880
<v Speaker 4>life keeps like it's more and more confined.

0:45:40.960 --> 0:45:43.279
<v Speaker 3>She's starting to get like kind of more trapped by

0:45:43.320 --> 0:45:47.320
<v Speaker 3>Phil and everything and Phil starts working repeatedly at the

0:45:47.400 --> 0:45:49.239
<v Speaker 3>studio gold Star. I mentioned it before. It was like

0:45:49.320 --> 0:45:51.960
<v Speaker 3>the scene of his Wall of Sound, and it's really important, like.

0:45:52.000 --> 0:45:55.960
<v Speaker 4>It is kind of like a big deal. It's it's hate.

0:45:55.760 --> 0:45:58.840
<v Speaker 3>Ashbury for the hippie movement, right or you know or

0:45:59.080 --> 0:46:02.439
<v Speaker 3>or or would stocks. It's an important moment in time

0:46:02.800 --> 0:46:05.600
<v Speaker 3>where a bunch of people come together for a thing

0:46:05.960 --> 0:46:09.520
<v Speaker 3>that is like significant. And gold Star is there. Gold

0:46:09.560 --> 0:46:11.520
<v Speaker 3>Star is where the Wrecking Crew kind of was born.

0:46:11.840 --> 0:46:14.359
<v Speaker 3>It's where Phil was doing all these hits. And it's

0:46:14.400 --> 0:46:16.640
<v Speaker 3>a shithole for the record, but Phil loves it. He

0:46:16.719 --> 0:46:19.759
<v Speaker 3>turns it into his fortress, right. He just like like

0:46:20.440 --> 0:46:22.520
<v Speaker 3>he no one's allowed to come in unless he says so.

0:46:22.680 --> 0:46:25.400
<v Speaker 3>He's booking so much time there, like he lives in

0:46:25.520 --> 0:46:30.480
<v Speaker 3>this studio and at this studio. He uh, he is

0:46:30.640 --> 0:46:37.280
<v Speaker 3>working with Sonny Bono and share Sonny Bono, side Bastard

0:46:37.400 --> 0:46:41.160
<v Speaker 3>Sonny Bono, Sonny Bono, We're gonna side Bastard Sonny Bono. Uh,

0:46:41.560 --> 0:46:44.200
<v Speaker 3>Sonny Bono is a is a big giant dick and

0:46:44.440 --> 0:46:48.000
<v Speaker 3>we first of all bro He's like the most first

0:46:48.000 --> 0:46:50.080
<v Speaker 3>of all. First of all, I mean the Copyright Productions

0:46:50.120 --> 0:46:52.080
<v Speaker 3>actor that he did just so Disney could keep Mickey

0:46:52.160 --> 0:46:55.080
<v Speaker 3>Mouse in fucking in there in there. That that sucks, right,

0:46:55.239 --> 0:46:58.759
<v Speaker 3>But also, how do you go from being Sonny and

0:46:58.840 --> 0:47:02.560
<v Speaker 3>share like this whole like they they sang on on

0:47:03.880 --> 0:47:05.320
<v Speaker 3>Mama's and Papa songs and stuff.

0:47:05.360 --> 0:47:06.080
<v Speaker 4>Yeah, yeah, they were.

0:47:06.400 --> 0:47:08.720
<v Speaker 3>How do you do that and then become a Republican senator?

0:47:09.120 --> 0:47:12.880
<v Speaker 4>You know, like that's like the ultimate betrayal.

0:47:12.400 --> 0:47:16.640
<v Speaker 2>Of a human being ended as a Republican senator.

0:47:16.880 --> 0:47:20.040
<v Speaker 3>He wasn't a Republican sellout senator fucker.

0:47:20.920 --> 0:47:21.920
<v Speaker 2>Yeah, amazing.

0:47:22.520 --> 0:47:24.400
<v Speaker 3>He was the one and also the subject of one

0:47:24.400 --> 0:47:27.279
<v Speaker 3>of my favorite eminem lines, Sonny Bono Ski's.

0:47:26.960 --> 0:47:31.399
<v Speaker 4>Horses and hitting some trees. Oh, I love that great.

0:47:31.680 --> 0:47:35.200
<v Speaker 3>So so Ronnie develops a close relationship with Cherr, who

0:47:35.239 --> 0:47:36.960
<v Speaker 3>became one of the few people that Ronnie could confide

0:47:37.000 --> 0:47:40.799
<v Speaker 3>him because she's also living very similar situation at this time.

0:47:40.920 --> 0:47:43.680
<v Speaker 3>Sonny and cher is about as famous as Ikeantina about

0:47:43.719 --> 0:47:47.680
<v Speaker 3>his famous as Ronnie and Phil Ironic that they would

0:47:47.719 --> 0:47:52.800
<v Speaker 3>all work together with very strange. And it's really interesting

0:47:52.840 --> 0:47:55.560
<v Speaker 3>too because in all of these situations, it shows that

0:47:55.960 --> 0:47:58.040
<v Speaker 3>the men in these situations who.

0:47:57.960 --> 0:48:01.480
<v Speaker 4>Are very dominant to their women. Also, oh, are all

0:48:01.520 --> 0:48:02.520
<v Speaker 4>subserving to Phil.

0:48:03.719 --> 0:48:07.759
<v Speaker 3>Sonny Bono bends over for Phil, like completely, like he

0:48:07.960 --> 0:48:12.600
<v Speaker 3>is he yes, absolutely, he is he is he lets uh,

0:48:12.719 --> 0:48:15.200
<v Speaker 3>I mean he, I mean Phil is the god at

0:48:15.239 --> 0:48:18.239
<v Speaker 3>the time. Sonny Bono is nobody. He's a gopher. He's

0:48:18.280 --> 0:48:21.520
<v Speaker 3>a runner at a studio, and Phil treats him like

0:48:21.640 --> 0:48:25.600
<v Speaker 3>a runner at the studio is horrible to him. He

0:48:25.680 --> 0:48:28.640
<v Speaker 3>treats him awfully. Sidone, this is a really funny story.

0:48:28.800 --> 0:48:31.640
<v Speaker 3>When Ronnie first met Cher, she thought she was a hooker.

0:48:32.800 --> 0:48:37.160
<v Speaker 4>She like, she like, yeah, she thought Share was a hooker.

0:48:37.239 --> 0:48:39.080
<v Speaker 4>She was like, oh, this must be Sonny Bono's hooker.

0:48:40.360 --> 0:48:42.719
<v Speaker 4>Oh my god, and she just she just says that,

0:48:42.920 --> 0:48:43.200
<v Speaker 4>which is.

0:48:44.200 --> 0:48:48.520
<v Speaker 3>There's a lot of things in these like interviews and

0:48:48.600 --> 0:48:51.719
<v Speaker 3>books and stuff that I've read, Like, I I love

0:48:52.040 --> 0:48:53.920
<v Speaker 3>Phil s Becker, so I've read many books on him.

0:48:54.360 --> 0:48:57.920
<v Speaker 3>I watch every documentary I love, I love Phil Spector

0:48:58.440 --> 0:49:02.719
<v Speaker 3>and I'm so interested by so uh. When I watch

0:49:02.800 --> 0:49:05.880
<v Speaker 3>and read all these things, it's insane to see, like

0:49:06.719 --> 0:49:10.040
<v Speaker 3>how open and honest people are about the horrible things

0:49:10.080 --> 0:49:12.200
<v Speaker 3>that they think can say out loud.

