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Speaker 1: Ridiculous crime. It's a production of iHeartRadio.

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Speaker 2: Elizabeth got totally. You've been waiting in here all day.

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Speaker 3: With the lights out. My knees are killing me. I've

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Speaker 3: been under that console.

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Speaker 2: Why are you wearing a tiara?

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Speaker 3: Why not? Dude?

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Speaker 2: I mean, it looks good, but why aren't you wearing

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Speaker 2: that was a permanent marker?

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Speaker 3: Yeah, it's good.

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Speaker 2: Anyway, do you know what's ridiculous? Besides that?

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Speaker 3: I do now there is a listener. He's not ridiculous

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Speaker 3: in the slightest stever. Neither Steve Neither on Instagram. This

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Speaker 3: man he sent something in that I swear to you,

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Speaker 3: I thought was fake. There was just absolutely no way

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Speaker 3: in the world this could be real.

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Speaker 2: And then you got your team on it.

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Speaker 3: I got the team on it me two dogs, hamster

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Speaker 3: and a year old kid that I just found, you know,

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Speaker 3: walking to school.

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Speaker 2: Train circus monkey and only answers to Pierre.

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Speaker 3: You know Pierre, Yeah, okay, cool the crap. My crack

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Speaker 3: team and I mm hmm investigated this. It's true. This

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Speaker 3: exist is true. This is one hundred percent true.

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Speaker 2: I'm gonna have to take your word for it.

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Speaker 3: Like, okay, So here's here's the thing. When what do

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Speaker 3: you think of? When I say Tom Petty, I mean.

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Speaker 2: But I think of music videos? Yeah, specifically like ones

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Speaker 2: like about like you know.

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Speaker 3: Scenes of l A Don't come around here no more?

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Speaker 3: Oh yeah, but then like the free falling.

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Speaker 2: Free following. Yeah, what's the one with the Johnny is

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Speaker 2: a Dead woman? Oh yeah, that was later one? Crazy yeah,

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Speaker 2: crazy imagery that one.

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Speaker 3: Great videos, liked it, great songs, American.

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Speaker 2: Great songs, tragic end, Yes, this is it.

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Speaker 3: Wasn't too long ago. You know, he was another victim

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Speaker 3: of you knowventyl and, which is just the absolute devil.

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Speaker 3: So when you think of him, do you think of

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Speaker 3: any anything else? Like it's non music or video related.

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Speaker 4: Yes, I'm so sorry.

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Speaker 3: Do you do you think of like Marshmallows?

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Speaker 2: No? I know I don't, Elizabeth.

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Speaker 3: Moving on, do you think of a lot?

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Speaker 2: Nope? Still no, you should.

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Speaker 3: You should think of chocolate?

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Speaker 2: Back my tracks up and thank my Chocolate.

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Speaker 3: Nothing says chocolate, like Tom Petty, nothing, nothing, Florida. Nothing

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Speaker 3: says chocolate. So there's this company Chocolate.

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Speaker 2: Oh sure, sure, don't make me say that.

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Speaker 3: I'm not saying it right. Probably Okay, So they have

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Speaker 3: this collection of chocolate bars that are the it's a

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Speaker 3: mash up, a crossover Tom Petty Voge chocolate, and it's

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Speaker 3: a limited edition.

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Speaker 2: This is the chocolate company that takes certain body parts

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Speaker 2: and makes it.

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Speaker 3: Okay, there you know. This collection marries the world of

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Speaker 3: music with the art of chocolate making, offering an experience

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Speaker 3: that transcends the ordinary. Let me tell you what makes

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Speaker 3: this sound so horrible and fake?

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Speaker 2: Please do I'm gonna.

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Speaker 3: Read you about Chukla harmony.

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Speaker 2: Okay.

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Speaker 3: The magic of this chocolate collection lies in its unique

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Speaker 3: infusion process. So we're talking about Tom Petty and chocolate

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Speaker 3: and there's an infusion process.

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Speaker 2: Okay, I'm really hoping it's gonna be like some weed

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Speaker 2: butter or something.

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Speaker 3: As these bars gently make their way through the cooling tunnel,

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Speaker 3: they are serenaded with the timeless music of Tom Petty.

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Speaker 2: They're infused with the music.

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Speaker 3: This innovative technique is inspired by the belief that music

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Speaker 3: can influence the crystallization of chocolate, resulting in a product

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Speaker 3: that not only tastes extraordinary, but also embodies the spirit

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Speaker 3: and essence of Tom Petty's music.

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Speaker 2: So this is like the same science of like if

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Speaker 2: I whisper mean words to water it'll make ugly crystals

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Speaker 2: of ice.

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Speaker 3: It's sort of like like the movie like Water for chocolate,

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Speaker 3: like Tom Petty that I don't you think there's sort

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Speaker 3: of a sorrowful edge to Tom Petty.

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Speaker 2: It's going to be some bitter chocolate.

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Speaker 3: I don't like sad chocolate.

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Speaker 2: Yeah, that's gonna be some sad, bitter Florida chocolate.

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Speaker 3: They have three three flavors. Dark chocolate with sea salt

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Speaker 3: that reads sad, sad, Deep milk chocolate with marshmallow.

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Speaker 2: I'll go win some America, but go yeah.

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Speaker 3: That's that's more American girl. Yeah, and then deep milk

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Speaker 3: chocolate with crispy hazelnut.

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Speaker 2: I don't know what to make of that.

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Speaker 3: I don't mean either. But let me tell you something

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Speaker 3: Saren Saren Walter by Elizabeth c. D.

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Speaker 2: This is ridiculous. Oh I'll give you that one there.

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Speaker 2: It is Produce Your Day of mark one up for Elizabeth.

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Speaker 2: That's ridiculous.

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Speaker 3: A box set of it is fifty bucks. Otherwise they're

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Speaker 3: seven dollars a bar, which.

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Speaker 2: I didn't like the CD old CD long boxes.

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Speaker 3: Like almost almost. But yeah, and this's got like pretty

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Speaker 3: cool art.

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Speaker 2: But will kids be selling these at like public transportation

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Speaker 2: stations to raise money for the school, and then maybe

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Speaker 2: they'll get my seven.

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Speaker 3: Bugs in like Brooklyn.

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Speaker 2: Okay, cool, I'm going to do it. You got a second, Yeah,

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Speaker 2: of course I got some ridiculous for you. Okay. You

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Speaker 2: remember when you were young and dumb, you loved a

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Speaker 2: particular band. Oh sure, it doesn't matter what band. Picture

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Speaker 2: a band you loved, right, and even more specifically, picture

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Speaker 2: a single performer that you loved. Right, You're just like

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Speaker 2: I just longed and pined for them, right. Do you

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Speaker 2: ever have like a musical crush where you felt their

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Speaker 2: music so deeply in your bones, just like in every

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Speaker 2: fiber of your body that didn't say, a weak moment

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Speaker 2: maybe hmm, or maybe an emotional high. I don't know

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Speaker 2: which way you roll. You would dream a particular dream,

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Speaker 2: like what if I could literally kidnap that performer and

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Speaker 2: make them saying just for me?

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Speaker 5: Right?

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Speaker 2: I mean nothing weird or creepy, you know, it's just

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Speaker 2: like more like a Genie wish, really positive Disneyfied wish. Right?

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Speaker 3: Were you reading my journals? And you know what I

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Speaker 3: wanted to do to victimone's.

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Speaker 2: This is about to be Happy birthday, Elizabeth, I didn't know.

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Speaker 2: But if you could have one performer other than the

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Speaker 2: fabulous victimone play for you over a long weekend, who

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Speaker 2: would it be?

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Speaker 3: Elizabeth Victimone.

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Speaker 4: That's it.

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Speaker 2: That's it. Okay, that's your answer, your final answer. Well,

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Speaker 2: today I have a pair of stories for you, not

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Speaker 2: about Victim oone, but about people who did exactly that

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Speaker 2: to people other than Victim oone. They lived your dark dream.

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Speaker 4: Oh yeah, you're ready. I'm so ready.

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Speaker 2: This is Ridiculous Crime, a podcast about absurd and outrageous capers, heists,

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Speaker 2: and cons. It's always ninety nine percent murder free and

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Speaker 2: one ridiculous ridiculous. Hello, I feel like I should start over.

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Speaker 2: I feel like I may have set up to your

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Speaker 2: stories to sound kind of weird. We'll super creepy, right, yeah,

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Speaker 2: but not in the fun flirting way, but like truth

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Speaker 2: be told. These stories they're kind of weird, right, but

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Speaker 2: not like I want to wear your skin is a suit?

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Speaker 2: Kind of weird, you know, not that weird.

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Speaker 3: Please victim O one, let me wear.

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Speaker 2: Or like who did what to who? That kind of weird?

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Speaker 5: Right?

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Speaker 2: You love that kind of weird? Okay, so let's dive in.

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Speaker 3: I like all kinds of weird.

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Speaker 2: You kind of a weird girl, I am, You're a

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Speaker 2: maven of weird. Yeah. Well, anyway, what do you know

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Speaker 2: about Fats Waller?

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Speaker 3: Oh?

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Speaker 2: Wow, street name Fats Waller, government named Thomas Right Waller.

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Speaker 3: Uh, nothing in depth?

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Speaker 2: Right? He was one of the early jazz legends. Yeah right, yeah,

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Speaker 2: piano of jazz. I know you know this, right, famous

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Speaker 2: right took the New Orleans sound that was where jazz

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Speaker 2: was getting to start, and he ran it through like

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Speaker 2: a Harlem filter and out pop's stride piano, that style

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Speaker 2: he basically took like the uh it's like jumping like

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Speaker 2: yeah exactly. So you know anyway, born in nineteen oh

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Speaker 2: four May twenty first, to be exact, comes into his

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Speaker 2: full stride in the nineteen twenties. That was right when

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Speaker 2: this is the point when jazz is the hottest thing

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Speaker 2: going in the world. Right, And I think you know

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Speaker 2: some of his songs. If I ran some titles past,

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Speaker 2: you like yet me high suckle rose? Oh yeah, ain't misbehaving? Yeah, okay,

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Speaker 2: I figure you do as I told you. Guy musical virtuo,

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Speaker 2: So you put him on eighty eight keys and he

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Speaker 2: would make that thing sing so pretty and This started

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Speaker 2: back when he was six years old. Six six years old, Yeah, yeah.

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Speaker 2: Father was a preacher. Father wanted his son to use

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Speaker 2: his gifts for the law, and he was like, no,

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Speaker 2: I want to do it for the coch So he

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Speaker 2: got out there and he started dancing his fingers over

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Speaker 2: the keys. All these beautiful ladies and dapper gentlemen. Would

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Speaker 2: you know, get down. He loved that lifestyle. This man

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Speaker 2: was about about it now. Also, he started so young

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Speaker 2: as a performer, right, young Thomas Waller, he does the

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Speaker 2: inevitable thing. He drops out of school, he chases the

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Speaker 2: music on the night life. His father most displeased, but

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Speaker 2: young Thomas Waller he's loving it. Right. Flash forward to

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Speaker 2: the nineteen twenties, earned the nickname Fats, and now he's

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Speaker 2: this up and coming piano player working in Harlem night spots.

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Speaker 2: And as I said, dud dude, great personality, brash, funny, garrels,

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Speaker 2: all kinds of charisma. Just you want to watch him.

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Speaker 3: The right guy at the right time.

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Speaker 2: Totally, totally. Now he's a star in the nightclub scene

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Speaker 2: in Harlem. Boom kids, like nineteen years old, god years old, right,

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Speaker 2: Fats Waller gets the attention of all kinds of people

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Speaker 2: who are looking to make money in this new music, right,

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Speaker 2: they get him at a studio, he cuts a record

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Speaker 2: nineteen twenty four Boom, his first hit song, Squeeze Me

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Speaker 2: right Fats Waller. Sound, as I said, stride piano. Now,

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Speaker 2: you're more of a musician than I am, so maybe, well, anyway,

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Speaker 2: the sound of what stride piano. I had to kind

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Speaker 2: of look it up to make sure I got this

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Speaker 2: all right. But if you take Scott Joplin's Ragtime, right,

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Speaker 2: and then you made that sound a little more jaunty

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Speaker 2: and jazzy, right, and then the piano player's left hand

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Speaker 2: is the one that strides. Yeah, okay, so he kind

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Speaker 2: of walks around on the keyboard and apparently he holds

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Speaker 2: down a four beat rhythm, and then the left hand's

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Speaker 2: playing on the ones and threes, and he's playing a

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Speaker 2: chord right on the twos and four. So it's going

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Speaker 2: back and forth between a rhythm note on the ones

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Speaker 2: and threes and a chord on the twos and four.

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Speaker 2: So it's kind of walking around right.

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Speaker 3: Yeah.

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Speaker 2: Now, as I said, you have more faculty with music

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Speaker 2: than I do, or facility rather, Uh, I can play

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Speaker 2: a harmonica. I like a messy instrument with like here

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Speaker 2: kind of there, I'm gonna fudge it over here, I'm

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Speaker 2: gonna bend it into this. Right. You played the cello, Yeah, correct,

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Speaker 2: I did. So that you have a fingerboard, you're used

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Speaker 2: to that placing the emphasis, because when you play an

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Speaker 2: instrument with wind, it's very different about putting the emotion

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Speaker 2: in it then with the fingers.

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Speaker 3: Yeah. Well there's no fret on it.

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Speaker 2: Yeah, but there's no fresh there's a neck and but

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Speaker 2: there's still basically a string section where you're running an

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Speaker 2: imaginary threat.

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Speaker 3: Board in your mind.

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Speaker 2: You know where the Yeah, you're imposing it. So when

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Speaker 2: you're putting emotion into strings, how did How does that occur?

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Speaker 2: You know? Is it? Is it the rhythm? Is it?

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Speaker 2: Do you feel it?

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Speaker 5: Well?

