Part Two: The Phil Spector Episodes

Greazy Wil continues the story of Phil Spector, now with The Beatles!

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Episode Transcript

Speaker 1 (00:01):
Also media, Welcome back to Behind the Bastards a podcast,
but this week is about Filium Specter.

Speaker 2 (00:12):
I'm fairly certain that's not what his first name is.
Here to correct me, Greasy.

Speaker 3 (00:17):
Will, that's actually I think his name was Philium. I
have no reason to dispute that. The Yeah, absolutely one
hundred percent. I do want to lead off with saying
that I forgot last episode, but I did want to
mention I have made a playlist of all of Phil
Spector's music. I thought that it would be very even
though it's technically whenever you're doing this is educational, so
you can use music for anything that you want when

(00:38):
it's educational, but I thought it would be, you know,
especially with the new prestigious Netflix deal that you guys got,
I didn't want you to have any you know, copyright
complications are too. No, I'm just saying, I just don't
want you guys have any complications. You know, So instead
of what I think is Phil's most seminal song, instead
of playing that, I'll play you my interpretation of it.

Speaker 4 (01:00):
Thank you all for listening. I will be here all week.

Speaker 5 (01:08):
The night meant I knew I found my show.

Speaker 6 (01:15):
The kind that talks about ev were freaking now.

Speaker 5 (01:23):
Each shine I listen.

Speaker 6 (01:25):
I can't believe my Holy.

Speaker 5 (01:30):
The more than God than be too naughty, though, Can
we till me hid behind the sady that you see
behind the cantles by, behind.

Speaker 2 (01:47):
The business snappy, I'm the best.

Speaker 5 (01:54):
From more crimes consent.

Speaker 1 (01:57):
See oh.

Speaker 7 (02:01):
The weirdows Is Street, dried.

Speaker 2 (02:05):
Leave on.

Speaker 5 (02:10):
Some feet, rocked up that then the darkest shows you
love that cringe at a briefing.

Speaker 7 (02:20):
Day fall some can gupy behind the Ballet Street, the
passion of.

Speaker 2 (02:33):
The boothston snappy, so.

Speaker 6 (02:40):
Behind the s Street, the passion looks like the Boston Sniffy.
The bastards, sweet.

Speaker 4 (02:56):
Bastards.

Speaker 8 (03:03):
That was beautiful.

Speaker 2 (03:04):
Well, that was genuinely one of the sweetest I looked.

Speaker 3 (03:08):
I just want everybody to know, like this was not
an AI song. I legitimately made that.

Speaker 2 (03:13):
I would never have accused you of that, I know.

Speaker 3 (03:16):
But it's like right now, there's so much like like
you know, like fifty does fifties song, you know, like
do up you know, and you're like, ah, no, I legitimate.
I brought in a girl. Her name is Clancy. I
shout her out, Shout out Clancy. She was amazing She
crushed that Ronnie Specter vibe. She absolutely killed it. It
was amazing and I and I very much appreciate it. Yeah,

(03:37):
but yeah, you didn't.

Speaker 2 (03:38):
Really show that wall sound thing too that you were
talking about.

Speaker 3 (03:42):
Yeah, literally, what I was going for was trying to
sound exactly like Phil Spector's Be My Baby, which is
where we will pick up.

Speaker 2 (03:49):
Today, Beautiful after beautiful after introduct after this.

Speaker 4 (03:55):
Nailed it, So back to our story, back to our pow.
Philip Specter.

Speaker 3 (04:08):
His career is exploding, right, this is where we're at
right now, His career is exploding.

Speaker 4 (04:12):
He is the hottest.

Speaker 3 (04:14):
He is Max Martin in the nineties, right, he just
wrote Britney Spears and now he's working for Christina Aguilera.

Speaker 4 (04:19):
Yeah, and then he's working.

Speaker 3 (04:19):
For you know, it's just like hit after hit after
hit after hit. And like I said before, in last episode,
we talked about he was the.

Speaker 4 (04:28):
Tycoon of teen.