0:49:12.480 --> 0:49:14.319
<v Speaker 4>It's so crazy. Why did you write this in a book?

0:49:14.440 --> 0:49:17.080
<v Speaker 4>You wrote that you thought Share was a hooker? Anyone

0:49:17.239 --> 0:49:21.239
<v Speaker 4>that just say that that was it was totally free

0:49:21.280 --> 0:49:24.279
<v Speaker 4>to shut the monk up. Nobody you want it. No

0:49:24.320 --> 0:49:26.279
<v Speaker 4>one's gonna be like, hey, man, do you ever think

0:49:26.280 --> 0:49:27.000
<v Speaker 4>Share was a hooker?

0:49:27.440 --> 0:49:27.600
<v Speaker 2>Right?

0:49:27.920 --> 0:49:31.560
<v Speaker 4>Like you just yeah, okay, incredible, so funny.

0:49:31.719 --> 0:49:36.440
<v Speaker 3>So anyway, so they got a complicated relationship, Sonny and Phil,

0:49:36.960 --> 0:49:41.120
<v Speaker 3>and it blossoms into this very like subservient relationship where

0:49:41.200 --> 0:49:43.920
<v Speaker 3>Sonny just does everything that Phil asks.

0:49:44.120 --> 0:49:47.480
<v Speaker 4>He like whatever Phil tells him, like, hey, don't let

0:49:47.520 --> 0:49:48.839
<v Speaker 4>the girls do this, He's like okay.

0:49:48.840 --> 0:49:51.840
<v Speaker 3>And he becomes like an enforcer for Share and Ronnie

0:49:51.840 --> 0:49:54.760
<v Speaker 3>Bennett's relationship in a lot of ways. And it's very again,

0:49:54.960 --> 0:49:58.440
<v Speaker 3>he's like getting other people to carry out his like possessive,

0:49:58.640 --> 0:50:00.520
<v Speaker 3>weird details of his life stuff.

0:50:00.520 --> 0:50:01.240
<v Speaker 4>It's very strange.

0:50:01.680 --> 0:50:06.640
<v Speaker 3>All right. So Phil has had a killer career, right,

0:50:06.760 --> 0:50:09.279
<v Speaker 3>He's had a killer career. Things have been going good

0:50:09.360 --> 0:50:13.960
<v Speaker 3>for him. The Beatles come to America, things start to change.

0:50:14.000 --> 0:50:16.040
<v Speaker 3>He does, he still has some hits. Things are going

0:50:16.160 --> 0:50:20.600
<v Speaker 3>good or whatever. But we're about to hit nineteen sixty six.

0:50:21.280 --> 0:50:25.320
<v Speaker 3>And in nineteen sixty six, he produced River Deep, Mountain

0:50:25.440 --> 0:50:31.439
<v Speaker 3>High for Tina Turner. Yes, and he to him, he says,

0:50:31.520 --> 0:50:33.080
<v Speaker 3>this was the greatest thing he ever did. It was

0:50:33.120 --> 0:50:35.920
<v Speaker 3>the ultimate realization of the wall of sound.

0:50:36.040 --> 0:50:36.320
<v Speaker 6>It was.

0:50:36.400 --> 0:50:39.359
<v Speaker 3>If you listen to this song, it is such a song.

0:50:40.000 --> 0:50:42.399
<v Speaker 3>It's phenomenal. It's a cacophony of sound.

0:50:42.480 --> 0:50:43.960
<v Speaker 4>It is a it is.

0:50:44.320 --> 0:50:47.399
<v Speaker 3>I mean, it's like you cannot tell other than Tina's voice.

0:50:47.640 --> 0:50:50.120
<v Speaker 3>You cannot tell a single thing that is happening in

0:50:50.160 --> 0:50:52.600
<v Speaker 3>the background. You can kind of hear like a guitar

0:50:52.719 --> 0:50:55.600
<v Speaker 3>riff in the beginning of Barn, but that could be anything, right.

0:50:55.719 --> 0:50:58.200
<v Speaker 3>It's like the whole sound is so amorphous, it has

0:50:58.280 --> 0:51:01.640
<v Speaker 3>no shape, it has no it's so drenched in reverb

0:51:01.680 --> 0:51:04.040
<v Speaker 3>and it's just noise behind what's going on.

0:51:04.200 --> 0:51:06.320
<v Speaker 4>It's so brilliant and so beautiful.

0:51:06.360 --> 0:51:06.560
<v Speaker 2>It is.

0:51:07.080 --> 0:51:09.279
<v Speaker 3>Yeah, it does rip, and it's very reminiscent of like

0:51:09.400 --> 0:51:12.200
<v Speaker 3>modern day like shoegaze type stuff is like this. You know,

0:51:12.280 --> 0:51:17.560
<v Speaker 3>it's got a really cool atmosphere. It's all atmosphere and emotion. Yeah,

0:51:19.280 --> 0:51:27.200
<v Speaker 3>even notoriously shitty side bastards, notoriously shitty side bastard Ike

0:51:27.320 --> 0:51:29.320
<v Speaker 3>Turner boud.

0:51:30.719 --> 0:51:33.200
<v Speaker 2>It is it is a Music Industry episode, We're gonna

0:51:33.200 --> 0:51:34.560
<v Speaker 2>have a lot of side bastards.

0:51:34.920 --> 0:51:40.000
<v Speaker 3>I just really like the effect myself as well. By

0:51:40.040 --> 0:51:42.279
<v Speaker 3>the way, Yeah, I think you should make it into

0:51:42.320 --> 0:51:43.080
<v Speaker 3>the regular rotation.

0:51:43.360 --> 0:51:43.919
<v Speaker 4>It's so nice.

0:51:44.920 --> 0:51:46.239
<v Speaker 2>I have a soundboard.

0:51:46.360 --> 0:51:46.800
<v Speaker 9>I need it.

0:51:47.800 --> 0:51:49.879
<v Speaker 4>There we go, it's so good. It's so good.

0:51:50.680 --> 0:51:55.000
<v Speaker 3>Yeah, so notoriously shitty side bastard Ike Turner, Yeah, revered

0:51:55.080 --> 0:51:57.880
<v Speaker 3>Phil let him be in control. You're talking about a

0:51:57.960 --> 0:52:01.360
<v Speaker 3>band Ike in the Ike gets Right featuring Tina Turner.

0:52:01.520 --> 0:52:05.120
<v Speaker 4>Like, like we're talking, Ike is the control freak of

0:52:05.200 --> 0:52:06.440
<v Speaker 4>control freaks, and.

0:52:06.880 --> 0:52:11.040
<v Speaker 8>He's submissive to this weird little guy Sophie.