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Speaker 3: I think it's particularly for something like the cello, it's

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Speaker 3: it's you know, uh, when you're playing with a bow,

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Speaker 3: it's you know, how the pressure on it, you know,

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Speaker 3: verbrato with your finger or you can bend notes, you know,

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Speaker 3: and move it.

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Speaker 2: And do like thessando type stuff.

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Speaker 3: And then if you want to do a sound sneaky,

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Speaker 3: then you dozo little cat.

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Speaker 2: So back to mymon Fats Waller, as I told you,

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Speaker 2: lovable roguish character. He's able to impart emotion into the

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Speaker 2: feeling of the strings. He's sitting there dancing on his

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Speaker 2: piano bench. So imagine him in a suit, just gliding around,

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Speaker 2: bouncing his little butt on the on the piano bench, playing,

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Speaker 2: as I said, stride so ole. Everyone loves him. Now

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Speaker 2: he starts recording on RCA Victor. He's got this six

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Speaker 2: piece combo Elizabeth Fats Waller and his rhythm right, hottest

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Speaker 2: thing going in the mid nineteen twenties. Fans all across

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Speaker 2: the country, not just in Harlement, in Chicago and Detroit,

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Speaker 2: but all across the country. One of his biggest fans,

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Speaker 2: you know this man, you know his name, yes, one

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Speaker 2: of the friend of the show. Oh, mister Alphonse Capone.

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Speaker 2: Oh yeah, the legendary Chicago mob boss, king of a

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Speaker 2: gang land right, Capo de tuti Copi. He was also

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Speaker 2: a jazz.

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Speaker 3: Man, really, I know, he played the banjo exactly.

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Speaker 2: He liked the hothouse jazz tunes. He was sitting out

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Speaker 2: there like Jango Ryan all right. Anyway, I always kind.

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Speaker 3: Of imagine him playing like, you know, wagon wheel music

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Speaker 3: on a banjo well, I think it's funnier that way.

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Speaker 2: It's funnier, Yeah, definitely funnier. But picture his speakeasies right,

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Speaker 2: he's hanging out. He loves the hot jazz.

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Speaker 3: He kicked off the square dancing craze in fourth grades

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Speaker 3: across the country.

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Speaker 2: I'm just gonna set that aside. The music the people

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Speaker 2: listen to while sipping on his bootleg liquor, hot hot jazz. Yeah,

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Speaker 2: square dance music now, also the ladies of the night

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Speaker 2: who they beef dancing as folks are gambling in his

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Speaker 2: Alicic casinos. What type of music, Elizabeth.

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Speaker 3: Banjo Scarce.

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Speaker 2: As I'm pointing out, jazz, hothouse jazz into jazz, totally

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Speaker 2: everything sexy, fun elictit. That's what al Capone is all about.

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Speaker 3: And jazz is suaggy horns, yeah, exactly, jumping beats, hot Claire,

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Speaker 3: and lift your skirt up, drums.

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Speaker 2: Lift your skirt up? What kind of instruments you play

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Speaker 2: when you're dancing? Oh we're back to dancing?

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Speaker 3: Yeah, like you hear this music and you.

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Speaker 2: Just player skirt over your head, dance.

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Speaker 3: Stock still in the middle of the dance floor and

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Speaker 3: lift your skirt. That's not how you dance at a

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Speaker 3: jazz club.

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Speaker 2: When I do it, I do more of a frilly skirt,

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Speaker 2: like a flamenco dancer. I do the action with my skirt.

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Speaker 2: I mean, what are you talking about here?

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Speaker 3: I just let my wool socks sag down from between

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Speaker 3: my knees to my ankles, and then I slowly lift

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Speaker 3: up my skirt and people turn in host sailor. Yeah.

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Speaker 2: So back to the nineteen twenties. Al Capone was born

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Speaker 2: in January of eighteen ninety nine in Cicero. Yes, very good,

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Speaker 2: January seventeenth, eighteen ninety nine. Thus he was always one

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Speaker 2: year older than the date, right, Okay, Yeah, So nineteen

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Speaker 2: twenty five al Capon's twenty six and eight nineteen twenty six,

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Speaker 2: al Capone is.

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Speaker 3: Elizabeth twenty seven.

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Speaker 2: Very good, So let's focus on that. Keep going on this.

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Speaker 2: What about the next?

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Speaker 3: How about in nineteen eighty four?

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Speaker 2: Trick question nineteen eighty four Elizabeth Gough? How old is he?

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Speaker 3: He was nineteen eighty dead?

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Speaker 2: He was dead? Nice, totally nailed it. Okay, So let's

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Speaker 2: focus on Alcapone's twenty seventh birthday. Okay, he obviously did

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Speaker 2: not join the twenty seven club so he made it

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Speaker 2: past twenty seven.

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Speaker 3: True.

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Speaker 2: This story comes to us from Maurice Waller, the son

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Speaker 2: of Fats Waller. He wrote a book about his dad.

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Speaker 2: He shared a family story, right, So here we go

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Speaker 2: the kidnapping of Fats Waller by the gangster al Capone.

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Speaker 3: Wait, kidnapping.

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Speaker 2: Fats Waller by the gangster alone.

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Speaker 3: Sometimes my brain needs to catch up.

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Speaker 2: But I told you this will be Who did what? Who?

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Speaker 3: Where we are?

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Speaker 2: So anyway, nineteen twenty six, Fats Waller is twenty one

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Speaker 2: years old. Okay, he's been a star in Harlem now

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Speaker 2: since he was nineteen. He's young, as I told you,

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Speaker 2: but he's used to the night life by now, or

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Speaker 2: so he thought. He gets booked on a tour. He's

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Speaker 2: playing northern Midwestern cities Cleveland, Detroit, he makes out Chicago

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Speaker 2: and he's playing a gig at a place called the

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Speaker 2: Sherman Hotel Elizabeth. It's a multi night standing gig. Since

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Speaker 2: it's nineteen twenty six, Fats Waller attracts a bunch of

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Speaker 2: Chicago gangsters. They all come out to see them, right.

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Speaker 2: They show up their big mohair coats. They got a

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Speaker 2: dame on their arm, exactly picture that crowd, but it

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Speaker 2: run through your imagination.

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Speaker 3: Like an informal personal picture it right, Ca'm good? Yeah.

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Speaker 2: So a bunch of dames on their arms who aren't

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Speaker 2: their wives, yeah, men who are there basically to provide

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Speaker 2: them protection. They got those bulges under their suits, right.

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Speaker 2: Fats Waller, he's from New York. He's used to playing

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Speaker 2: for gangster's. He's not afraid of this crowd. He's like,

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Speaker 2: they're gonna dance in my music on anybody else. So,

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Speaker 2: as I said, the bulging overcoats and the heaters with

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Speaker 2: them don't worry him none. So after he gets done

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Speaker 2: playing one night, Fats Waller walks out of Sherman Hotel.

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Speaker 2: What does he walk into? Elizabeth? A pair of suspicious

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Speaker 2: faces men walking right up on him. One has his

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Speaker 2: gat out for persuasion. They hustle Fats Waller into a

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Speaker 2: waiting getaway car, long black limousine. The two got him

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Speaker 2: into the limo, right, So Fat wall is in their

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Speaker 2: limo with him. One of the hoods gives the driver

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Speaker 2: an instruction, He's like, take us back, d Cicero. Fats

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Speaker 2: Waller has no business in his sister, right, so he's like,

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Speaker 2: who did who did I wrong? Was there was there

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Speaker 2: a dancer I've been talking to? I shouldn't have been

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Speaker 2: talking to? Why have I done? He cannot figure out

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Speaker 2: why he's being taken to Cio right, he's desperately trying

345
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Speaker 2: to think of why he's been grabbed and who would

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Speaker 2: want him dead?

347
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Speaker 3: And fast Waller and came out just a little poop.

348
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Speaker 2: So the long black limo arrives at his destination in

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Speaker 2: East Cicero. It's a saloon Elizabeth called the Hawthorn in.

350
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Speaker 2: The two hoods pull Fats Waller out of the car,

351
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Speaker 2: take him inside the salon. But really, once he's inside,

352
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Speaker 2: he notices it. Oh, it's more of a nightclub all right,

353
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Speaker 2: for gangsters. It's just packed with monsters. In fact, the

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Speaker 2: Hawthorn is is owned by a gangster, one Alphonse Capone

355
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Speaker 2: business capone spot outside of town. So Fats Waller walks in,

356
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Speaker 2: sees the joint is a jumpin folks, dancing, drink and

357
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Speaker 2: carrying on the whole carousing bit hoods. With the one

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Speaker 2: hood with the gun in his back, he guides Fat

359
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Speaker 2: Swaller over to the piano. He tells him, you play now,

360
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Speaker 2: Fats Waller All twenty one years of him and hoping

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Speaker 2: to make twenty two. Yeah, he does, has instructed. He

362
00:17:10,600 --> 00:17:13,520
Speaker 2: starts playing. He gets that piano up, bouncing those keys,

363
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Speaker 2: start a singing, eating up and Fats Waller he gets

364
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Speaker 2: done with his first song. Crowd applause. They go nuts,

365
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Speaker 2: right everyone, because remember I said jazz is the hottest

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Speaker 2: music going. And they got the man playing Fat Swaller

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Speaker 2: above all this applause. After it starts to die down,

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Speaker 2: there's one man who's clapping the loudest and he continues

369
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Speaker 2: to clap. You know who that man is, Elizabeth. Friend

370
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Speaker 2: of the show, Leonardo DiCaprio, Meadi pause himself al Capone.

371
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Speaker 2: For his twenty seventh birthday, the boys got the boss

372
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Speaker 2: a big surprise Fats Waller.

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Speaker 3: That's crazy as a birthday presence.

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Speaker 2: Yes, let's take a little break and when we get back,

375
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Speaker 2: I'll tell you how this birthday surprise plays out for

376
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Speaker 2: mister Waller. All right, Elizabeth, Yeah, Hey, we're back.

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Speaker 3: Hey, what's it?

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Speaker 2: Chicago specific East Cicero.

379
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Speaker 3: I love I love Chicago.

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Speaker 2: You're enjoying it right old time by the lake.

381
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Speaker 3: I love Chicago. I'm loving this story. By the way,

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Speaker 3: this is fantastic.

383
00:18:22,960 --> 00:18:25,800
Speaker 2: Okay, well, let's get further into what happened with mister

384
00:18:25,880 --> 00:18:30,040
Speaker 2: Fatz Walla and mister Alphonse Capone. So his boys grab

385
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Speaker 2: the hottest musician in jazz, going to make sure that

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00:18:33,240 --> 00:18:35,800
Speaker 2: their boss has a great twenty seventh birthday. But they

387
00:18:35,840 --> 00:18:39,199
Speaker 2: did not contact his agent or manager. They did it

388
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Speaker 2: the Chicago way right right.

389
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Speaker 3: So you could probably organize this.

390
00:18:42,680 --> 00:18:44,040
Speaker 2: Yeah, you could. There's people you can talk.

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Speaker 3: Content you have to pay for.

392
00:18:45,280 --> 00:18:47,639
Speaker 2: He has managed me, yes exactly. But they're like, no, no,

393
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Speaker 2: I have a gun. This will work easier. No, ten

394
00:18:50,440 --> 00:18:52,640
Speaker 2: percent of this one. So Fats Waller he's in good

395
00:18:52,680 --> 00:18:54,840
Speaker 2: company now that he knows he's not going to die, right,

396
00:18:54,880 --> 00:18:56,679
Speaker 2: He's like, they want me to play, They're not going

397
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Speaker 2: to kill me. So he plays a second song, Then

398
00:18:59,119 --> 00:19:01,480
Speaker 2: he plays a third song, fourth song, Elizabeth. He just

399
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Speaker 2: keeps playing the rest of the night. When he gets tired,

400
00:19:04,000 --> 00:19:06,760
Speaker 2: he stretches out on the piano bench and sleeps.

401
00:19:06,440 --> 00:19:07,879
Speaker 3: It off like in the middle.

402
00:19:08,200 --> 00:19:09,800
Speaker 2: In the middle of the party. The party keeps going

403
00:19:09,840 --> 00:19:12,240
Speaker 2: on around him. He's justoz, just snoozing on the piano

404
00:19:12,280 --> 00:19:16,480
Speaker 2: bench like a real piano player. For breakfast. When he

405
00:19:16,520 --> 00:19:19,119
Speaker 2: wakes up, he has some vintage champagne and then boom,

406
00:19:19,160 --> 00:19:22,200
Speaker 2: he's ready back to plark playing. Alphonse Capone is washed

407
00:19:22,280 --> 00:19:24,200
Speaker 2: up and he's down there spat's qlean.

408
00:19:24,320 --> 00:19:26,879
Speaker 3: He just never ends with these birthday.

409
00:19:26,480 --> 00:19:29,280
Speaker 2: Soiree is gang stir. They want to have it be

410
00:19:29,600 --> 00:19:31,199
Speaker 2: up to the nines. You know, they do crime for

411
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Speaker 2: a reason, They want to live. Well, this is the

412
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Speaker 2: boss's birthday.

413
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Speaker 3: No hard you play, you play.

414
00:19:36,560 --> 00:19:39,960
Speaker 2: So hard, Elizabeth, so fat swaller. He only would stop

415
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Speaker 2: playing to sip champagne or to eat a little nache.

416
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Speaker 3: He didn't go to bathroom.

417
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Speaker 2: Well I guess he did that too. Let's just be

418
00:19:45,920 --> 00:19:48,480
Speaker 2: real here, Okay, yes he did go also one and two. Okay,

419
00:19:48,720 --> 00:19:51,159
Speaker 2: so he wasn't just on the threes and fours. He

420
00:19:51,160 --> 00:19:52,760
Speaker 2: also did a little one in two. Now, of course,

421
00:19:52,800 --> 00:19:55,400
Speaker 2: you know the food if this party must have been incredible.