Speaker 8 (04:32):
Hate.

Speaker 4 (04:34):
So yeah, so he's yes, it's very it's a very
upsetting name and as an.

Speaker 3 (04:39):
A you know this, but to be fair, he is
probably only like twenty years old, Like he is barely
not a teen himself at this point. And this is
a very very peculiar time in history, right, because most
of his competition is like fifty forty.

Speaker 4 (04:57):
Right, they're like old.

Speaker 3 (04:58):
Dudes, right, it's like like in the early days. Like
it's very funny. But they talk about this all the time,
Like basically, if you heard a song by a young
black girl group, it was written by an old white
Jewish man. Yeah, yeah, without fail, that's what I mean.
You know, not quite yet, but very soon the Chess
Brothers are gonna have Chess Records in Chicago. It's going

(05:20):
to be everything, you know, everything that exists you know
in music is gonna come out of there for a
little while.

Speaker 4 (05:26):
It's like there is absolutely.

Speaker 3 (05:30):
There is just a a a world of old white
dudes writing writing pop music for teenage girls.

Speaker 4 (05:37):
And Phil Spector is the maverick.

Speaker 3 (05:40):
He's the young guy. He's and he's doing it different.
He's very different, right, all Right, So the studio becomes
his creative space. The studio becomes you know, everything to him.
He's using it as part. It's like the it's it's
really in these moments too, when he's making these these
wall of sound productions. It is basically Phil Spector and
the studio is the is the musician. He's bringing in

(06:05):
randos from the parking lot to sing backgrounds, like there's
layers of percussion and shit. It was like if you
could keep a beat at all, it was like cool,
go in there and play this thing. He would have
multiple drums, like all sorts of stuff going on in
these productions. They were they were the musicians were interchangeable.
The studio was important to him, gold Star Studios in
Hollywood on Vine and which is no longer there by

(06:28):
the record it was it was a shitty studio in
the nineteen sixties.

Speaker 2 (06:34):
I gotta break it here to say of my favorite
early in our friendship memories was coming to visit you
at the studio you were working at in LA for
the first time with Lenny and like cracking a sixth
pack when you're like putting the finishing touches on something
and you're like, you know, this is where they made
pet sounds, And I was like, oh this building. You're like, no,
like this room is the room?

Speaker 3 (06:54):
Yeah?

Speaker 4 (06:55):
Here, yeah, right here? Yeah.

Speaker 3 (06:57):
Which again h I mentioned this the first the first episode,
but uh, you know, part of my love for this
whole story is that this is all combined. This story
is all one story, which also includes Charles Manson. I
don't know if you know that Charles Manson's in this
whole thing too. And I actually have a little bit like, dang,
I should pivot from this one the next one.

Speaker 4 (07:17):
I come over here, I should? I should Charles Manson
Beach Boys.

Speaker 2 (07:22):
Talked a little bit about the Beach Boys and Charlie Manson,
but not as much as the subject deserves.

Speaker 4 (07:27):
Yeah, oh my god, it is. I mean, it's it.
We'll get there. We'll get there.

Speaker 3 (07:30):
That's a later but that's a that's a little special
thing for you guys in the future.

Speaker 4 (07:34):
You'll love it. So yeah, so you know Phil Is
is working at gold Star. The Beach Boys are are.

Speaker 3 (07:43):
Brian Wilson actually is part of these early like background people,
not singers. He's like a hanger on. He's like showing
up places and being like, oh Phil's working, like and
he's a kid, and he just like, oh, I just
want to see what Phil is doing. Because Phil is
the guiding force of what would become the Beach Boys,
which would then become the Beatles. Is like whole vibe
on how they just were not doing the Phil is

(08:06):
the architect of this original sound and he cannot be
stressed enough how big of a deal this is, Like
he is like as big as as doctor Dre is. Right,
like when you think of like, oh, like everybody knows
doctor Dre, everybody knows Phil Spector. Right across continents they

(08:26):
know Phil Spector. Everybody knows Phil Spector. Right. He is
after after the hits that he's crafted already. Just he's
world he's worldwide, mister worldwide. He's pitfull and.