0:52:11.080 --> 0:52:14.200
<v Speaker 3>In the beginning, we asked, we asked this question, why

0:52:14.400 --> 0:52:18.160
<v Speaker 3>do we allow people to be horrible and shitty and

0:52:18.560 --> 0:52:20.320
<v Speaker 3>just because they can make a really cool it's the

0:52:20.440 --> 0:52:23.680
<v Speaker 3>same that, it's the same world. Why why do those

0:52:23.760 --> 0:52:27.320
<v Speaker 3>people allow this other person who's also shitty to to

0:52:28.040 --> 0:52:30.640
<v Speaker 3>get away with being in control of them? Because the

0:52:30.800 --> 0:52:35.040
<v Speaker 3>music industry, because you can write a good song, you're

0:52:35.200 --> 0:52:38.160
<v Speaker 3>you can get away with murder sort of not not

0:52:38.280 --> 0:52:43.480
<v Speaker 3>completely spoiler alert, and like do people like he is

0:52:44.000 --> 0:52:49.880
<v Speaker 3>visiness wearing that's missively wearing wings. Nobody is confused about this,

0:52:50.360 --> 0:52:53.279
<v Speaker 3>and he is wearing platform shoes. He has five foot three,

0:52:53.320 --> 0:52:56.560
<v Speaker 3>he's wearing platform shoes that barely make him five to five,

0:52:56.640 --> 0:52:59.600
<v Speaker 3>which is still really really sure.

0:53:00.280 --> 0:53:05.560
<v Speaker 2>Yeah, you know, no, Hi knows nothing wrong with it,

0:53:05.680 --> 0:53:07.520
<v Speaker 2>but it clearly is fucking with him.

0:53:07.760 --> 0:53:09.880
<v Speaker 9>I mean, this is this is what pops up when

0:53:09.920 --> 0:53:12.399
<v Speaker 9>I searched Phil Spector in nineteen sixty six.

0:53:12.680 --> 0:53:17.640
<v Speaker 2>Okay, look at that. Oh no, the glasses, the days

0:53:17.719 --> 0:53:19.760
<v Speaker 2>diamond glasses is amazing.

0:53:20.000 --> 0:53:21.279
<v Speaker 4>This is a little early for this.

0:53:21.719 --> 0:53:25.120
<v Speaker 3>Those glasses are honestly with but but I want to

0:53:25.160 --> 0:53:28.719
<v Speaker 3>share this picture real quick because this is also very important.

0:53:29.360 --> 0:53:33.160
<v Speaker 4>Robert, Oh god, I have been waiting to show you

0:53:33.320 --> 0:53:34.719
<v Speaker 4>this picture. I can't wait.

0:53:34.760 --> 0:53:35.239
<v Speaker 2>This is so good.

0:53:35.320 --> 0:53:38.600
<v Speaker 3>All right, So this is Phil Spector in nineteen sixty six,

0:53:38.640 --> 0:53:40.759
<v Speaker 3>around the same time. Around the same time. This is

0:53:40.880 --> 0:53:44.960
<v Speaker 3>him with his his security guard, George Brandt. Oh my god.

0:53:45.200 --> 0:53:48.320
<v Speaker 2>So they're they're sitting in some sort of old timey

0:53:48.480 --> 0:53:52.880
<v Speaker 2>van and George Brandt like Phil is in George Brandt's lap.

0:53:53.000 --> 0:53:57.719
<v Speaker 2>He looks like a child because Phil's holding a gun

0:53:57.800 --> 0:53:59.920
<v Speaker 2>and pointing it out the window, and he's got like

0:54:00.160 --> 0:54:02.960
<v Speaker 2>a fucking like, what what's that?

0:54:03.280 --> 0:54:06.439
<v Speaker 3>It looks like a labrador or like like like a dog,

0:54:06.640 --> 0:54:09.839
<v Speaker 3>like what a poodle? Like a poodle hair situation going

0:54:09.920 --> 0:54:11.279
<v Speaker 3>on my head like a.

0:54:14.840 --> 0:54:15.040
<v Speaker 7>Gun.

0:54:15.520 --> 0:54:18.640
<v Speaker 2>And his bodyguard has his arm around Phil and is

0:54:18.719 --> 0:54:21.759
<v Speaker 2>like holding him in place. And his hand is like

0:54:22.000 --> 0:54:25.279
<v Speaker 2>as big as both of Phil's hands put together like

0:54:25.480 --> 0:54:29.760
<v Speaker 2>one hand. Like this contrast between the two men is jarring.

0:54:29.960 --> 0:54:32.040
<v Speaker 8>It's like the flappy hats.

0:54:33.080 --> 0:54:39.480
<v Speaker 3>Incredible. Yeah, it is very It is so incredible. I

0:54:39.680 --> 0:54:42.600
<v Speaker 3>cannot believe that he took that picture.

0:54:42.400 --> 0:54:45.640
<v Speaker 4>And was like, yeah, print that ship.

0:54:47.600 --> 0:54:47.960
<v Speaker 2>Crazy.

0:54:48.120 --> 0:54:49.040
<v Speaker 4>It's so funny.

0:54:49.360 --> 0:54:52.640
<v Speaker 3>He's he's a tiny person that really gives you like

0:54:52.880 --> 0:54:53.919
<v Speaker 3>a perspective.

0:54:54.080 --> 0:54:57.399
<v Speaker 2>He's look very silly posing with a gun.

0:54:57.560 --> 0:55:00.200
<v Speaker 3>George brand This is George Brandon. George Brand is a

0:55:00.320 --> 0:55:02.600
<v Speaker 3>kind of big. He's like six' one or something like that,

0:55:02.960 --> 0:55:04.840
<v Speaker 3>but he's not that's not huge.

0:55:04.920 --> 0:55:07.200
<v Speaker 4>That's me. I'm six foot, you know, he's like my.

0:55:07.400 --> 0:55:10.120
<v Speaker 2>Size, but he looks like a giant compared to him.

0:55:11.719 --> 0:55:17.640
<v Speaker 8>Ike Turner and Sonny bowing to him in submission.

0:55:17.719 --> 0:55:22.360
<v Speaker 3>That's crazy, yes, yeah, yes, but that's the power of

0:55:22.920 --> 0:55:26.200
<v Speaker 3>a hit maker. That's the power of pretty cool. It's

0:55:26.280 --> 0:55:29.520
<v Speaker 3>like somebody who's controlling the industry and that kind of

0:55:29.600 --> 0:55:34.160
<v Speaker 3>power is But as I said, uh, this this uh

0:55:34.640 --> 0:55:36.960
<v Speaker 3>well I didn't say it, but spoiler alert, it doesn't

0:55:37.000 --> 0:55:40.600
<v Speaker 3>last long. He produced this river, deep, Mountain, dit high

0:55:40.640 --> 0:55:44.239
<v Speaker 3>for Tina Turner. And he spends enormous amount of money.

0:55:44.280 --> 0:55:46.360
<v Speaker 3>This is signed to his lebel to the Phyllis records.

0:55:46.719 --> 0:55:46.839
<v Speaker 2>Uh.

0:55:46.960 --> 0:55:50.560
<v Speaker 3>And he he spends a ton of money, right, emotional energy,

0:55:51.280 --> 0:55:54.680
<v Speaker 3>just everything. Time, he puts everything. This is his magno opus,

0:55:54.840 --> 0:55:58.239
<v Speaker 3>This is his his his thing, right he he thinks

0:55:58.239 --> 0:56:01.840
<v Speaker 3>it's the best thing he's ever done. Massive orchestration, intricate layering,

0:56:02.120 --> 0:56:05.280
<v Speaker 3>one of the most powerful vocal performances ever recorded. Spector

0:56:05.360 --> 0:56:08.239
<v Speaker 3>later described it as the greatest work of his career. Yeah,

0:56:08.480 --> 0:56:10.920
<v Speaker 3>in the United States, it failed miserably.