422
00:19:55,640 --> 00:19:58,280
Speaker 2: Can you imagine what is Alphonse Capone eat for twenty

423
00:19:58,280 --> 00:20:03,359
Speaker 2: seventh birthday sausages? You're a little excited about that. So

424
00:20:03,520 --> 00:20:05,000
Speaker 2: for three days this party last?

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00:20:05,040 --> 00:20:08,520
Speaker 3: Maybe hado, there we go, that's what for?

426
00:20:08,800 --> 00:20:13,680
Speaker 2: Yes, I know you're all about the Rustica Italian recipes. Anyway,

427
00:20:13,720 --> 00:20:15,960
Speaker 2: good for me, go ahead, So three days this party

428
00:20:16,040 --> 00:20:18,280
Speaker 2: last Elizabeth. They're eating, well, they're drinking, well, they're one

429
00:20:18,359 --> 00:20:21,119
Speaker 2: in two and well Fats Waller. He stays at the

430
00:20:21,160 --> 00:20:23,240
Speaker 2: Hawthorne Name with al Capone and his gangster buddies the

431
00:20:23,359 --> 00:20:26,960
Speaker 2: entire time, as I said, drinking vined Champagne, playing all

432
00:20:27,000 --> 00:20:29,520
Speaker 2: the songs he knows some he's just making up right.

433
00:20:29,600 --> 00:20:31,879
Speaker 2: According to his son Maurice, he was getting tipped one

434
00:20:31,920 --> 00:20:35,600
Speaker 2: hundred dollars for every song he played. The gangsters they're

435
00:20:35,680 --> 00:20:38,880
Speaker 2: shoveling Franklins just in his pockets. He's tickling the ivories.

436
00:20:38,600 --> 00:20:39,439
Speaker 3: Right, yes, please.

437
00:20:39,720 --> 00:20:42,160
Speaker 2: The big boss is loving it. Fats Waller's loving it too.

438
00:20:42,200 --> 00:20:44,760
Speaker 2: He made thousands upon thousands of dollars after the three

439
00:20:44,800 --> 00:20:48,359
Speaker 2: days pass same hoods originally grabbed. When they take Fats

440
00:20:48,359 --> 00:20:51,200
Speaker 2: Waller on another long ride, this time back to Chicago.

441
00:20:51,359 --> 00:20:53,800
Speaker 2: They take them back to the Sherman Hotel. I'm guessing

442
00:20:53,840 --> 00:20:55,760
Speaker 2: the management was like cool with this because they're like,

443
00:20:55,800 --> 00:20:57,480
Speaker 2: you know, we had a three day standing gig, but

444
00:20:57,840 --> 00:20:59,960
Speaker 2: you know, I Falcpone wants him that super seedy.

445
00:21:00,000 --> 00:21:02,320
Speaker 3: Does anyone have any like kind of maybe clue of

446
00:21:02,359 --> 00:21:04,440
Speaker 3: where he was or are they just thinking.

447
00:21:04,320 --> 00:21:06,560
Speaker 2: Got grabbed by the mob and gone.

448
00:21:06,320 --> 00:21:08,320
Speaker 3: Oh, they figured he got grabbed by the mall.

449
00:21:08,800 --> 00:21:11,240
Speaker 2: I'm assuming people some people saw him, like he was

450
00:21:11,240 --> 00:21:12,800
Speaker 2: out front and he was pretty famous.

451
00:21:13,000 --> 00:21:14,840
Speaker 3: Yeah, well, I don't know. I thought maybe they got.

452
00:21:15,080 --> 00:21:19,200
Speaker 2: In a long black limousine. Yeah, maybe a newspaper boy

453
00:21:19,200 --> 00:21:21,360
Speaker 2: saw him. Just imagine a guy like a little hat.

454
00:21:21,280 --> 00:21:23,640
Speaker 3: Like and then he runs to the newspaper.

455
00:21:23,240 --> 00:21:25,920
Speaker 2: Tracks draft Fats while I grabbed by scoff ace.

456
00:21:25,960 --> 00:21:28,600
Speaker 3: He saw. Look what I said exactly. I don't know

457
00:21:28,600 --> 00:21:29,520
Speaker 3: what accent that was.

458
00:21:29,760 --> 00:21:31,080
Speaker 2: It was interesting a choice.

459
00:21:31,440 --> 00:21:32,280
Speaker 3: The kid had a speech.

460
00:21:32,560 --> 00:21:34,320
Speaker 2: There was a law and order level of choices.

461
00:21:34,440 --> 00:21:34,640
Speaker 3: Yeah.

462
00:21:35,880 --> 00:21:38,840
Speaker 2: Choice. If you'd like to see Fats Waller perform for yourself,

463
00:21:38,880 --> 00:21:40,840
Speaker 2: you can always watch him in the nineteen forty three

464
00:21:40,840 --> 00:21:41,640
Speaker 2: film Stormy Weather.

465
00:21:41,720 --> 00:21:42,880
Speaker 3: I thought you were going to say, like, you can

466
00:21:42,880 --> 00:21:44,160
Speaker 3: buy tickets now he's dead.

467
00:21:44,560 --> 00:21:48,520
Speaker 2: He's dead, Elizabeth what, Yes, one hundred years ago.

468
00:21:48,680 --> 00:21:51,840
Speaker 3: I wanted ai Fats Waller at my next birthday party.

469
00:21:51,920 --> 00:21:55,679
Speaker 2: I'm going to pretend you didn't say that through up

470
00:21:55,680 --> 00:21:56,719
Speaker 2: there with your tupaca.

471
00:21:57,160 --> 00:22:01,120
Speaker 3: You know, hologram, He's not a hologram. Let's be real.

472
00:22:01,240 --> 00:22:05,120
Speaker 2: Let's be real about this. So anyway, I got another

473
00:22:05,119 --> 00:22:06,280
Speaker 2: one for you if you got a second.

474
00:22:06,560 --> 00:22:08,879
Speaker 3: Yeah, of course, this is the one a lot of seconds.

475
00:22:09,080 --> 00:22:10,320
Speaker 2: This is the one I really wanted to tell you.

476
00:22:10,320 --> 00:22:11,840
Speaker 2: So I kind of told you the Fats Waller one

477
00:22:11,920 --> 00:22:13,320
Speaker 2: just to give you a sense of scale.

478
00:22:13,400 --> 00:22:14,320
Speaker 3: Get me all head up.

479
00:22:14,400 --> 00:22:15,879
Speaker 2: Yeah, this is you go like, oh, I've heard a

480
00:22:15,880 --> 00:22:17,600
Speaker 2: story like this before, and then now I'm gonna blow

481
00:22:17,600 --> 00:22:19,000
Speaker 2: your mind with a crazier story.

482
00:22:19,119 --> 00:22:20,080
Speaker 3: Is it a kidnapping?

483
00:22:20,720 --> 00:22:22,600
Speaker 2: Is a kidnap of a famous musician?

484
00:22:22,720 --> 00:22:25,119
Speaker 3: Oh? Okay, yeah, so I have heard something like this before,

485
00:22:25,240 --> 00:22:25,560
Speaker 3: right on.

486
00:22:25,760 --> 00:22:28,280
Speaker 2: Yeah, So let's jump forward in time from the Roaring

487
00:22:28,280 --> 00:22:31,879
Speaker 2: twenties to the counterculture sixties. Ah, this next one is

488
00:22:31,920 --> 00:22:33,560
Speaker 2: about Jimmy Hendricks.

489
00:22:34,800 --> 00:22:37,520
Speaker 3: Oh yeah, he got okay.

490
00:22:37,359 --> 00:22:40,920
Speaker 2: Jimmy Hendricks got napped as a man, he got mad napped.

491
00:22:41,920 --> 00:22:43,960
Speaker 2: So in the summer of nineteen sixty nine, Jimmy Hendrix

492
00:22:44,000 --> 00:22:46,359
Speaker 2: plays the Woodstock Festival. All right, that's where he played

493
00:22:46,359 --> 00:22:48,560
Speaker 2: his epic version of the Star Spangled Banner for like

494
00:22:48,560 --> 00:22:51,120
Speaker 2: one hundred thousand mud crazed hippies while they're lying about

495
00:22:51,119 --> 00:22:52,960
Speaker 2: in sleeping bags, and you know, it's like, what was

496
00:22:52,960 --> 00:22:55,679
Speaker 2: it breakfast in bed for one hundred thousand.

497
00:22:55,760 --> 00:22:57,119
Speaker 3: I catered it.

498
00:22:57,160 --> 00:23:00,920
Speaker 2: Yeah, you were there you ate oatmeal? Yeah, I may be, dang,

499
00:23:00,960 --> 00:23:02,320
Speaker 2: it should have put cinnamon in it.

500
00:23:02,680 --> 00:23:06,879
Speaker 3: I did that. You weren't there, man, You don't understand waiting.

501
00:23:06,720 --> 00:23:10,320
Speaker 2: So long to say Now a few months after Woodstock,

502
00:23:10,520 --> 00:23:13,720
Speaker 2: this story takes place in the fall of nineteen sixty nine.

503
00:23:13,760 --> 00:23:16,879
Speaker 2: So this is Jimmy Hendrix post Woodstock.

504
00:23:17,000 --> 00:23:17,119
Speaker 3: Right.

505
00:23:17,400 --> 00:23:19,240
Speaker 2: What I love about this story as it's told is

506
00:23:19,320 --> 00:23:22,840
Speaker 2: Jimmy Hendrix was kidnapped and he was completely unaware of it.

507
00:23:23,800 --> 00:23:25,160
Speaker 3: Oh honeycuse for him.

508
00:23:25,119 --> 00:23:27,800
Speaker 2: Is just another lost weekend. Yeah, okay, now of coursing,

509
00:23:27,920 --> 00:23:31,600
Speaker 2: I'm telling this somehow. This also tangentially involves cocaine, because

510
00:23:32,800 --> 00:23:35,600
Speaker 2: to tell a story with the cocaine connection comes from

511
00:23:35,680 --> 00:23:37,040
Speaker 2: John Roberts. He was a one.

512
00:23:36,880 --> 00:23:38,280
Speaker 3: Times chief justice.

513
00:23:38,400 --> 00:23:41,040
Speaker 2: No, not him, He was the guy who was John Roberts,

514
00:23:41,160 --> 00:23:43,000
Speaker 2: not his real name, who was a one time mobster

515
00:23:43,080 --> 00:23:44,359
Speaker 2: for the Gambino crime family.

516
00:23:44,440 --> 00:23:45,840
Speaker 3: Oh so we got another connection there.

517
00:23:45,920 --> 00:23:47,720
Speaker 2: Yeah, he got in. He got later involved in the

518
00:23:47,720 --> 00:23:49,880
Speaker 2: cocaine trade for the mafia and eventually became a full

519
00:23:49,920 --> 00:23:52,760
Speaker 2: blown cocaine cowboy. When he taught the medi Yine cartel

520
00:23:52,800 --> 00:23:54,520
Speaker 2: how to move stuff in Miami. He's like, here's how

521
00:23:54,560 --> 00:23:56,360
Speaker 2: to get it over. So he got heavy in yes

522
00:23:56,440 --> 00:23:57,960
Speaker 2: with pabloscar Bars.

523
00:23:57,720 --> 00:24:00,399
Speaker 3: Group, Pablo another one.

524
00:24:00,080 --> 00:24:03,640
Speaker 2: All day now. Yeah, they're like bookends of the spectrum. Now,

525
00:24:03,920 --> 00:24:05,840
Speaker 2: not just as a drug flunky, this guy, right, he

526
00:24:05,960 --> 00:24:08,480
Speaker 2: was integral to the rise of the Miami coch scene

527
00:24:08,520 --> 00:24:09,679
Speaker 2: in the late seventies and early.

528
00:24:09,560 --> 00:24:13,720
Speaker 3: Eighties, and then subsequently the Miami big bass sound exactly.

529
00:24:14,680 --> 00:24:16,800
Speaker 2: And the rise of Two Life Crews. Now, this story

530
00:24:16,840 --> 00:24:19,760
Speaker 2: takes place in nineteen sixty nine, back when John Roberts

531
00:24:19,840 --> 00:24:22,720
Speaker 2: was just a young wanna be mobster. Okay, he wrote

532
00:24:22,760 --> 00:24:25,240
Speaker 2: all of about this in a book called American Desperado,

533
00:24:25,280 --> 00:24:27,760
Speaker 2: which we should add to our Ridiculous Crime Book Club.

534
00:24:27,920 --> 00:24:29,880
Speaker 3: Oh yeah, I'm just going to open a library.

535
00:24:29,920 --> 00:24:31,320
Speaker 2: You need to start that, Like I want to have

536
00:24:31,359 --> 00:24:32,119
Speaker 2: a library on wheels.

537
00:24:32,119 --> 00:24:35,720
Speaker 3: You evenly have like presidential libraries. What I'm crime library

538
00:24:35,720 --> 00:24:37,560
Speaker 3: that I deserve it.

539
00:24:37,600 --> 00:24:39,119
Speaker 2: Oh, Elizabeth Dutton library.

540
00:24:39,240 --> 00:24:41,680
Speaker 3: Yeah, I'm I'm I'm just as good as they are.

541
00:24:41,920 --> 00:24:43,920
Speaker 2: Of course, get me a possibly better.

542
00:24:44,080 --> 00:24:50,000
Speaker 3: Let's get me a gold on library gold. I'm trying

543
00:24:50,040 --> 00:24:51,040
Speaker 3: to say bad words.

544
00:24:51,080 --> 00:24:57,880
Speaker 2: I appreciate that. John Roberts also library, Frazzle library, Elizabeth

545
00:24:57,920 --> 00:25:01,119
Speaker 2: klod You know those little free life. Yeah, totally.