0:56:11.160 --> 0:56:12.480
<v Speaker 2>That's so wild.

0:56:13.120 --> 0:56:17.520
<v Speaker 4>It fails horribly. Now, Yeah, Spector says. Spector's belief and

0:56:17.880 --> 0:56:18.759
<v Speaker 4>a lot of people's belief.

0:56:18.760 --> 0:56:21.120
<v Speaker 3>I've heard a lot of opinions on this, but the

0:56:21.200 --> 0:56:24.719
<v Speaker 3>belief is generally it was too white for black audiences

0:56:24.800 --> 0:56:27.920
<v Speaker 3>and too black for white audiences. It was that rare

0:56:28.080 --> 0:56:30.719
<v Speaker 3>moment of in between. It had orchestration, and but it

0:56:30.800 --> 0:56:33.840
<v Speaker 3>had Tina. But it had wall of sound mud, but

0:56:33.960 --> 0:56:36.279
<v Speaker 3>it had Tina. But you know, it's like it's like

0:56:36.520 --> 0:56:40.240
<v Speaker 3>it was so confusing for DJs at the time because

0:56:40.280 --> 0:56:42.960
<v Speaker 3>you either played race records or you played white records,

0:56:43.040 --> 0:56:43.520
<v Speaker 3>and that was it.

0:56:43.800 --> 0:56:46.200
<v Speaker 4>Like it was like where does this fall? We don't know.

0:56:46.320 --> 0:56:50.279
<v Speaker 3>Phil Spector is taking this to a logical like conclusion,

0:56:50.400 --> 0:56:51.719
<v Speaker 3>but it it just doesn't hit.

0:56:52.239 --> 0:56:56.080
<v Speaker 2>Yeah this it did.

0:56:56.239 --> 0:56:58.160
<v Speaker 3>It did have success in the United Kingdom. In the UK,

0:56:58.440 --> 0:57:03.279
<v Speaker 3>it did chart, but the domestic rejection just devastated him.

0:57:03.360 --> 0:57:05.840
<v Speaker 3>For a man who equated control with emotional safety, the

0:57:05.880 --> 0:57:09.200
<v Speaker 3>failure felt deeply personal. If he could not guarantee success

0:57:09.239 --> 0:57:12.200
<v Speaker 3>through perfection, then his entire identity as a producer was

0:57:12.239 --> 0:57:13.480
<v Speaker 3>suddenly unstable.

0:57:13.600 --> 0:57:17.440
<v Speaker 4>Right, So this this breaks him, Like this is the

0:57:17.720 --> 0:57:18.680
<v Speaker 4>breaking point.

0:57:18.720 --> 0:57:21.720
<v Speaker 3>It he He takes out a full page ad in

0:57:21.800 --> 0:57:25.520
<v Speaker 3>a newspaper in America saying Benedict Arnold was right.

0:57:26.680 --> 0:57:30.840
<v Speaker 4>Whoa, yeah, because England liked it in America didn't.

0:57:30.880 --> 0:57:35.680
<v Speaker 2>Whoa, That's nuts. That's a crazy place for your head

0:57:35.760 --> 0:57:41.240
<v Speaker 2>to go, right, okay, bro.

0:57:42.720 --> 0:57:46.720
<v Speaker 3>So after that, everybody's like, Okay, well we're not spinning

0:57:46.760 --> 0:57:49.440
<v Speaker 3>this record anymore. This dude just called us all traders,

0:57:49.520 --> 0:57:52.360
<v Speaker 3>like he said, he said, England should have won the war.

0:57:52.600 --> 0:57:54.680
<v Speaker 2>But yeah, that guy Little.

0:57:57.040 --> 0:58:00.200
<v Speaker 4>So Fill's failure with River Deep Mountain High calls him

0:58:00.200 --> 0:58:01.360
<v Speaker 4>to pull out of music completely.

0:58:01.640 --> 0:58:04.600
<v Speaker 3>He announced his retirement from music and spent the days

0:58:04.640 --> 0:58:06.960
<v Speaker 3>wandering around his mansion, desponded and depressed.

0:58:07.280 --> 0:58:09.000
<v Speaker 4>This is a common theme with Phil as well. He

0:58:09.040 --> 0:58:11.680
<v Speaker 4>spends a lot of time wandering around his mansion depressed.

0:58:12.640 --> 0:58:16.720
<v Speaker 3>Dennis Hopper was actually chronicling the process of making River

0:58:16.800 --> 0:58:19.640
<v Speaker 3>Deep Mountain High. He was doing like a documentary film

0:58:20.040 --> 0:58:23.960
<v Speaker 3>on the process, and because he'd been around, he saw

0:58:24.120 --> 0:58:26.040
<v Speaker 3>this and how it reacted Phil. He offers Phil a

0:58:26.120 --> 0:58:28.840
<v Speaker 3>job playing a drug dealer, an easy rider, which is

0:58:28.880 --> 0:58:34.240
<v Speaker 3>an amazing, amazing film, amazing role. They said literally, they're like, yeah,

0:58:34.240 --> 0:58:36.680
<v Speaker 3>we get him. We let him be an easy writer.

0:58:37.920 --> 0:58:40.439
<v Speaker 3>The story I read framed it as like, oh yeah,

0:58:40.480 --> 0:58:41.880
<v Speaker 3>you know, like it'll pick him up, it'll make him

0:58:41.920 --> 0:58:42.280
<v Speaker 3>feel better.

0:58:42.400 --> 0:58:42.600
<v Speaker 2>Yeah.

0:58:43.600 --> 0:58:46.040
<v Speaker 3>But then when you actually hear, like the Dennis Hopper interview,

0:58:46.080 --> 0:58:47.720
<v Speaker 3>he's like, yeah, he had a Rolls Royce and he

0:58:47.760 --> 0:58:48.520
<v Speaker 3>would let us use it.

0:58:49.440 --> 0:58:50.600
<v Speaker 4>We'd put him in the movie.

0:58:51.320 --> 0:58:53.400
<v Speaker 2>We couldn't afford it. Otherwise it was easy writer.

0:58:53.680 --> 0:58:57.880
<v Speaker 4>You know, we're like money five thousand dollars.

0:59:01.480 --> 0:59:03.440
<v Speaker 3>So other than that, other than his time on Easy Rider,

0:59:03.440 --> 0:59:05.440
<v Speaker 3>he spend most of his time playing pool and often

0:59:05.520 --> 0:59:06.960
<v Speaker 3>hanging with his friend Lenny Bruce.

0:59:07.040 --> 0:59:09.240
<v Speaker 4>Are you familiar with Oh my god, Yeah, of course.

0:59:10.240 --> 0:59:13.439
<v Speaker 2>I mean Lenny Bruce was the inspired George Carlin. He's

0:59:13.560 --> 0:59:14.800
<v Speaker 2>kind of the er he's not.

0:59:15.040 --> 0:59:17.920
<v Speaker 3>He's like the first first stand up comic, but he's

0:59:17.960 --> 0:59:20.200
<v Speaker 3>like the first show some people say.

0:59:20.040 --> 0:59:22.080
<v Speaker 2>The first really good stand up comedian.

0:59:22.200 --> 0:59:24.920
<v Speaker 4>But yeah, yeah, yeah yeah, And big.

0:59:24.480 --> 0:59:29.840
<v Speaker 3>Dude Phil loves him, right, Phil just idolizes him.

0:59:29.880 --> 0:59:30.680
<v Speaker 4>He thinks he's amazing.

0:59:30.960 --> 0:59:33.360
<v Speaker 3>He's Phil Spector, so he's big enough to just be like, yeah,

0:59:33.560 --> 0:59:36.160
<v Speaker 3>just hanging. Lenny Bruce is, by the way, in his

0:59:36.240 --> 0:59:39.120
<v Speaker 3>personal life a massive pieces basically.

0:59:39.600 --> 0:59:41.400
<v Speaker 2>And horrible drug problems.

0:59:41.560 --> 0:59:45.000
<v Speaker 3>Yeah, horrible drug problems, horrible everything problems.

0:59:45.120 --> 0:59:46.360
<v Speaker 4>Lenny Bruce is a mess.

0:59:46.600 --> 0:59:50.760
<v Speaker 3>And for those of you who are not familiar with

0:59:50.840 --> 0:59:53.680
<v Speaker 3>Lenny Bruce, I if you look it up, you're going

0:59:53.760 --> 0:59:54.880
<v Speaker 3>to be a lot.

0:59:55.080 --> 0:59:57.440
<v Speaker 4>There's a lot of n word Lenny Bruce rants, is

0:59:57.520 --> 0:59:58.080
<v Speaker 4>what I'm saying.

0:59:58.480 --> 1:00:02.439
<v Speaker 9>Yeah, a lot of They also try to like fictionalize

1:00:02.520 --> 1:00:05.400
<v Speaker 9>romanticize him in that Marvelous Missus Masel show that was

1:00:05.480 --> 1:00:06.040
<v Speaker 9>on Amazon.

1:00:06.120 --> 1:00:08.200
<v Speaker 8>They make him a character in that and they make

1:00:08.320 --> 1:00:11.240
<v Speaker 8>him like this, like yeah, because.

1:00:11.000 --> 1:00:12.120
<v Speaker 4>He did not want.

1:00:14.440 --> 1:00:17.320
<v Speaker 2>Because of his influence on like comedy from a freedom

1:00:17.320 --> 1:00:20.600
<v Speaker 2>of speech standpoint, which he really did stand and pay for, yes,

1:00:20.720 --> 1:00:23.400
<v Speaker 2>but that they also whitewash a lot of like he was.

1:00:24.000 --> 1:00:29.000
<v Speaker 2>He was a messy motherfucker among comedians, and the medians

1:00:29.040 --> 1:00:30.400
<v Speaker 2>are almost all messy.

1:00:30.880 --> 1:00:34.080
<v Speaker 3>There's a lot of stories about him showing up at

1:00:34.120 --> 1:00:37.200
<v Speaker 3>Phil's house and like and like, you know, Phil having

1:00:37.240 --> 1:00:39.600
<v Speaker 3>to like basically kick him out and be like and

1:00:39.760 --> 1:00:42.760
<v Speaker 3>apologize to his guests. Phil, Phil, the guy who held

1:00:42.800 --> 1:00:45.919
<v Speaker 3>people at gunpoint, waved guns around, had to be like, yeah, guys, sorry,

1:00:46.000 --> 1:00:46.720
<v Speaker 3>Lenny's messy.

1:00:47.560 --> 1:00:51.800
<v Speaker 4>Yeah, yeah, Lenny's messy.

1:00:51.920 --> 1:00:52.200
<v Speaker 7>Guys.

1:00:52.360 --> 1:00:54.960
<v Speaker 2>You know, you know, he's my friend. Doesn't always use

1:00:55.000 --> 1:00:58.920
<v Speaker 2>the right terms. He can be kind of in appropriate,

1:01:00.200 --> 1:01:00.560
<v Speaker 2>all right.

1:01:00.720 --> 1:01:02.880
<v Speaker 3>So the two men bonded over a shared sense of

1:01:02.960 --> 1:01:08.560
<v Speaker 3>being misunderstood outsiders navigating industries that simultaneously rewarded and rejected them,

1:01:08.760 --> 1:01:12.919
<v Speaker 3>which is extremely valid. They're both kind of outsiders while

1:01:13.000 --> 1:01:16.280
<v Speaker 3>also being like praised and glorified.

1:01:15.880 --> 1:01:18.280
<v Speaker 2>Also kind of at the top of their their careers.

1:01:19.200 --> 1:01:20.320
<v Speaker 4>It's very strange.

1:01:21.520 --> 1:01:24.840
<v Speaker 3>Bruce admired Spector's musical intensity Inspector appeared to be drawn

1:01:24.840 --> 1:01:28.440
<v Speaker 3>to Bruce's defiant rejection of authority and social norms. He

1:01:28.640 --> 1:01:31.880
<v Speaker 3>quotes Lenny Bruce all the time. He'll Lenny Bruce says.

1:01:32.040 --> 1:01:34.360
<v Speaker 3>You know, it's like always how he goes. He loves

1:01:34.400 --> 1:01:39.240
<v Speaker 3>Lenny Bruce. He loves Lenny Bruce so much that Phil

1:01:39.400 --> 1:01:42.880
<v Speaker 3>keeps a blown up image of Lenny Bruce above his bed.

1:01:43.720 --> 1:01:45.000
<v Speaker 3>What oh what.

1:01:46.680 --> 1:01:48.080
<v Speaker 4>Ronnie? Ronnie?

1:01:51.200 --> 1:02:00.520
<v Speaker 2>Oh okay, so where is guy and Wasted together? Okay, yeah,

1:02:00.560 --> 1:02:02.160
<v Speaker 2>it's weird, Okay.

1:02:03.200 --> 1:02:05.560
<v Speaker 3>I like when I wrote this, I literally had this

1:02:05.720 --> 1:02:08.160
<v Speaker 3>like funny mental image of me having me having a

1:02:08.280 --> 1:02:11.680
<v Speaker 3>Robert Evans above my bed and like your shirtless, you know,

1:02:12.080 --> 1:02:15.920
<v Speaker 3>like just like just like you know, over the shoulder

1:02:16.080 --> 1:02:18.440
<v Speaker 3>kind of look, you know, just like I just I

1:02:18.600 --> 1:02:20.040
<v Speaker 3>was like, yes, dude, that's how I want.

1:02:19.960 --> 1:02:22.840
<v Speaker 4>My relationship with Robert to be. Is like like like

1:02:23.320 --> 1:02:24.880
<v Speaker 4>quasi sexual.

1:02:24.520 --> 1:02:28.440
<v Speaker 2>And relationship absolutely.

1:02:29.400 --> 1:02:30.040
<v Speaker 8>My goodness.

1:02:30.520 --> 1:02:34.200
<v Speaker 3>So, so Specters get he gets his belief that he's

1:02:34.720 --> 1:02:36.760
<v Speaker 3>existing outside of conventional society.

1:02:36.800 --> 1:02:37.880
<v Speaker 4>By hanging out with Lenny Bruce.

1:02:37.960 --> 1:02:41.120
<v Speaker 3>It validates that for him, you know, and that society

1:02:41.280 --> 1:02:44.720
<v Speaker 3>just didn't understand him. This is why River Deep Mountain

1:02:44.800 --> 1:02:46.960
<v Speaker 3>High failed. It's just like Lenny Bruce, right, It's like

1:02:47.360 --> 1:02:49.960
<v Speaker 3>society just doesn't get how important this is.