546
00:25:01,160 --> 00:25:02,880
Speaker 3: Well, I'm going to put our logo on the side

547
00:25:02,880 --> 00:25:04,280
Speaker 3: of one of them, and I'm going to fill it

548
00:25:04,320 --> 00:25:06,520
Speaker 3: with these crime books. I like this, and someone's going

549
00:25:06,560 --> 00:25:08,760
Speaker 3: to put some like Deepak Chopra one in there, and

550
00:25:08,760 --> 00:25:10,520
Speaker 3: I'm going to take him a throw it in the street.

551
00:25:11,320 --> 00:25:14,720
Speaker 2: You don't like it anyway, John Roberts, Yes, and his

552
00:25:14,800 --> 00:25:17,240
Speaker 2: co writer. He had a co writer, Evan Wright, and

553
00:25:17,320 --> 00:25:19,480
Speaker 2: during the writing of the book, his co writer write

554
00:25:19,920 --> 00:25:23,040
Speaker 2: he noted that quote, A few stories strained credulity when

555
00:25:23,040 --> 00:25:25,080
Speaker 2: we first sat down for the interviews that would form

556
00:25:25,119 --> 00:25:26,720
Speaker 2: the basis of our book. Right, so he's like, I

557
00:25:26,760 --> 00:25:29,160
Speaker 2: don't know about this mobster. I think he's lying. Such

558
00:25:29,200 --> 00:25:31,240
Speaker 2: as the kidnapping of Jimmy Hendrix. He's like that he

559
00:25:31,359 --> 00:25:34,360
Speaker 2: really happened. Come on, John Roberts. Now, as a co writer,

560
00:25:34,440 --> 00:25:37,080
Speaker 2: Evan Wright noted, and I quote the tale seemed patently

561
00:25:37,119 --> 00:25:39,240
Speaker 2: absurd until I began to look into the twisted history

562
00:25:39,240 --> 00:25:41,600
Speaker 2: of the New York club scene in the late nineteen sixties.

563
00:25:41,640 --> 00:25:45,080
Speaker 2: Based on research and interviews I conducted, it turns out

564
00:25:45,119 --> 00:25:47,240
Speaker 2: that not only does Robert's story appear to be true,

565
00:25:47,320 --> 00:25:50,840
Speaker 2: he solves a mystery that has intrigued Hendrick's biographers for

566
00:25:50,880 --> 00:25:54,920
Speaker 2: more than three decades. No way, Yes, confirmation comes from

567
00:25:55,080 --> 00:25:58,000
Speaker 2: Hendricks's inner circle. When he passed away in nineteen seven,

568
00:25:58,080 --> 00:26:01,280
Speaker 2: his close friend spoke about time just a year earlier,

569
00:26:01,280 --> 00:26:03,159
Speaker 2: in nineteen sixty nine, when he was kidnapped by the

570
00:26:03,200 --> 00:26:05,480
Speaker 2: mafia in New York. This was talk amongst them, right.

571
00:26:05,880 --> 00:26:08,040
Speaker 2: The story at the time was Hendrix was grabbed as

572
00:26:08,080 --> 00:26:10,840
Speaker 2: part of a dispute with his record label. Huh yeah,

573
00:26:10,960 --> 00:26:13,359
Speaker 2: right now, that may or may not be true. But

574
00:26:13,440 --> 00:26:16,160
Speaker 2: what was true, Elizabeth, was that one of his mafia

575
00:26:16,160 --> 00:26:20,399
Speaker 2: abductors was a man named John Rico Bono, which coincidentally

576
00:26:20,480 --> 00:26:22,280
Speaker 2: was the name of John Roberts before he.

577
00:26:22,359 --> 00:26:24,679
Speaker 3: Changed it was he was the good Rico.

578
00:26:25,400 --> 00:26:29,240
Speaker 2: Yeah, John Riccobono. I'm good, Rich, Hey, I'm so.

579
00:26:29,440 --> 00:26:32,400
Speaker 3: Elizabeth you no, No, it's a Rico charge, but good.

580
00:26:32,800 --> 00:26:35,120
Speaker 2: The story of the kidnapping of Jimmy Hendrix, I set

581
00:26:35,160 --> 00:26:37,760
Speaker 2: it up enough right. First, Let's return to John Roberts

582
00:26:37,760 --> 00:26:40,840
Speaker 2: in his book American Desperado. In it, he recollects his

583
00:26:40,960 --> 00:26:44,680
Speaker 2: days as a nightclub impressario in the late nineteen sixties.

584
00:26:45,080 --> 00:26:46,679
Speaker 2: Being the kind of guy he is, he had a

585
00:26:46,680 --> 00:26:49,320
Speaker 2: lot of opinions about that particular line of work. And

586
00:26:49,359 --> 00:26:51,600
Speaker 2: I quote, when you run a nightclub, you will always

587
00:26:51,600 --> 00:26:54,000
Speaker 2: get heat from the cops. The liqua license gives them

588
00:26:54,000 --> 00:26:56,280
Speaker 2: an automatic reason to come into your place and snoop

589
00:26:56,440 --> 00:26:58,480
Speaker 2: with any of getting into the business. Andy and I

590
00:26:58,520 --> 00:27:00,880
Speaker 2: started to draw a real heat from the New York cops,

591
00:27:00,880 --> 00:27:03,800
Speaker 2: who could always be bought, but from the FBI. Two

592
00:27:03,840 --> 00:27:06,879
Speaker 2: incidents made them nosy about us. I'll give you a

593
00:27:07,000 --> 00:27:10,200
Speaker 2: guess about one of those incidents. It was the kidnapping

594
00:27:10,240 --> 00:27:13,120
Speaker 2: and Jimmy Hendrix. Hey, FBI loves kidnappings well.

595
00:27:13,160 --> 00:27:15,800
Speaker 3: And it's like you try. From my understanding is that

596
00:27:15,960 --> 00:27:19,840
Speaker 3: most mafia activities you try and like keep it centralized

597
00:27:19,840 --> 00:27:22,479
Speaker 3: and localized, and you don't want to flash out on

598
00:27:22,560 --> 00:27:27,399
Speaker 3: anything to draw attention. And you know, Jimmy Hendrix doesn't

599
00:27:27,560 --> 00:27:28,359
Speaker 3: fly under the reader.

600
00:27:28,520 --> 00:27:32,040
Speaker 2: No, no, he is the opposite of discreet exactly. So

601
00:27:32,160 --> 00:27:34,159
Speaker 2: imagine the New York nightclub scene at this point is

602
00:27:34,160 --> 00:27:36,400
Speaker 2: popping off. But we're before clubs, you know, fifty four,

603
00:27:36,480 --> 00:27:39,359
Speaker 2: this is pre disco, but still nightclub scene right this point,

604
00:27:39,480 --> 00:27:44,240
Speaker 2: still all weed, pills, coke, uppers, downers, reds, greens, Kwayluke,

605
00:27:45,000 --> 00:27:47,320
Speaker 2: exactly all your favorites, all right, sling in sixties, ha

606
00:27:47,320 --> 00:27:50,959
Speaker 2: ha ha, all right, John Roberts and his partner Bradley Pierce. Right,

607
00:27:51,000 --> 00:27:52,919
Speaker 2: they're in charge of giving everyone what they want in

608
00:27:53,000 --> 00:27:55,280
Speaker 2: terms of pleasure. Right. So they open this new club

609
00:27:55,359 --> 00:28:00,439
Speaker 2: called Salvation. Yeah right, so technically they reopened a shuttered club. Whatever.

610
00:28:00,520 --> 00:28:03,160
Speaker 2: They turned the place out. Then they score a major coup.

611
00:28:03,160 --> 00:28:05,640
Speaker 2: And they convinced Jimmy Hendrix to play the opening night

612
00:28:05,680 --> 00:28:09,320
Speaker 2: of their club. And yeah he does, as John Robert recalled,

613
00:28:09,320 --> 00:28:10,440
Speaker 2: and I quote at the.

614
00:28:10,400 --> 00:28:13,040
Speaker 6: Reopening, we had movie stars, models and one of the

615
00:28:13,119 --> 00:28:16,520
Speaker 6: Kennedy's all waiting to get in. My business partner, Andy

616
00:28:16,720 --> 00:28:19,480
Speaker 6: was always a funny guy. He pulled me aside and said, John,

617
00:28:20,040 --> 00:28:22,719
Speaker 6: let's spike the punch. Let them all freak out. At

618
00:28:22,760 --> 00:28:23,360
Speaker 6: our party.

619
00:28:23,800 --> 00:28:27,000
Speaker 2: We put handful of coueludes in the punch. People used

620
00:28:27,000 --> 00:28:30,239
Speaker 2: to call quayludes leg openers because of the effect they

621
00:28:30,280 --> 00:28:30,919
Speaker 2: had on women.

622
00:28:31,200 --> 00:28:34,719
Speaker 6: Our party was unbelievable. People that had probably never been

623
00:28:34,800 --> 00:28:36,800
Speaker 6: high on a drug in their life were taking a

624
00:28:36,880 --> 00:28:37,480
Speaker 6: clothes off.

625
00:28:37,640 --> 00:28:38,360
Speaker 3: Oh my god.

626
00:28:38,320 --> 00:28:40,320
Speaker 2: What can I say, John Roberts class act.

627
00:28:40,200 --> 00:28:42,520
Speaker 3: Huh, I mean, oh my god.

628
00:28:42,840 --> 00:28:46,680
Speaker 2: Hey, So Anyway, back to Jimmy Hendrix. He's up on stage,

629
00:28:46,720 --> 00:28:48,960
Speaker 2: he plays this gig, he kills it. The Kennedy's like,

630
00:28:48,960 --> 00:28:51,520
Speaker 2: oh ho grudge Yeah, which one I don't know imagining

631
00:28:51,560 --> 00:28:54,920
Speaker 2: a ted at this point, so unus. Yeah, maybe maybe

632
00:28:56,120 --> 00:28:59,440
Speaker 2: he's hey. He's also, by the way, Jimmy Hendrix is

633
00:28:59,440 --> 00:29:02,080
Speaker 2: out of his his zebo on drugs, right, just like

634
00:29:02,160 --> 00:29:03,880
Speaker 2: not the good or sexy kind of drugs either. As

635
00:29:03,960 --> 00:29:04,880
Speaker 2: Robert would put.

636
00:29:04,720 --> 00:29:07,040
Speaker 6: It, Jimmy Hendrix tried to get me to shoot speed

637
00:29:07,080 --> 00:29:08,720
Speaker 6: with him, but I wasn't into needles.

638
00:29:09,400 --> 00:29:12,600
Speaker 2: So Jimmy Hendrix is shooting speed to play rock in

639
00:29:12,640 --> 00:29:15,960
Speaker 2: front of these soon to be discoheads, right, what a.

640
00:29:16,240 --> 00:29:18,480
Speaker 3: Yeah, but it's like a disco club and he's.

641
00:29:18,200 --> 00:29:22,160
Speaker 2: Not quite exactly. Still a lot of people don't know

642
00:29:22,160 --> 00:29:24,520
Speaker 2: that Jimmy Hendrix got down with shooting speed, right. They're like,

643
00:29:24,560 --> 00:29:26,640
Speaker 2: I thought it was more like a hippie prize.

644
00:29:26,880 --> 00:29:26,920
Speaker 4: No.

645
00:29:27,040 --> 00:29:29,320
Speaker 2: Yeah, he had a dark taste in drugs. He like speed,

646
00:29:29,400 --> 00:29:33,600
Speaker 2: he liked heroin, right, That's I think the point. He

647
00:29:33,640 --> 00:29:37,160
Speaker 2: was a hand drug sexual. Now, as John Roberts wrote

648
00:29:37,160 --> 00:29:37,640
Speaker 2: in his book, and.

649
00:29:37,640 --> 00:29:40,640
Speaker 6: I quote, Jimmy and I were never great friends. He

650
00:29:40,760 --> 00:29:42,800
Speaker 6: was so far gone. I don't think he was truly

651
00:29:42,800 --> 00:29:46,280
Speaker 6: friends with anybody. Jimmy was a bad junkie. Jimmy, we

652
00:29:46,280 --> 00:29:48,200
Speaker 6: had people all around him all the time too. He

653
00:29:48,320 --> 00:29:51,440
Speaker 6: was suffocating from these hangars. On after we met at Salvation,

654
00:29:51,560 --> 00:29:53,840
Speaker 6: he came to our house on Fire Island so we

655
00:29:53,880 --> 00:29:56,440
Speaker 6: could get away from it all. We'd made sure nobody

656
00:29:56,480 --> 00:29:59,560
Speaker 6: bother him except for his real friends. Jimmy really liked

657
00:29:59,760 --> 00:30:02,840
Speaker 6: the whose guitarist, Leslie West, and one night two of

658
00:30:02,880 --> 00:30:05,640
Speaker 6: them played all living room all night long. Jimmy had

659
00:30:05,680 --> 00:30:07,840
Speaker 6: to shoot speed in his arm to keep up with Lesson.

660
00:30:08,360 --> 00:30:10,840
Speaker 6: That's how good Leslie West was a few times we

661
00:30:10,880 --> 00:30:13,840
Speaker 6: took Jimmy waterski and off the back of my donzie.

662
00:30:13,960 --> 00:30:16,320
Speaker 6: He like getting out doing things physically, even when he

663
00:30:16,400 --> 00:30:17,040
Speaker 6: was stoned.