1:02:52.000 --> 1:02:54.320
<v Speaker 8>But then but then Lenny Lenny dies.

1:02:54.920 --> 1:02:56.400
<v Speaker 4>But then Lenny Bruce does die.

1:02:56.480 --> 1:02:59.919
<v Speaker 2>Doesn't have a long life expectancy. It's a Lenny Bruce type.

1:03:00.480 --> 1:03:03.440
<v Speaker 3>On August third, nineteen sixty six, Lenny was found on

1:03:03.520 --> 1:03:05.400
<v Speaker 3>the floor of his bathroom with his pants around his

1:03:05.480 --> 1:03:08.919
<v Speaker 3>ankles and a needle stuck in his arm. Yeah, yeah,

1:03:09.200 --> 1:03:13.680
<v Speaker 3>that's how that that goes, right. He died of an overdose.

1:03:14.280 --> 1:03:16.560
<v Speaker 3>He died in an overdose on the toilet, which is

1:03:16.960 --> 1:03:20.720
<v Speaker 3>very Elvis and sad. Very I mean Bruce said, yeah,

1:03:21.280 --> 1:03:24.320
<v Speaker 3>very Lenny Bruce. Yeah, Lenny Bruce was the original Lenny

1:03:24.320 --> 1:03:25.720
<v Speaker 3>brucey od died on the toilet.

1:03:26.120 --> 1:03:26.360
<v Speaker 4>Yeah.

1:03:27.920 --> 1:03:31.120
<v Speaker 3>So Phil was devastated to lose his friend. He's so

1:03:31.320 --> 1:03:35.280
<v Speaker 3>sad about this and again mopes around the house for days,

1:03:35.400 --> 1:03:38.720
<v Speaker 3>you know. But a few days later, a cop shows

1:03:38.840 --> 1:03:42.400
<v Speaker 3>up at his I think it was his lawyer's house.

1:03:42.520 --> 1:03:44.320
<v Speaker 3>It might have it is either his friend or a lawyer.

1:03:44.360 --> 1:03:47.320
<v Speaker 3>But cop shows up and says, hey, I got I

1:03:47.360 --> 1:03:49.920
<v Speaker 3>got these pictures of Lenny Bruce from the crime scene.

1:03:50.760 --> 1:03:53.280
<v Speaker 3>Either you buy him or I'm selling them to the tabloids. Right,

1:03:53.800 --> 1:03:57.240
<v Speaker 3>and so Phil spent five k of his own money

1:03:57.400 --> 1:03:59.760
<v Speaker 3>just he purchased him. Spent five thousand dollars of his

1:03:59.800 --> 1:04:00.920
<v Speaker 3>own money, which at that time is.

1:04:01.000 --> 1:04:02.600
<v Speaker 2>Like a house. Yeah, that's a lot of money.

1:04:02.880 --> 1:04:05.760
<v Speaker 3>Yeah, you know, spends five thousand dollars of his own

1:04:05.840 --> 1:04:08.840
<v Speaker 3>money to purchase those photos to keep them out of

1:04:08.880 --> 1:04:09.200
<v Speaker 3>the press.

1:04:10.640 --> 1:04:14.600
<v Speaker 4>He also paid for Lenny's funeral, and then after Lenny's funeral.

1:04:14.440 --> 1:04:16.680
<v Speaker 3>He locked himself in his house for weeks on end

1:04:17.400 --> 1:04:19.520
<v Speaker 3>and didn't talk to anybody because he was so depressed

1:04:19.520 --> 1:04:20.400
<v Speaker 3>at the loss of his friend.

1:04:22.280 --> 1:04:23.480
<v Speaker 4>That's one of those real.

1:04:24.920 --> 1:04:28.200
<v Speaker 2>He is capable of deeply caring for someone, and it's

1:04:28.320 --> 1:04:28.960
<v Speaker 2>Lenny Bruce.

1:04:29.920 --> 1:04:32.640
<v Speaker 4>Yeah, exactly, That's what I'm saying.

1:04:32.640 --> 1:04:35.880
<v Speaker 3>It's like, it's a really weird moment because you're like, yeah,

1:04:35.960 --> 1:04:37.120
<v Speaker 3>that's sad, but also.

1:04:37.280 --> 1:04:40.760
<v Speaker 2>This is the first really human emotion we've gotten. Yeah,

1:04:40.840 --> 1:04:44.640
<v Speaker 2>like yeah, okay, interesting, but also huh, you.

1:04:44.760 --> 1:04:48.080
<v Speaker 4>Know back to Ronnie.

1:04:48.200 --> 1:04:53.520
<v Speaker 3>Right, Ronnie's mom finally is like, you guys aren't really married, right,

1:04:54.080 --> 1:04:56.880
<v Speaker 3>So so she's like, you're not living with somebody if

1:04:56.920 --> 1:04:59.080
<v Speaker 3>you're not married to them. She like uses her mind

1:04:59.120 --> 1:05:01.160
<v Speaker 3>over the whole thing. Yeah, She's like, you guys need

1:05:01.240 --> 1:05:05.200
<v Speaker 3>to get married, right. So Phil, you know, he still

1:05:05.240 --> 1:05:07.280
<v Speaker 3>lies to her. He tries like lie, but she comes

1:05:07.320 --> 1:05:09.360
<v Speaker 3>out to California and she's like, nope, don't believe you.

1:05:09.640 --> 1:05:11.680
<v Speaker 3>And see she takes Ronnie and makes her move back

1:05:12.000 --> 1:05:14.360
<v Speaker 3>to New York, which is again very crazy. This is

1:05:14.400 --> 1:05:17.240
<v Speaker 3>like an era where being twenty one is actually what's

1:05:17.320 --> 1:05:19.400
<v Speaker 3>considered an adult at this time. I mean it kind

1:05:19.440 --> 1:05:21.200
<v Speaker 3>of still is a little bit, but in the manner

1:05:21.240 --> 1:05:23.040
<v Speaker 3>of like if you were under twenty one, you could

1:05:23.040 --> 1:05:26.600
<v Speaker 3>actually be told what to do by your parents. Right. Still, yeah,

1:05:26.640 --> 1:05:29.360
<v Speaker 3>you're not really and also no money and all sorts

1:05:29.360 --> 1:05:32.680
<v Speaker 3>of shit anyway, so she forced her to move back

1:05:32.720 --> 1:05:35.320
<v Speaker 3>to New York. Ronnie hates being in New York. She

1:05:35.360 --> 1:05:37.440
<v Speaker 3>hates being around her relatives. She feels like they're all

1:05:37.520 --> 1:05:40.920
<v Speaker 3>like gold diggers kind of, and she wants to get

1:05:40.960 --> 1:05:43.400
<v Speaker 3>back to California. So Phil comes and rescues her and

1:05:43.720 --> 1:05:46.480
<v Speaker 3>takes her back to California. But as soon as they

1:05:46.560 --> 1:05:48.840
<v Speaker 3>get back, he gets right back into being jealous, you know,

1:05:50.280 --> 1:05:53.160
<v Speaker 3>And it wasn't until she threatens to leave him that.