664
00:30:17,760 --> 00:30:21,640
Speaker 2: So anyway, John Roberts and Jimmy obviously not super close, right,

665
00:30:21,920 --> 00:30:24,360
Speaker 2: But his business partner, the Andy Pearce guy, right, he

666
00:30:24,520 --> 00:30:27,640
Speaker 2: was close with Hendrix. So that said, John Roberts does

667
00:30:27,680 --> 00:30:30,280
Speaker 2: have a particularly funny story of him and Andy taking

668
00:30:30,320 --> 00:30:33,640
Speaker 2: Hendricks water skiing off the back of my donzie. Wait,

669
00:30:33,920 --> 00:30:36,640
Speaker 2: oh yeah, what you know what a donzie is? Right? No,

670
00:30:37,200 --> 00:30:39,400
Speaker 2: just picture the biggest motor boat. You can then add

671
00:30:39,400 --> 00:30:40,640
Speaker 2: in like a tower for water.

672
00:30:40,440 --> 00:30:44,720
Speaker 3: Skiing, so it's like nine hundred feet long.

673
00:30:45,240 --> 00:30:48,000
Speaker 2: Not like that, not like not like a cigar boat. Yeah,

674
00:30:48,040 --> 00:30:51,600
Speaker 2: I know, like hecurred like in the nineteen thirties retro

675
00:30:51,840 --> 00:30:54,560
Speaker 2: wood all wood motor boats, like you'd see him in

676
00:30:54,560 --> 00:30:57,880
Speaker 2: Italy going between the canals, right, Yeah, because the picture

677
00:30:57,920 --> 00:30:59,400
Speaker 2: that and it just updated a little bit.

678
00:30:59,480 --> 00:31:00,840
Speaker 3: A couple of tower on the back.

679
00:31:00,920 --> 00:31:02,400
Speaker 2: No, we're putting a tower for the water skiing, but

680
00:31:02,520 --> 00:31:04,080
Speaker 2: that they may have just had like a post. I'm

681
00:31:04,200 --> 00:31:05,480
Speaker 2: adding the tower for you're.

682
00:31:05,360 --> 00:31:07,760
Speaker 3: Imagining it's like a hunting tower in the woods.

683
00:31:07,840 --> 00:31:09,480
Speaker 2: Well either way, Elizabeth, what I'd like you to do

684
00:31:09,560 --> 00:31:10,440
Speaker 2: is like close your eyes.

685
00:31:10,640 --> 00:31:13,880
Speaker 3: Oh and Pitch was in trouble as a clothes.

686
00:31:15,400 --> 00:31:18,440
Speaker 2: You are at the twentieth century resort in playland for

687
00:31:18,480 --> 00:31:20,880
Speaker 2: the rich and famous and the well connected semi wealthy,

688
00:31:21,000 --> 00:31:24,360
Speaker 2: known as Fire Island. It's one of the barrier islands

689
00:31:24,400 --> 00:31:26,680
Speaker 2: off the coast of Long Island. At the moment, you

690
00:31:26,720 --> 00:31:29,480
Speaker 2: are the fabulous house guest of one John Robins, a

691
00:31:29,560 --> 00:31:32,840
Speaker 2: nightclub in Presario, and Mafia wise guy. You are aboard

692
00:31:32,840 --> 00:31:35,720
Speaker 2: his Donzie motor boat. It's a beautiful retro numbers would

693
00:31:35,720 --> 00:31:37,640
Speaker 2: the whole bit of beauty the sound of its motor.

694
00:31:37,840 --> 00:31:40,480
Speaker 2: It's like the Ferrari of the water. This one is

695
00:31:40,680 --> 00:31:43,280
Speaker 2: in tip top shape and it purrs against the quiet

696
00:31:43,280 --> 00:31:46,360
Speaker 2: of the morning ocean. You are holding a red flag

697
00:31:46,400 --> 00:31:48,520
Speaker 2: in one hand and a cocktail in the other. You

698
00:31:48,520 --> 00:31:50,800
Speaker 2: were also still drunk and high from the night before,

699
00:31:51,160 --> 00:31:52,480
Speaker 2: and really none of you were in any kind of

700
00:31:52,480 --> 00:31:54,360
Speaker 2: shape to be water skiing, but there you are, haha.

701
00:31:54,680 --> 00:31:56,680
Speaker 2: So you're in charge of watching the skier when they

702
00:31:56,720 --> 00:31:58,520
Speaker 2: go down, and you've been told to raise the red

703
00:31:58,520 --> 00:32:00,960
Speaker 2: flag so that other boats know there's a water skier

704
00:32:01,000 --> 00:32:03,400
Speaker 2: down in the water. As you sip from your cocktail,

705
00:32:03,480 --> 00:32:06,280
Speaker 2: you watch the water skier carve long s turned in

706
00:32:06,360 --> 00:32:09,280
Speaker 2: the glassy morning waters of the ocean. The water skiers,

707
00:32:09,320 --> 00:32:14,360
Speaker 2: of course. Jimmy Hendricks, his wet afro hangs limpidly. Wet

708
00:32:14,560 --> 00:32:17,760
Speaker 2: curls droop past his ears touch his shoulders. He looks

709
00:32:17,800 --> 00:32:19,880
Speaker 2: like a strange combination of a wet cat and the

710
00:32:19,920 --> 00:32:23,640
Speaker 2: happiest kit alive. He's not wearing a life jacket, just

711
00:32:23,680 --> 00:32:26,320
Speaker 2: a huge beaming smile. He yells for John Roberts to

712
00:32:26,360 --> 00:32:29,920
Speaker 2: go faster. You casually turning, you tell John Roberts. Jenny says,

713
00:32:29,960 --> 00:32:33,680
Speaker 2: go faster, faster. He shouts over the loud purr of

714
00:32:33,720 --> 00:32:37,520
Speaker 2: the Donzie engines. Okay, the engine changes pitch. It roars

715
00:32:37,560 --> 00:32:41,280
Speaker 2: as the boat zooms forward faster, yanking. Jimmy Hendrick's a

716
00:32:41,280 --> 00:32:44,080
Speaker 2: long whip it. He's giddy now he tries another esker.

717
00:32:44,400 --> 00:32:46,760
Speaker 2: You take a sip of your cocktail. When you turn back,

718
00:32:47,080 --> 00:32:49,720
Speaker 2: there's no one there. The rope is skipping along the

719
00:32:49,760 --> 00:32:52,360
Speaker 2: wake of the boat. The Jimmy Hendrick's gone. You try

720
00:32:52,400 --> 00:32:54,120
Speaker 2: to remember what to do right. The flag is in

721
00:32:54,160 --> 00:32:57,120
Speaker 2: my hand. You raise it. A moment passes. Wait, that's

722
00:32:57,120 --> 00:33:00,239
Speaker 2: not all. You turn and shout, Jimmy went down. Now.

723
00:33:00,440 --> 00:33:03,560
Speaker 2: John Roberts cusses hard and then he drops the throttle.

724
00:33:03,600 --> 00:33:06,640
Speaker 2: The boat slows dramatically. He spins the wheel, turns the

725
00:33:06,640 --> 00:33:08,920
Speaker 2: boat around and heads back to go find Jimmy Hendrix

726
00:33:08,960 --> 00:33:11,920
Speaker 2: lost in the Atlantic Ocean. Remember no life jacket, And

727
00:33:11,920 --> 00:33:14,200
Speaker 2: if Jimmy Hendrix is anything like me, it also means

728
00:33:14,360 --> 00:33:16,720
Speaker 2: he don't float. So, in other words, my man is

729
00:33:16,800 --> 00:33:21,240
Speaker 2: moments away from being far less experienced. Yeah, dead and drowned.

730
00:33:21,280 --> 00:33:23,920
Speaker 2: So anyway, you can't see Jimmy Hendrix, you were finishing

731
00:33:23,920 --> 00:33:26,240
Speaker 2: your cocktail, and you keep lazily holding the red flag

732
00:33:26,320 --> 00:33:29,000
Speaker 2: up for any other boaters. Meanwhile, John Roberts is in

733
00:33:29,080 --> 00:33:31,840
Speaker 2: a half panic as he searches for Jimmy HENDRICKX. Finally

734
00:33:31,920 --> 00:33:34,160
Speaker 2: he spots him. He shouts, he's in the water, thrashing

735
00:33:34,240 --> 00:33:36,440
Speaker 2: the round. He tells you to throw the rope as

736
00:33:36,480 --> 00:33:39,440
Speaker 2: he swings the boat past Jimmy. When you hesitate and

737
00:33:39,480 --> 00:33:42,280
Speaker 2: continue to focus on the remainder of your tropical cocktail,

738
00:33:42,560 --> 00:33:44,680
Speaker 2: John Roberts takes a step, grabs a rope from you,

739
00:33:44,720 --> 00:33:47,520
Speaker 2: and he tosses it to Jimmy Hendricks. His aim sucks.

740
00:33:47,840 --> 00:33:50,000
Speaker 2: The rope lands a few feet from Jimmy. He has

741
00:33:50,040 --> 00:33:52,240
Speaker 2: to swim for it, which he tries to do. He's

742
00:33:52,240 --> 00:33:54,360
Speaker 2: still flailing to get out of the water. He's frantic,

743
00:33:54,400 --> 00:33:56,240
Speaker 2: like someone threw a house cat into a hot tub,

744
00:33:56,720 --> 00:33:59,800
Speaker 2: waving his arms, slapping the water, wet afro flopping about.

745
00:33:59,840 --> 00:34:02,720
Speaker 2: The question now is can Jimmy Hendricks even swim? Because

746
00:34:02,760 --> 00:34:04,560
Speaker 2: I would in the Army. I thought they trained people

747
00:34:04,560 --> 00:34:06,720
Speaker 2: in the Army to swim. It doesn't matter. Clearly he

748
00:34:06,800 --> 00:34:09,880
Speaker 2: cannot swim well because Jimmy he can't even make the rope.

749
00:34:10,280 --> 00:34:12,920
Speaker 2: The business partner, Andy jumps over the side of the

750
00:34:12,960 --> 00:34:15,879
Speaker 2: boat and swims the rope over to Jimmy Hendrick. He

751
00:34:15,960 --> 00:34:19,400
Speaker 2: makes it, saving Jimmy Hendricks's life as he glides the

752
00:34:19,400 --> 00:34:22,560
Speaker 2: boat clover closer to them. You hear John Roberts mutter

753
00:34:22,640 --> 00:34:23,800
Speaker 2: to himself.

754
00:34:23,719 --> 00:34:26,640
Speaker 6: Jesus Christ, if this guy dies, well out it with us.

755
00:34:26,680 --> 00:34:27,840
Speaker 2: What a headache that would be?

756
00:34:28,520 --> 00:34:28,920
Speaker 3: Headache?

757
00:34:29,080 --> 00:34:31,520
Speaker 2: Yes, you take another pull from your tropical cocktail, and

758
00:34:31,560 --> 00:34:33,200
Speaker 2: I'm just glad you didn't have to jump into the

759
00:34:33,200 --> 00:34:37,919
Speaker 2: ocean to save the guitar god guy. Obviously, Jimmy Hendrick

760
00:34:38,000 --> 00:34:40,680
Speaker 2: did not die water skiing, but he came far closer

761
00:34:40,680 --> 00:34:42,840
Speaker 2: than any fan would have ever wanted to a picture.

762
00:34:42,920 --> 00:34:46,400
Speaker 2: Oh yeah, Now, as John Roberts would later tell the story, Elizabeth.

763
00:34:46,239 --> 00:34:48,360
Speaker 6: I had some good times with Jimmy, but he was

764
00:34:48,400 --> 00:34:50,160
Speaker 6: a disaster on water skis.

765
00:34:51,160 --> 00:34:53,960
Speaker 2: Now, now that we've done that, let's get into the kidnapping.

766
00:34:54,000 --> 00:34:56,239
Speaker 2: But first, Elizabeth, Yeah, let's take a little break. Oh

767
00:34:56,360 --> 00:34:58,040
Speaker 2: I got some message? Is cute up? You want to

768
00:34:58,040 --> 00:34:58,439
Speaker 2: hear these?

769
00:34:58,520 --> 00:34:58,680
Speaker 6: Oh?

770
00:34:58,719 --> 00:35:02,400
Speaker 2: You love these me with some ads? Consider these my mashups.

771
00:35:02,400 --> 00:35:03,520
Speaker 3: These are my talk backs.

772
00:35:23,400 --> 00:35:26,560
Speaker 2: Hey, Elizabeth, Hi, I've got a question for you.

773
00:35:26,960 --> 00:35:28,120
Speaker 3: How good were those ads?

774
00:35:28,320 --> 00:35:32,960
Speaker 2: Totally right? Hot piping, hot, smelled the delicious. I mean

775
00:35:33,120 --> 00:35:35,120
Speaker 2: they just hit the spot against the skin.

776
00:35:35,320 --> 00:35:36,440
Speaker 3: Let's listen to some again.

777
00:35:36,760 --> 00:35:39,120
Speaker 2: No, but I do have a question for you about

778
00:35:39,200 --> 00:35:41,319
Speaker 2: Jimmy Hendrick. How much fun is it picturing to him

779
00:35:41,360 --> 00:35:41,920
Speaker 2: water skiing?

780
00:35:42,120 --> 00:35:44,920
Speaker 3: Well, it's so fun. And I like your idea that

781
00:35:44,960 --> 00:35:47,560
Speaker 3: he has this like super kid grin. And then I

782
00:35:47,600 --> 00:35:49,400
Speaker 3: was thinking when you're saying, like, doesn't he know how

783
00:35:49,440 --> 00:35:52,040
Speaker 3: to swim, like for the army or whatever, there's a

784
00:35:52,040 --> 00:35:54,160
Speaker 3: big difference between swimming and a pool and swimming in

785
00:35:54,200 --> 00:35:57,879
Speaker 3: an ocean, and I highly recommend. I mean, I think

786
00:35:57,920 --> 00:36:00,399
Speaker 3: everyone needs to know how to swim for emergency. Yes,

787
00:36:00,560 --> 00:36:04,799
Speaker 3: every moment qua cape and it's a wonderful activity. But

788
00:36:04,840 --> 00:36:06,920
Speaker 3: it's really important if you learn how to swim to

789
00:36:07,000 --> 00:36:09,920
Speaker 3: also learn how to swim in an ocean just a pool.

790
00:36:09,760 --> 00:36:11,280
Speaker 2: Yes, open ocean and open lakes.

791
00:36:11,360 --> 00:36:14,400
Speaker 3: Yeah, very important. So that's my public service announcement. Thanks

792
00:36:14,400 --> 00:36:17,719
Speaker 3: for asking ahead, Good job, citizen Dunton, and call her

793
00:36:17,760 --> 00:36:18,160
Speaker 3: back to you.

794
00:36:18,719 --> 00:36:21,160
Speaker 2: So, according to John Roberts, I'd like to get back

795
00:36:21,200 --> 00:36:25,399
Speaker 2: to his account of the kidnapping of Jimmy Hendrix. So

796
00:36:25,480 --> 00:36:27,759
Speaker 2: John Roberts books. He says, the Jimmy Hendrix was, you know,

797
00:36:27,880 --> 00:36:30,200
Speaker 2: just out on the town in New York, tral in

798
00:36:30,239 --> 00:36:33,560
Speaker 2: the city looking for some good smack aka some New

799
00:36:33,640 --> 00:36:36,759
Speaker 2: China white heroine boom. Hendricks runs into a pair of

800
00:36:36,800 --> 00:36:41,480
Speaker 2: young Italian Americans. Hi, guys, John Roberts would say, not mafia,

801
00:36:41,520 --> 00:36:45,000
Speaker 2: but wise guy wannabes. Oh, this pair of wanna be

802
00:36:45,040 --> 00:36:47,880
Speaker 2: wise guys. Right, they see Jimmy Hendrix walking around outside

803
00:36:47,920 --> 00:36:51,160
Speaker 2: the nightclub, The Salvation, and they know it's him because

804
00:36:51,200 --> 00:36:54,200
Speaker 2: no one else looks like Jimmy Hendrix. Yeah, that's Jimmy Hendrix.

805
00:36:54,480 --> 00:36:57,840
Speaker 2: So this dude swinding around in some psychedelic band leader

806
00:36:57,840 --> 00:37:00,799
Speaker 2: outfit like you would wear on a Tuesday thing like that, Right,

807
00:37:01,080 --> 00:37:03,040
Speaker 2: They quickly come up with a plan like, oh man,

808
00:37:03,120 --> 00:37:06,080
Speaker 2: so imagine the conversation kind of like this. Uh hey,

809
00:37:06,080 --> 00:37:08,080
Speaker 2: it's got a brilliant idea. You want to hear it? Yeah,

810
00:37:08,160 --> 00:37:09,680
Speaker 2: come on, you know I want to hear it. Okay,

811
00:37:09,800 --> 00:37:11,799
Speaker 2: So you see Jimmy Hendricks over there, right, Yeah, what

812
00:37:11,840 --> 00:37:13,560
Speaker 2: the what the hell's he wearing? Huh No, no, no,

813
00:37:13,640 --> 00:37:15,359
Speaker 2: never mind that. Listen, what if we go over there

814
00:37:15,400 --> 00:37:17,279
Speaker 2: We promised to hook up Hendricks with some coke and

815
00:37:17,280 --> 00:37:19,120
Speaker 2: then when he goes with us, we kidnap him. We

816
00:37:19,160 --> 00:37:21,759
Speaker 2: hold him for ransom. Huh that was their place.

817
00:37:21,840 --> 00:37:24,560
Speaker 3: This is so like a Sopranos exactly.

818
00:37:26,160 --> 00:37:28,600
Speaker 2: Yeah, like, hey, we we'll impressed. Tell those two.

819
00:37:29,520 --> 00:37:31,600
Speaker 3: But you know you know which ones in the show

820
00:37:31,640 --> 00:37:33,479
Speaker 3: that I'm talking about, because I've never seen the show.

821
00:37:33,560 --> 00:37:36,520
Speaker 3: But that Furio goes and rough oh yeah, yeah, and

822
00:37:36,560 --> 00:37:37,120
Speaker 3: that's the whole thing.

823
00:37:37,360 --> 00:37:40,279
Speaker 2: It's the whole thing that you haven't seen. Yes, these

824
00:37:40,560 --> 00:37:42,880
Speaker 2: these want to be wise guys. They follow Hendricks. He

825
00:37:42,920 --> 00:37:44,840
Speaker 2: goes back to the club, The Salvation, and Hendrix is

826
00:37:44,880 --> 00:37:46,520
Speaker 2: on his way in for a jam session. He's supposed

827
00:37:46,520 --> 00:37:48,640
Speaker 2: to show up, but the pair of mobster wanta bees

828
00:37:48,680 --> 00:37:50,440
Speaker 2: they catch up to him first and they offer him

829
00:37:50,480 --> 00:37:52,920
Speaker 2: some coke or heroin. I don't know exactly what they

830
00:37:53,040 --> 00:37:55,920
Speaker 2: offered him whatever. He like, oh yeah. So Hendrick's like,

831
00:37:55,960 --> 00:37:57,879
Speaker 2: he here's their offer and he goes looks like I'm

832
00:37:57,880 --> 00:38:00,680
Speaker 2: with you fellas right, So Hendricks is rolls with him.

833
00:38:00,680 --> 00:38:02,800
Speaker 2: This is the start of a very strange tip for

834
00:38:02,880 --> 00:38:05,880
Speaker 2: the old Voodoo Chot. Yeah. So we'll get back to

835
00:38:05,960 --> 00:38:08,759
Speaker 2: John Roberts accouncause he's the most authoritative on this in

836
00:38:08,800 --> 00:38:10,719
Speaker 2: his account of the events, and went down like this.

837
00:38:11,320 --> 00:38:13,799
Speaker 6: I got involved in Jimmy so called kidnapping after he

838
00:38:13,800 --> 00:38:15,840
Speaker 6: was grabbed by some guys out of Salvation. Later on,

839
00:38:15,880 --> 00:38:18,520
Speaker 6: some people accuse me of being involved in kidnapping him.

840
00:38:18,600 --> 00:38:20,760
Speaker 6: They said I was involved with kidnappers who tied Jimmy

841
00:38:20,760 --> 00:38:23,560
Speaker 6: to a chair and forced him to shoot arrowin please please.

842
00:38:23,680 --> 00:38:25,719
Speaker 2: So I'm thinking he was involved, and that's just right

843
00:38:25,760 --> 00:38:27,759
Speaker 2: off the bat so completely. Now, I'd like to set

844
00:38:27,800 --> 00:38:30,960
Speaker 2: aside any ugly allegations and sensational aspects of this story,

845
00:38:30,960 --> 00:38:33,879
Speaker 2: but unfortunately that is the story. So we're just gonna

846
00:38:33,880 --> 00:38:35,440
Speaker 2: have to get right back into the sensational.

847
00:38:35,520 --> 00:38:38,680
Speaker 6: Back to John Roberts, nobody would have to force Jimmy

848
00:38:38,719 --> 00:38:40,879
Speaker 6: to shoot anything. Just give him a heroin and he'd

849
00:38:40,880 --> 00:38:43,720
Speaker 6: injected himself. It was Jimmy going out searching for drugs

850
00:38:43,719 --> 00:38:46,440
Speaker 6: that got him into trouble. Andy nine were the ones

851
00:38:46,520 --> 00:38:47,960
Speaker 6: who helped him to get out of it.

852
00:38:48,280 --> 00:38:51,600
Speaker 2: So he's a saint. He has the club Salvation. I mean,

853
00:38:51,600 --> 00:38:54,200
Speaker 2: that's what the man does, right. So I like how

854
00:38:54,239 --> 00:38:55,759
Speaker 2: this guy, you know, when he tells the story, he's

855
00:38:55,800 --> 00:39:00,239
Speaker 2: like Hendrix. He needed me. I am his personal savior God, Like.

856
00:39:00,239 --> 00:39:02,160
Speaker 3: He could go and shoot up, well, he doesn't also

857
00:39:02,239 --> 00:39:04,680
Speaker 3: go and get kidnapped, Like, how what's the.

858
00:39:05,040 --> 00:39:08,759
Speaker 2: Yeah, come on, guys, Yeah, So the great Savior, right,

859
00:39:08,840 --> 00:39:11,440
Speaker 2: the liberator who freed Hendricks. I'm fairly certain he was

860
00:39:11,480 --> 00:39:14,279
Speaker 2: involved from the jump, right, Yeah, and after it all

861
00:39:14,320 --> 00:39:16,520
Speaker 2: went sideways, he cuts ties and starts telling a totally

862
00:39:16,560 --> 00:39:17,120
Speaker 2: different story.

863
00:39:17,200 --> 00:39:19,200
Speaker 3: That's my read, but that's how it comes across to me.

864
00:39:19,280 --> 00:39:20,840
Speaker 2: I'll let you decide for yourself, Elizabeth.

865
00:39:20,880 --> 00:39:22,640
Speaker 3: Thank you, lady, thank you.

866
00:39:22,760 --> 00:39:24,120
Speaker 2: Here we go back to John Roberts.

867
00:39:24,680 --> 00:39:27,319
Speaker 6: Jimmy had people who would usually buy dope for him,

868
00:39:27,320 --> 00:39:29,239
Speaker 6: but sometimes he gets so sick he come into our

869
00:39:29,280 --> 00:39:31,520
Speaker 6: clubs looking for drugs on his own. One night to

870
00:39:31,640 --> 00:39:34,279
Speaker 6: Italian kids at our club. Not mafia, but wise guy

871
00:39:34,320 --> 00:39:37,239
Speaker 6: Wanna Bees saw Jimmy in there looking for dope and decided, Hey,

872
00:39:37,239 --> 00:39:39,080
Speaker 6: that's Jimmy Hendricks. Let's grab him and see what we

873
00:39:39,120 --> 00:39:40,920
Speaker 6: can get. These guys were morons.

874
00:39:41,560 --> 00:39:43,480
Speaker 2: So now that this part, this all checks with what

875
00:39:43,520 --> 00:39:45,600
Speaker 2: we know, this is you know the story right this

876
00:39:45,680 --> 00:39:47,759
Speaker 2: Wanna be wise guys. They convince Hendricks to leave the

877
00:39:47,760 --> 00:39:49,880
Speaker 2: club to go get the dope and is John Roberts,

878
00:39:49,880 --> 00:39:52,160
Speaker 2: who apparently was able to either hear about this or

879
00:39:52,200 --> 00:39:54,879
Speaker 2: see it from advantage. Either way, he says.

880
00:39:54,760 --> 00:39:56,520
Speaker 6: They promised Jimmy some dope and took him to a

881
00:39:56,520 --> 00:39:58,799
Speaker 6: house out of the city. I don't know if they

882
00:39:58,800 --> 00:40:01,719
Speaker 6: wanted money or a piece of his record contract, but

883
00:40:01,800 --> 00:40:04,759
Speaker 6: they called Jimmy's manager demanding something. Next thing I know,

884
00:40:04,840 --> 00:40:06,960
Speaker 6: the club manager called me and said Jimmy had been

885
00:40:07,000 --> 00:40:09,319
Speaker 6: taken from our club by some itallians.

886
00:40:10,280 --> 00:40:13,880
Speaker 2: So why the manager felt immediately the need to call

887
00:40:13,960 --> 00:40:16,920
Speaker 2: John Roberts, I think speaks for itself. Yeah right, yeah,

888
00:40:17,040 --> 00:40:19,520
Speaker 2: what do I know, Elizabeth? So now that the manager

889
00:40:19,560 --> 00:40:21,920
Speaker 2: knows Hendricks has been kidnapped, what does he do? This

890
00:40:22,040 --> 00:40:24,680
Speaker 2: is his golden goose. Yeah, well, naturally the mager calls

891
00:40:24,680 --> 00:40:26,680
Speaker 2: the cops. And since this is a kidnapping, what do

892
00:40:26,719 --> 00:40:28,960
Speaker 2: they do? They call the Feds? They call the FBI.

893
00:40:29,040 --> 00:40:30,880
Speaker 3: Yeah, and it's such a high profile.

894
00:40:31,160 --> 00:40:33,760
Speaker 2: So this update finds its way back to the mafia,

895
00:40:33,760 --> 00:40:36,440
Speaker 2: I'm assuming since they probably have feelers in the departments

896
00:40:36,480 --> 00:40:39,640
Speaker 2: of the law, endorsement, and John Roberts, I'm imagine gets

897
00:40:39,640 --> 00:40:42,800
Speaker 2: contacted from some folks in the organization, right and perhaps

898
00:40:43,000 --> 00:40:44,640
Speaker 2: maybe it was a small voice inside of him, and

899
00:40:44,680 --> 00:40:46,960
Speaker 2: it wasn't somebody from the organization. They just told him

900
00:40:47,160 --> 00:40:49,880
Speaker 2: do the right thing. John. Either way, what do I know?

901
00:40:49,960 --> 00:40:52,960
Speaker 2: Like I said, he gets motivated, he gets on the horn,

902
00:40:53,160 --> 00:40:55,719
Speaker 2: he finds Jimmy Hendrix like boom, just like that.

903
00:40:55,760 --> 00:40:57,440
Speaker 3: It's amazing, wow, so fast.

904
00:40:57,480 --> 00:40:59,200
Speaker 2: Still, I'll let him tell it.

905
00:40:59,200 --> 00:41:01,759
Speaker 6: It took me and Andy two three phone calls to

906
00:41:01,800 --> 00:41:03,680
Speaker 6: get the names of the kids who were holding Jimmy.

907
00:41:03,880 --> 00:41:05,560
Speaker 6: We reached out to these kids and made it clear,

908
00:41:05,800 --> 00:41:08,360
Speaker 6: you let Jimmy go or you were dead, do not

909
00:41:08,640 --> 00:41:10,440
Speaker 6: harm a hand of his afro.