1:05:53.400 --> 1:05:55.160
<v Speaker 4>He finally does commit to marrying her.

1:05:55.720 --> 1:06:00.360
<v Speaker 3>Ah they're planning to be married on April fourteenth. Okay

1:06:00.480 --> 1:06:05.080
<v Speaker 3>was shot and killed on April fourth and Phil goes

1:06:05.120 --> 1:06:09.800
<v Speaker 3>into a despair. Super common Phil anytime somebody famous dies

1:06:09.840 --> 1:06:13.720
<v Speaker 3>that he has had any association with at all, which

1:06:13.800 --> 1:06:17.440
<v Speaker 3>does happen a lot, you know sixties, in all, he

1:06:17.800 --> 1:06:20.800
<v Speaker 3>falls into like these horrible depressive states where he just

1:06:20.840 --> 1:06:24.160
<v Speaker 3>like mopes around. He was just playing MLK speeches on

1:06:24.360 --> 1:06:26.840
<v Speaker 3>repeat in his house at like top volume, which I'm

1:06:26.840 --> 1:06:29.720
<v Speaker 3>sure he had a killer stereo, right, he's perspective, So

1:06:30.080 --> 1:06:33.320
<v Speaker 3>he's just blasting MLK speeches at like top volume in

1:06:33.440 --> 1:06:35.920
<v Speaker 3>his house and like crying in the living room. It's

1:06:35.960 --> 1:06:39.919
<v Speaker 3>like super crazy, which brings me to a point about

1:06:39.920 --> 1:06:41.840
<v Speaker 3>Phil that I think is super interesting. For all of

1:06:41.920 --> 1:06:46.680
<v Speaker 3>Phil's flaws, racism is neuterous, not once, not ever. He

1:06:46.920 --> 1:06:50.240
<v Speaker 3>is always when we look at these relationships, it's like

1:06:50.320 --> 1:06:52.680
<v Speaker 3>it is always black girl groups that he's like, you know,

1:06:52.880 --> 1:06:56.120
<v Speaker 3>doing this abuse to. But black is never really like

1:06:56.200 --> 1:06:59.120
<v Speaker 3>a consideration. It is women that is the consideration that

1:06:59.360 --> 1:07:01.960
<v Speaker 3>like is an issue with women. For as awful as

1:07:02.040 --> 1:07:06.680
<v Speaker 3>he is, he's never awful about black people. He loves

1:07:06.760 --> 1:07:09.800
<v Speaker 3>black people. In fact, Ronnie thinks that he wished he

1:07:09.960 --> 1:07:10.360
<v Speaker 3>was black.

1:07:11.000 --> 1:07:15.280
<v Speaker 2>Yeah, and he he cried, cried given him like the

1:07:15.400 --> 1:07:17.880
<v Speaker 2>industry he's in at the time. Yeah, okay, yeah, that

1:07:17.960 --> 1:07:19.400
<v Speaker 2>makes sense. Actually. Yeah.

1:07:19.720 --> 1:07:22.600
<v Speaker 3>So he eventually snaps out of his depression and they

1:07:23.000 --> 1:07:25.040
<v Speaker 3>return to their wedding plans. They get married on the fourteenth.

1:07:25.080 --> 1:07:27.440
<v Speaker 3>The marriage itself was performed at a Justice of the

1:07:27.480 --> 1:07:31.560
<v Speaker 3>Peace ceremony. They know, for a millionaire record producer, he doesn't.

1:07:31.600 --> 1:07:33.200
<v Speaker 3>He half asses the hell out of it. He does

1:07:33.440 --> 1:07:35.680
<v Speaker 3>justice to the peace, and as someone who's done a

1:07:35.680 --> 1:07:37.400
<v Speaker 3>couple of Justice of the Peace marriages, you know, I

1:07:37.520 --> 1:07:38.280
<v Speaker 3>get it right.

1:07:38.680 --> 1:07:40.400
<v Speaker 4>Sometimes I just want to get it over with, you know,

1:07:40.640 --> 1:07:41.720
<v Speaker 4>I got stuff to do today.

1:07:42.040 --> 1:07:42.200
<v Speaker 2>Yeah.

1:07:42.600 --> 1:07:46.600
<v Speaker 4>One his chauffeur's brother was his best man.

1:07:48.160 --> 1:07:50.320
<v Speaker 3>After the wedding, they celebrated by going to a concert,

1:07:50.560 --> 1:07:52.600
<v Speaker 3>and then Phil sent Ronnie and her mother home with

1:07:52.680 --> 1:07:55.680
<v Speaker 3>his driver and went to visit his mother out of

1:07:55.800 --> 1:07:57.960
<v Speaker 3>guilt of not having told her about the wedding.

1:07:58.040 --> 1:07:59.280
<v Speaker 4>So he feels bad.

1:08:00.000 --> 1:08:02.840
<v Speaker 3>He's like, oh, actually, I can't believe I didn't tell

1:08:02.840 --> 1:08:05.000
<v Speaker 3>my mom about the wedding. I should have told her

1:08:05.040 --> 1:08:08.400
<v Speaker 3>about this, right, So I probably should have done that.

1:08:08.600 --> 1:08:11.480
<v Speaker 3>So he goes right, and Ronnie and her mom go

1:08:11.600 --> 1:08:12.240
<v Speaker 3>back to the house.

1:08:12.520 --> 1:08:12.640
<v Speaker 7>Right.

1:08:13.520 --> 1:08:16.080
<v Speaker 3>Ronnie goes home. She puts on some lingerie. She gets

1:08:16.280 --> 1:08:18.240
<v Speaker 3>wedding night. Bro We wedding night, you know.

1:08:18.439 --> 1:08:21.960
<v Speaker 4>She gets all up and she waits and waits and

1:08:22.040 --> 1:08:23.280
<v Speaker 4>waits and waits. Ho always go by.

1:08:23.360 --> 1:08:27.439
<v Speaker 3>Phil does not come back, and she's like, uh, okay,

1:08:27.560 --> 1:08:30.880
<v Speaker 3>well the hell. Finally he returns home, laid his hell,

1:08:31.200 --> 1:08:34.639
<v Speaker 3>drunk his hell, and he's mad. He walked into our room,

1:08:34.720 --> 1:08:36.479
<v Speaker 3>she says. This is from her book, Be My Baby.

1:08:36.960 --> 1:08:39.120
<v Speaker 3>Quote he when he walked into our room, I could

1:08:39.160 --> 1:08:41.639
<v Speaker 3>tell the last thing he was interested in was my body.

1:08:41.800 --> 1:08:43.559
<v Speaker 4>Remember she's wearing lingerie and everything.

1:08:44.040 --> 1:08:45.960
<v Speaker 3>He was a completely different person than the man I

1:08:46.040 --> 1:08:49.280
<v Speaker 3>had sat with at the concert three hours earlier. You bitch,

1:08:49.360 --> 1:08:51.920
<v Speaker 3>he shouted. I couldn't believe how mad he looked, and

1:08:52.080 --> 1:08:54.560
<v Speaker 3>worse than I'd ever seen him. He was raving so

1:08:54.720 --> 1:08:57.040
<v Speaker 3>loud that the veins in his neck were bulging blue.

1:08:57.560 --> 1:09:00.599
<v Speaker 3>I know your game, Veronica, he shouted, You just want

1:09:00.680 --> 1:09:01.120
<v Speaker 3>my money.