910
00:41:11,840 --> 00:41:14,080
Speaker 2: So I guess the wanna be wise guys they really

911
00:41:14,120 --> 00:41:16,200
Speaker 2: listened to John Roberts because they were quick to make

912
00:41:16,239 --> 00:41:18,600
Speaker 2: things right. As Roberts tells it.

913
00:41:18,560 --> 00:41:21,120
Speaker 6: They let Jimmy go. The whole thing lasted maybe two days.

914
00:41:21,239 --> 00:41:23,400
Speaker 6: Jimmy was so stone he probably didn't even know he

915
00:41:23,440 --> 00:41:25,759
Speaker 6: was ever kidnapped. Andy and I waited a week or

916
00:41:25,800 --> 00:41:27,480
Speaker 6: so and went after these kids.

917
00:41:27,560 --> 00:41:30,600
Speaker 2: We gave him the bating. They would never forget right.

918
00:41:30,680 --> 00:41:33,520
Speaker 2: So these poor meals, they get beaten down if that

919
00:41:33,600 --> 00:41:34,240
Speaker 2: even happened.

920
00:41:34,400 --> 00:41:37,160
Speaker 3: I I'm sorry, but every time you say John Roberts

921
00:41:37,200 --> 00:41:39,040
Speaker 3: they still keep thinking about the supremein question.

922
00:41:39,040 --> 00:41:40,799
Speaker 2: Isn't that fun to picture? He's like in the row?

923
00:41:41,080 --> 00:41:43,640
Speaker 2: So fun, He's like a beating I'll never forget, Ain't

924
00:41:43,680 --> 00:41:46,520
Speaker 2: that right? Scaliah? So you remember I said the FBI

925
00:41:46,840 --> 00:41:49,120
Speaker 2: gets called in, Well, the g men, they didn't exactly

926
00:41:49,160 --> 00:41:51,600
Speaker 2: go away. So even after Jimmy Hendrick showed up, he

927
00:41:51,680 --> 00:41:54,240
Speaker 2: had a single hair and his afro hormed, the FBI

928
00:41:54,320 --> 00:41:56,640
Speaker 2: kept sniffing around, right, and they certainly they smelled something

929
00:41:56,719 --> 00:41:57,479
Speaker 2: hinky in the air.

930
00:41:57,600 --> 00:41:57,960
Speaker 3: Huh.

931
00:41:58,040 --> 00:42:00,400
Speaker 2: Back to Chief Justice John Roberts.

932
00:42:00,280 --> 00:42:02,960
Speaker 6: Here, I was the good Samaritan, But unfortunately, when Jimmy

933
00:42:03,000 --> 00:42:05,800
Speaker 6: was grabbed, some of his people contact the FBI. Even

934
00:42:06,200 --> 00:42:09,160
Speaker 6: after he was safely returned, the FBI started poking around

935
00:42:09,320 --> 00:42:12,520
Speaker 6: our business. This later led to them to tie Andy

936
00:42:12,560 --> 00:42:15,759
Speaker 6: Benfonte and me to the murder. Robert Wood that one

937
00:42:15,800 --> 00:42:18,439
Speaker 6: good day for Jimmy Hendricks was resulted in me having

938
00:42:18,440 --> 00:42:21,400
Speaker 6: to flee New York for Miami. Who knows, if it

939
00:42:21,440 --> 00:42:24,000
Speaker 6: hadn't have been for saving Jimmy Hendricks, I might never

940
00:42:24,040 --> 00:42:26,719
Speaker 6: have hooked up with the Mediine cartel and Pablo esco

941
00:42:26,800 --> 00:42:29,640
Speaker 6: By in Miami and started in the cocaine smuggling business.

942
00:42:29,719 --> 00:42:31,520
Speaker 2: Wherever you are, Jimmy, thank you.

943
00:42:31,560 --> 00:42:32,879
Speaker 3: Wait, there's so much to him.

944
00:42:33,239 --> 00:42:36,279
Speaker 2: Thanking Jimmy Hendricks for getting him to be friends with

945
00:42:37,600 --> 00:42:38,480
Speaker 2: the kidnapping.

946
00:42:38,680 --> 00:42:41,200
Speaker 3: That's the reason he's bested for a murder.

947
00:42:41,360 --> 00:42:47,759
Speaker 2: Yes, I related murder. Yeah, that was the other one.

948
00:42:48,040 --> 00:42:51,240
Speaker 3: Just a lot. There's a lot going on in that quote, right.

949
00:42:51,680 --> 00:42:53,280
Speaker 2: I just love at the end, wherever you want, Jimmy,

950
00:42:53,360 --> 00:42:59,640
Speaker 2: thank you. I got to meet so as strange as

951
00:42:59,680 --> 00:43:02,120
Speaker 2: this whole let's kidnap Jimmy Hendricks to get high with him?

952
00:43:02,120 --> 00:43:06,200
Speaker 2: Plan was right, Yeah, and obviously it failed. What happened next, Saron?

953
00:43:06,600 --> 00:43:07,359
Speaker 3: What happened next?

954
00:43:07,360 --> 00:43:07,520
Speaker 4: There?

955
00:43:07,600 --> 00:43:09,799
Speaker 2: Oh, thank you for asking. Elizabeth. You're gonna love this.

956
00:43:09,880 --> 00:43:11,880
Speaker 2: It's gonna curl your toes. For one, there was a

957
00:43:11,920 --> 00:43:15,239
Speaker 2: conspiracy that perhaps Jimmy Hendricks was in on it and

958
00:43:15,239 --> 00:43:17,800
Speaker 2: that there was no kidnapping. Instead, he and the mafia

959
00:43:17,880 --> 00:43:20,840
Speaker 2: conspired against his record label because remember that was mentioned,

960
00:43:21,400 --> 00:43:24,360
Speaker 2: so he can have some leverage or I don't know

961
00:43:24,400 --> 00:43:26,000
Speaker 2: what his contractory negotiations.

962
00:43:26,200 --> 00:43:27,480
Speaker 3: How does that produce leverage.

963
00:43:27,520 --> 00:43:30,680
Speaker 2: There's a more obvious angle though, that John Roberts was

964
00:43:30,760 --> 00:43:33,600
Speaker 2: involved in the kidnapping. Yeah, we discussed and as for

965
00:43:33,680 --> 00:43:37,080
Speaker 2: his involvements. Of course, John Roberts vehemently denied this. He's

966
00:43:37,360 --> 00:43:38,080
Speaker 2: come on now.

967
00:43:38,040 --> 00:43:40,680
Speaker 3: Please, Well yeah, I mean maybe it backfired because he

968
00:43:40,719 --> 00:43:43,080
Speaker 3: got the attention he didn't want. But oh yeah it doesn't.

969
00:43:43,200 --> 00:43:46,120
Speaker 2: Yeah, well it gets deeper than that. He points out

970
00:43:46,160 --> 00:43:48,520
Speaker 2: that he wasn't at the club that day, right, as

971
00:43:48,560 --> 00:43:50,319
Speaker 2: if that has any bearing on his guilt. Becau isn't

972
00:43:50,360 --> 00:43:52,439
Speaker 2: that the classic I wasn't there? Why weren't you there?

973
00:43:52,520 --> 00:43:52,800
Speaker 3: Yeah?

974
00:43:52,920 --> 00:43:55,000
Speaker 2: Whoever wasn't there that day, that's the one who's guilty.

975
00:43:55,080 --> 00:43:59,040
Speaker 3: These are not my pants on and so forth.

976
00:43:59,080 --> 00:44:01,080
Speaker 2: But I'm no one, wise guy, what do I know?

977
00:44:01,880 --> 00:44:04,600
Speaker 2: Back to John Roberts, right, he always pointed to the

978
00:44:04,600 --> 00:44:07,880
Speaker 2: fact that he was the one who found in freed Hendricks.

979
00:44:07,960 --> 00:44:13,239
Speaker 2: I'm a salvation guy, right, he wants whoa whoa? Now,

980
00:44:13,239 --> 00:44:15,239
Speaker 2: That to me is not the most convincing argument, since

981
00:44:15,239 --> 00:44:17,879
Speaker 2: his kidnapper would have the same ability to free him

982
00:44:18,000 --> 00:44:20,800
Speaker 2: as the person who is a savior. Right. But there

983
00:44:20,880 --> 00:44:23,120
Speaker 2: were some who felt that John Roberts was involved and

984
00:44:23,200 --> 00:44:26,719
Speaker 2: was working with Jimmy Hendrix manager. Yeah, which to me

985
00:44:26,840 --> 00:44:31,320
Speaker 2: makes sense, okay, right, because it's a really complicated attempt

986
00:44:31,360 --> 00:44:33,440
Speaker 2: to blackmail the record label into a better contract. That

987
00:44:33,480 --> 00:44:36,200
Speaker 2: doesn't make sense, right, but something else does. I prefer

988
00:44:36,239 --> 00:44:38,480
Speaker 2: the theory that the manager was in cahoots with John

989
00:44:38,560 --> 00:44:41,920
Speaker 2: Roberts and he had the mafia kidnap his client, and

990
00:44:41,960 --> 00:44:44,560
Speaker 2: then the manager would act as the hero and save him.

991
00:44:44,880 --> 00:44:47,680
Speaker 2: And it is deeply indebted and grateful client Jimmy Hendrix

992
00:44:47,840 --> 00:44:49,920
Speaker 2: wouldn't go and get a new manager, which he had

993
00:44:49,920 --> 00:44:53,799
Speaker 2: been threatening to do. Oh yes, that's a motive, right

994
00:44:53,840 --> 00:44:56,200
Speaker 2: for a kidnapper. That one makes sense to me. But wait,

995
00:44:56,280 --> 00:44:57,600
Speaker 2: I have to warn you things are about to get

996
00:44:57,600 --> 00:44:59,920
Speaker 2: even darker than that, because I don't have to speculate.

997
00:45:00,040 --> 00:45:02,960
Speaker 2: Because there is a man named James Tappy Wright. He

998
00:45:03,200 --> 00:45:06,239
Speaker 2: was Jimmy Hendrix's former roady. He also wrote a book.

999
00:45:06,239 --> 00:45:10,360
Speaker 2: We got a really literate crew book title Rock Roady.

1000
00:45:10,840 --> 00:45:11,760
Speaker 3: Oh that's creative.

1001
00:45:11,880 --> 00:45:14,279
Speaker 2: Yeah, I thought you'd like that one. And in Rock

1002
00:45:14,440 --> 00:45:20,080
Speaker 2: Roady he accused the manager, Michael Jeffrey, of murdering Jimmy Hendrix. Wait, yes,

1003
00:45:20,200 --> 00:45:22,719
Speaker 2: the roady to Hendrix wrote that the manager confessed to

1004
00:45:22,760 --> 00:45:25,600
Speaker 2: him that he murdered Jimmy Hendrix. What And I know,

1005
00:45:25,760 --> 00:45:28,920
Speaker 2: I know this breaks our one percent rule, but I

1006
00:45:28,960 --> 00:45:31,160
Speaker 2: thought this one was worth bringing up. So, according to

1007
00:45:31,239 --> 00:45:34,640
Speaker 2: James Tappy Wright, the manager gave Hendrix a boatload of

1008
00:45:34,680 --> 00:45:36,560
Speaker 2: pills and booze as part of his plan to kill

1009
00:45:36,600 --> 00:45:38,640
Speaker 2: them and get rich off of an insurance policy that

1010
00:45:38,719 --> 00:45:41,279
Speaker 2: he had on the rock Star. The way he tells it,

1011
00:45:41,320 --> 00:45:45,160
Speaker 2: the manager confessed his murder plot one year after Hendricks died,

1012
00:45:45,440 --> 00:45:47,880
Speaker 2: and two years before he himself would die in a

1013
00:45:47,880 --> 00:45:51,080
Speaker 2: plane crash. So we have no other confirmation or denial.

1014
00:45:50,800 --> 00:45:52,560
Speaker 3: And that's why he hasn't sued over the.

1015
00:45:52,840 --> 00:45:56,880
Speaker 2: Exactly as a roady, Wright writes, I can still hear

1016
00:45:56,960 --> 00:45:59,200
Speaker 2: that conversation. See the man I'd known for so much

1017
00:45:59,200 --> 00:46:01,680
Speaker 2: of my life his face, he's pale, hand clutching at

1018
00:46:01,719 --> 00:46:04,719
Speaker 2: his glass in sudden rage. That's the manager he's talking about,

1019
00:46:04,719 --> 00:46:07,840
Speaker 2: Michael Jeffrey. Later on he quotes the manager's version of events,

1020
00:46:07,840 --> 00:46:09,880
Speaker 2: writing that he said, and I quote this is the

1021
00:46:09,880 --> 00:46:12,680
Speaker 2: manager speaking. He's quoting the manager. I was in London

1022
00:46:12,680 --> 00:46:14,759
Speaker 2: the night of Jimmy's death together with some old friends.

1023
00:46:14,800 --> 00:46:17,120
Speaker 2: We went around to Monica's hotel room, got a handful

1024
00:46:17,160 --> 00:46:19,200
Speaker 2: of pills and stuffed them into his mouth, and poured

1025
00:46:19,200 --> 00:46:21,839
Speaker 2: a few bottles of red wine deep into his windpipe.

1026
00:46:22,400 --> 00:46:22,680
Speaker 3: What.

1027
00:46:23,040 --> 00:46:25,640
Speaker 2: Yes, there was indeed a life insurance policy, and since

1028
00:46:25,680 --> 00:46:28,799
Speaker 2: Hendrix was estranged from his family, the manager, Jeffrey, was

1029
00:46:28,800 --> 00:46:31,360
Speaker 2: the beneficiary of a two million dollar payout.

1030
00:46:31,400 --> 00:46:33,960
Speaker 3: Are you kidding? I've never heard any of this British.

1031
00:46:34,080 --> 00:46:36,200
Speaker 2: I found this all in British press. The American press

1032
00:46:36,239 --> 00:46:37,640
Speaker 2: was hard to find this, but it was all over

1033
00:46:37,640 --> 00:46:39,720
Speaker 2: the British press. I'd to piece it together from different stories.

1034
00:46:39,719 --> 00:46:42,120
Speaker 2: But the roadie Ride recalled that the manager told him,

1035
00:46:42,160 --> 00:46:44,080
Speaker 2: and I quote, I had to do it. Jimmy was

1036
00:46:44,080 --> 00:46:46,319
Speaker 2: worth much more to be dead than alive. That son

1037
00:46:46,360 --> 00:46:48,560
Speaker 2: of a was going to leave me. If I lost him,

1038
00:46:48,560 --> 00:46:51,120
Speaker 2: I'd lose everything. Starting to sound pretty murderous.

1039
00:46:51,400 --> 00:46:52,880
Speaker 3: Oh wow, So there it is.

1040
00:46:52,880 --> 00:46:55,520
Speaker 2: It's all circumstantial, I would admit that, but for someone

1041
00:46:55,560 --> 00:46:57,160
Speaker 2: like me, it's pretty damn compelling.

1042
00:46:57,320 --> 00:46:57,520
Speaker 3: Yeah.

1043
00:46:57,560 --> 00:47:00,000
Speaker 2: I tend to believe Roady's teamsters, you know, the people

1044
00:47:00,040 --> 00:47:01,799
Speaker 2: who are around but have no real value.

1045
00:47:02,040 --> 00:47:03,760
Speaker 3: No one pays attention to them exactly.

1046
00:47:03,840 --> 00:47:06,080
Speaker 2: They seem they see everything. People look past them. So

1047
00:47:06,120 --> 00:47:08,080
Speaker 2: I tend to believe those guys. They are, they were there,

1048
00:47:08,120 --> 00:47:10,520
Speaker 2: and they tell what they know anyway, which means I

1049
00:47:10,560 --> 00:47:12,960
Speaker 2: think Jimmy Hendricks was kidnapped by the mafia as part

1050
00:47:12,960 --> 00:47:14,719
Speaker 2: of a plot by his manager, and then a year

1051
00:47:14,800 --> 00:47:16,920
Speaker 2: later his manager likely often.

1052
00:47:17,160 --> 00:47:20,800
Speaker 3: Wowow right, Wow, you know, I think that's you've earned

1053
00:47:20,840 --> 00:47:24,000
Speaker 3: the one person. I felt we've banked a lot of.

1054
00:47:24,680 --> 00:47:30,319
Speaker 2: Yeah, I think we could do like a we've avoided often.

1055
00:47:31,000 --> 00:47:33,920
Speaker 2: I thought this one was important to include. Wow, Elizabeth,

1056
00:47:33,920 --> 00:47:35,919
Speaker 2: what's a ridiculous takeaway?

1057
00:47:35,680 --> 00:47:41,040
Speaker 3: Yay, my ridiculous takeaway? You wanted to my ridiculous You

1058
00:47:41,080 --> 00:47:42,200
Speaker 3: have never asked that.

1059
00:47:42,560 --> 00:47:44,440
Speaker 2: I considered it fresh, though, what how they feel?

1060
00:47:45,000 --> 00:47:47,520
Speaker 3: I think my ridiculous takeaway is I'm still trying to

1061
00:47:47,520 --> 00:47:52,160
Speaker 3: process the idea that Jimmy Hendricks was purposely poisoned in

1062
00:47:52,360 --> 00:47:52,920
Speaker 3: essence with.

1063
00:47:53,200 --> 00:47:55,040
Speaker 2: By Chief Justice John Roberts.

1064
00:47:55,160 --> 00:47:57,919
Speaker 3: Justice John Roberts, that is just so much.

1065
00:47:58,320 --> 00:48:02,480
Speaker 2: Michael Jeffrey, the manager, Yeah, was working with apparently mobsters,

1066
00:48:02,600 --> 00:48:04,279
Speaker 2: and then when that didn't work, he's like, I'll do

1067
00:48:04,280 --> 00:48:04,840
Speaker 2: it myself.

1068
00:48:05,000 --> 00:48:07,440
Speaker 3: Well, and it's like, you know, it wasn't a surprise

1069
00:48:08,200 --> 00:48:09,319
Speaker 3: Jimmy Hendrix's death.

1070
00:48:09,640 --> 00:48:12,160
Speaker 2: Sadly, it was not a surprise for his inner circle,

1071
00:48:12,200 --> 00:48:14,200
Speaker 2: but it was still one of those things that I think,

1072
00:48:14,880 --> 00:48:17,600
Speaker 2: like Princess passing, you were left wondering you left with questions.

1073
00:48:17,640 --> 00:48:19,200
Speaker 3: Yeah, And I think that's the thing is that when

1074
00:48:19,200 --> 00:48:22,440
Speaker 3: you have these instances where it's not a surprise, but

1075
00:48:22,520 --> 00:48:26,200
Speaker 3: it's still you know, this person that the world is

1076
00:48:26,239 --> 00:48:28,080
Speaker 3: a little too much for them and they're a little

1077
00:48:28,080 --> 00:48:32,080
Speaker 3: too much for the world complete, but they that also

1078
00:48:32,120 --> 00:48:34,400
Speaker 3: makes them susceptible to these types of things.

1079
00:48:34,239 --> 00:48:36,440
Speaker 2: And these types of people. Yeah, because you know that's

1080
00:48:36,840 --> 00:48:38,600
Speaker 2: terrible when you're a dreamer, you don't got like, you know,

1081
00:48:38,600 --> 00:48:40,200
Speaker 2: the feet on the ground. People come along and be like,

1082
00:48:40,200 --> 00:48:41,120
Speaker 2: oh hey, I'll hold you up.

1083
00:48:41,239 --> 00:48:44,480
Speaker 3: My ridiculous takeaway, thank you for asking once again, you

1084
00:48:44,560 --> 00:48:49,080
Speaker 3: have another one. This was Zeron. This was a thrill ride,

1085
00:48:49,719 --> 00:48:51,880
Speaker 3: but hot doodles, it's a bummer.

1086
00:48:52,160 --> 00:48:54,520
Speaker 2: Yeah, sorry about that. I didn't know how to get

1087
00:48:54,560 --> 00:48:56,080
Speaker 2: around that part. I was like, I can try to

1088
00:48:56,080 --> 00:48:58,359
Speaker 2: find them, like you have to tell a light joke

1089
00:48:58,400 --> 00:49:00,560
Speaker 2: and land On, I was like, there's nothing to them, Like,

1090
00:49:00,800 --> 00:49:03,799
Speaker 2: so how about wet Jimmy Hendricks. That was fun to picture, right, No.

1091
00:49:05,960 --> 00:49:08,520
Speaker 3: This was a really beautifully constructed episode. I do have

1092
00:49:08,560 --> 00:49:11,680
Speaker 3: to say that, Sarah, what's your ridiculous takeaway?

1093
00:49:11,920 --> 00:49:14,280
Speaker 2: What do I got to do everything over here? Yes,

1094
00:49:14,960 --> 00:49:18,600
Speaker 2: my ridiculous takeaway is that. I was really uh glad

1095
00:49:18,640 --> 00:49:21,000
Speaker 2: to hear that Jimmy Hendricks and I have more in

1096
00:49:21,040 --> 00:49:23,719
Speaker 2: common than I imagined, which is that we both would look

1097
00:49:23,760 --> 00:49:26,600
Speaker 2: like wet cats when wet. It would likely drown. If

1098
00:49:27,040 --> 00:49:29,160
Speaker 2: if people you know who are supposed to be helping

1099
00:49:29,239 --> 00:49:31,200
Speaker 2: us by dragging us around the ocean in a boat

1100
00:49:31,520 --> 00:49:33,880
Speaker 2: and they put down their drinks long enough, they can

1101
00:49:33,960 --> 00:49:35,680
Speaker 2: save our lives because we are going to go down.

1102
00:49:35,719 --> 00:49:37,360
Speaker 2: I was like, man, Jimmy, I fail you.

1103
00:49:37,360 --> 00:49:38,640
Speaker 3: You can swim in the ocean.

1104
00:49:39,640 --> 00:49:41,400
Speaker 2: Yeah, but with a wet suit that that has a

1105
00:49:41,400 --> 00:49:45,080
Speaker 2: lot of buoyancy. Oh yeah, trust I'm always glad to

1106
00:49:45,080 --> 00:49:49,200
Speaker 2: have that wet suit. That's all I got for you today,

1107
00:49:49,719 --> 00:49:54,080
Speaker 2: all I have for you. So you move maybe with that?

1108
00:49:54,120 --> 00:50:03,120
Speaker 2: How about that? Pretty sure? Dave hit it? Oh my god,

1109
00:50:06,400 --> 00:50:06,840
Speaker 2: I love you.

1110
00:50:09,960 --> 00:50:13,520
Speaker 5: Hi, Elizabeth and Zarin. My name is Kathleen, and I

1111
00:50:13,600 --> 00:50:17,360
Speaker 5: wanted to talk about Thursday's episode where you mentioned Irish

1112
00:50:17,400 --> 00:50:20,919
Speaker 5: step dancing. I was a competitive Irish step dancer for

1113
00:50:21,120 --> 00:50:25,360
Speaker 5: thirteen years and I can confirm that it's pretty incestuous

1114
00:50:25,400 --> 00:50:27,880
Speaker 5: and you definitely do it at bars when you're drunk

1115
00:50:28,400 --> 00:50:32,319
Speaker 5: as an adult. But also my teacher for over a

1116
00:50:32,400 --> 00:50:35,960
Speaker 5: decade was Sandra Connick. Thanks so much for all you do.

1117
00:50:36,719 --> 00:50:39,040
Speaker 5: I really appreciate listening to you twice a week.

1118
00:50:39,640 --> 00:50:41,240
Speaker 3: Wow, that was Jostle.

1119
00:50:41,719 --> 00:50:43,120
Speaker 2: Yeah, she's amazing.

1120
00:50:43,280 --> 00:50:47,200
Speaker 3: Love Kathleen totally. I like that she had the big

1121
00:50:47,239 --> 00:50:49,279
Speaker 3: boss as a teacher. It's amazing.

1122
00:50:49,920 --> 00:50:54,160
Speaker 2: And she also pointed out that my random dancing idea

1123
00:50:54,160 --> 00:50:58,160
Speaker 2: of children dancing in bars has almost an analog, but

1124
00:50:58,200 --> 00:51:00,400
Speaker 2: it's adults, so I got to I got correct, So

1125
00:51:00,440 --> 00:51:03,399
Speaker 2: thank you for that. Anyway, As always, you can find

1126
00:51:03,440 --> 00:51:06,760
Speaker 2: us online a Ridiculous Crime on the social media sites.

1127
00:51:06,960 --> 00:51:10,120
Speaker 2: We also have the website Ridiculous Crime dot com. Obviously

1128
00:51:10,280 --> 00:51:12,239
Speaker 2: love your talkback, so please go to the iHeart at

1129
00:51:12,440 --> 00:51:14,160
Speaker 2: hit us up. Let us know how you feel, what

1130
00:51:14,200 --> 00:51:15,600
Speaker 2: you're thinking of, what crimes you've been getting into.

1131
00:51:15,719 --> 00:51:18,040
Speaker 3: No, don't do that, but either way, emails to ask

1132
00:51:18,080 --> 00:51:18,600
Speaker 3: for confession.

1133
00:51:18,680 --> 00:51:20,120
Speaker 2: Yeah, if you want to do a confession, obviously we

1134
00:51:20,160 --> 00:51:23,080
Speaker 2: love them, but we'll be your voice. You confessed, someone

1135
00:51:23,120 --> 00:51:25,680
Speaker 2: in your family want to hear what?

1136
00:51:26,560 --> 00:51:26,759
Speaker 6: Well?

1137
00:51:26,920 --> 00:51:30,040
Speaker 2: Okay, email us if you'd like a Ridiculous Crime at

1138
00:51:30,040 --> 00:51:33,520
Speaker 2: gmail dot com. Thanks for listening. We'll catch your next crime.

1139
00:51:38,840 --> 00:51:42,600
Speaker 2: Ridiculous Crime is hosted by Elizabeth Dutton and Zaren Burnett,

1140
00:51:42,640 --> 00:51:47,400
Speaker 2: produced and edited by Spanish Castlemagicman Dave Houston. Slave Return

1141
00:51:47,719 --> 00:51:51,120
Speaker 2: Research is by Marissa Golden Brown and Andrea the Win.

1142
00:51:51,280 --> 00:51:55,319
Speaker 2: Chris Mary is my favorite song, Sharpened Tear. Our theme

1143
00:51:55,360 --> 00:51:58,719
Speaker 2: song is by Thomas Axis Bold as Live Laugh, Love

1144
00:51:59,280 --> 00:52:03,759
Speaker 2: Lee and Well Maybe I was misbehaving Dutton. The host

1145
00:52:03,840 --> 00:52:07,680
Speaker 2: wardrobe provided by Body five hundred. Executive producers are Ben

1146
00:52:07,920 --> 00:52:12,120
Speaker 2: Fats Waller is my favorite musician named Fats Bowling and

1147
00:52:12,320 --> 00:52:20,920
Speaker 2: Noel He's my favorite Waller Brown, Red.

1148
00:52:22,080 --> 00:52:24,160
Speaker 3: Crime, Say It One More Time.

1149
00:52:25,520 --> 00:52:30,320
Speaker 1: Cry Ridiculous Crime is a production of iHeartRadio four more Podcasts.

1150
00:52:30,400 --> 00:52:33,560
Speaker 1: My heart Radio, visit the iHeartRadio app, Apple Podcasts, or

1151
00:52:33,600 --> 00:52:35,360
Speaker 1: wherever you listen to your favorite shows.