1:09:01.479 --> 1:09:02.400
<v Speaker 4>That is it, isn't it.

1:09:02.800 --> 1:09:04.479
<v Speaker 3>I was so scared that I got up and ran

1:09:04.640 --> 1:09:06.840
<v Speaker 3>out of the bedroom and into the hallway. If Phil

1:09:06.960 --> 1:09:08.760
<v Speaker 3>was going to kill me, I wanted him to do

1:09:08.880 --> 1:09:12.600
<v Speaker 3>it where there might be witnesses. What's wrong, Phil, what

1:09:12.680 --> 1:09:15.240
<v Speaker 3>did your mother tell you the truth? He panted that

1:09:15.400 --> 1:09:18.240
<v Speaker 3>this whole marriage is about one thing, my money. He

1:09:18.439 --> 1:09:20.760
<v Speaker 3>was so mad he could barely catch his breath. Now,

1:09:22.080 --> 1:09:24.840
<v Speaker 3>Ronnie and her mother locked themselves inside a bathroom for hours,

1:09:24.960 --> 1:09:27.360
<v Speaker 3>hiding from Phil's rage and unpredictable behavior.

1:09:28.200 --> 1:09:28.519
<v Speaker 4>Quote.

1:09:29.160 --> 1:09:30.960
<v Speaker 3>My mother and I had been living on that pale

1:09:30.960 --> 1:09:33.320
<v Speaker 3>blue carpet for over an hour when Phil finally warm

1:09:33.360 --> 1:09:36.080
<v Speaker 3>himself out and went to bed. After that, we got

1:09:36.160 --> 1:09:38.880
<v Speaker 3>kind of drowsy ourselves. I was just drifting off to

1:09:38.960 --> 1:09:42.160
<v Speaker 3>sleep when I heard my mother sigh. Ronnie, Ronnie, Ronnie,

1:09:42.320 --> 1:09:45.040
<v Speaker 3>what did you marry? I moved in close to her,

1:09:45.080 --> 1:09:48.120
<v Speaker 3>and I started to cry. Isn't this something I sniffed here?

1:09:48.200 --> 1:09:50.120
<v Speaker 3>It is my wedding night, and I'm spending it curled

1:09:50.160 --> 1:09:51.639
<v Speaker 3>up on the bathroom floor with my mother.

1:09:52.680 --> 1:09:53.080
<v Speaker 2>Geez.

1:09:54.560 --> 1:09:58.439
<v Speaker 4>So it is her wedding day, her wedding day, her

1:09:58.600 --> 1:09:59.439
<v Speaker 4>wedding day.

1:09:59.560 --> 1:10:01.719
<v Speaker 3>He goes to a show and then he comes home drunk,

1:10:01.880 --> 1:10:05.360
<v Speaker 3>drops her off, comes home drunk, screaming and threatening her.

1:10:05.439 --> 1:10:09.280
<v Speaker 3>An hour, he spent an hour banging on the bathroom door,

1:10:09.400 --> 1:10:12.639
<v Speaker 3>threatening her, screaming, at her with her and her mom

1:10:12.960 --> 1:10:16.720
<v Speaker 3>just in the bathroom, cut it up on the floor crying.

1:10:18.920 --> 1:10:24.080
<v Speaker 4>And that extremely happy moment. Cool is where we will

1:10:24.200 --> 1:10:25.240
<v Speaker 4>leave this episode.

1:10:25.560 --> 1:10:28.759
<v Speaker 2>That's Part two Baby, Part two Dune.

1:10:29.560 --> 1:10:32.760
<v Speaker 3>I am greasy will you can find me all over

1:10:32.840 --> 1:10:35.240
<v Speaker 3>the internet. I have lots of things for sale if

1:10:35.280 --> 1:10:37.960
<v Speaker 3>you ever want to buy them. And it is the

1:10:38.040 --> 1:10:43.400
<v Speaker 3>same thing. You're supporting people's you're supporting people's livelihoods. Yes,

1:10:43.960 --> 1:10:47.280
<v Speaker 3>my assistants they're drug free, so you know when I

1:10:47.400 --> 1:10:50.640
<v Speaker 3>pay them money, it's not going to drugs. That is right.

1:10:51.680 --> 1:10:53.840
<v Speaker 4>That is super courteous. That's the best you can say

1:10:53.840 --> 1:10:54.519
<v Speaker 4>about anybody.

1:10:54.640 --> 1:10:56.680
<v Speaker 2>That's right. That's right. Whereas I take all of my

1:10:56.840 --> 1:10:59.960
<v Speaker 2>profits and hand them out underneath the bridge so that yeah,

1:11:00.040 --> 1:11:00.960
<v Speaker 2>we can buy drugs.

1:11:01.040 --> 1:11:03.560
<v Speaker 3>Not You might as well pay me in heroin, you know,

1:11:03.920 --> 1:11:05.680
<v Speaker 3>like just pay me in heroin.

1:11:05.479 --> 1:11:08.479
<v Speaker 2>Just because like strangers I give money to in heroin.

1:11:11.520 --> 1:11:15.200
<v Speaker 4>You are Robert Evans, my good friend and found it.

1:11:15.360 --> 1:11:19.560
<v Speaker 3>I write okay on the internet and also here Andrew

1:11:19.680 --> 1:11:20.280
<v Speaker 3>on Netflix.

1:11:20.360 --> 1:11:22.639
<v Speaker 4>On Netflix, you might be this on the Netflix.

1:11:22.880 --> 1:11:22.960
<v Speaker 9>Bro.

1:11:23.120 --> 1:11:25.599
<v Speaker 4>This is the closest I will ever come to success.

1:11:26.080 --> 1:11:29.920
<v Speaker 2>You could watch this watch another one of Netflix's classic

1:11:30.000 --> 1:11:34.120
<v Speaker 2>hit shows like whatever movie is out now.

1:11:34.040 --> 1:11:36.560
<v Speaker 3>That one about that pervert guy that kidnaps people and

1:11:36.680 --> 1:11:37.639
<v Speaker 3>keeps them in their basement.

1:11:38.000 --> 1:11:41.840
<v Speaker 2>Sure you could be watching the pervert next Wow.

1:11:45.400 --> 1:11:47.920
<v Speaker 8>Behind the Bastards is a production of cool Zone Media.

1:11:48.120 --> 1:11:50.800
<v Speaker 8>For more from cool Zone Media, visit our website cool

1:11:50.840 --> 1:11:54.000
<v Speaker 8>Zonemedia dot com or check us out on the iHeartRadio app,

1:11:54.040 --> 1:11:58.439
<v Speaker 8>Apple Podcasts, or wherever you get your podcasts. Full video episodes,

1:11:58.479 --> 1:12:01.080
<v Speaker 8>but Behind the Bastards are now streaming on Netflix, dropping

1:12:01.120 --> 1:12:03.960
<v Speaker 8>every Tuesday and Thursday. Kit remind me on Netflix you

1:12:04.040 --> 1:12:07.479
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1:12:07.600 --> 1:12:10.680
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1:12:10.880 --> 1:12:14.800
<v Speaker 8>slash at Behind the Bastards. We love about forty percent

1:12:14.880 --> 1:12:16.280
<v Speaker 8>of you, statistically speaking.