Speaker 2 (08:37):
So right right, yes, he's the first mister worldwide.

Speaker 3 (08:41):
He is also, as I said, only about like five
foot three or whatever and anywhere's heels. He starts wearing
heels all the time because he doesn't want people to
know how short he is. He starts losing his hair,
which we'll talk about a little bit. Uh, and so
he starts wearing wigs and starts like going, this is
the beginning of all this. At this exactly, he's like
twenty one and he's like losing his hair at a

(09:04):
crazy rate.

Speaker 4 (09:04):
He's like all right, real insecure about it.

Speaker 3 (09:08):
Really has a lot of self worth image issues, you know,
he really just does not like he's doing all this
because of that, he's trying to go bigger and bigger
and bigger, because he looks at himself as being just
like the worst, because you know, mom issues and all that.

Speaker 2 (09:22):
Yeah.

Speaker 3 (09:22):
But by the mid nineteen sixties, Phil Spectr had achieved
something few producers had ever managed. He had transformed himself
from songwriter into brand, from collaborator into architect. The Wall
of Sound was no longer experimental. It was defining popular music.
But as his professional authority grew, so did his emotional instability.
He got married to a woman named Annette Morar, right,

(09:46):
and it is such a small blip, like this is
I should have started with that, But it's such a
small blip. He marries her and immediately just starts ignoring her,
has no interest in he He love bombs her.

Speaker 4 (09:58):
He does what we now call love bombs, right, He
love bombs the ship out of it.

Speaker 3 (10:02):
But then once they get married, because this is like
a very short courtship, once they get married, he's like
not interested anymore.

Speaker 4 (10:11):
So that gives me.

Speaker 8 (10:14):
That gives me major, is all I'm saying.

Speaker 3 (10:16):
Yeah, Well, calm down on hating on people for bad relationship.

Speaker 2 (10:20):
And situations, as we have well we wanted to talk.

Speaker 3 (10:26):
I'm doing the best I can look, I figured out,
I figured out the problem.

Speaker 4 (10:30):
It's me. I'm in the same place I've locked I
figured out the problem the house all the time, we
figured out the problem.

Speaker 9 (10:41):
But the real you know, we gotta saying you got
nine problems, but.

Speaker 8 (10:45):
You're the bitch, and it's.

Speaker 3 (10:48):
Problems and I am all of them, and I have
been nefariously behind every single one of them.

Speaker 4 (10:56):
Just this will never come back to me.

Speaker 2 (11:00):
All my problems are raither me or the government, which
is why I really focus on hating the government. True.

Speaker 3 (11:08):
All right, so his paranoia is escalating, his reliance on
intimidation is becoming really normalized.

Speaker 4 (11:15):
Right.

Speaker 8 (11:16):
Wait, that's actually kind of interesting.

Speaker 9 (11:18):
So he love bombs this person, he's obsessed with her,
and then they get married, but then he no longer
wants to like control or stalk her.

Speaker 2 (11:26):
No, he literally he So that's a new behavior.

Speaker 3 (11:31):
He basically it's that classic like as soon as he
gets it, he's not interested in it. Yeah, as soon
as he gets it, it pivots, like the whole thing changes, right,
But he.

Speaker 8 (11:40):
Doesn't want to control her anymore.

Speaker 3 (11:44):
Not not really, it's more of like it's more of
like he I mean, he is still controlling, right, but
he just doesn't care at all, you know, like most
of the time, he's more interested in his career, in
his work, in what's going on in the studio.

Speaker 4 (11:58):
He builds a studio underneath his house so that he can.

Speaker 3 (12:02):
Just like be down there whenever he's like, anytime he's
annoyed or like whatever, he just goes downstairs.

Speaker 4 (12:06):
So he has the ultimate like escape plan.

Speaker 2 (12:08):
Yeah, I'm sure if he were to catch her cheating
on him, he'd be pissed, but he's hardly paying enough
attention to know.

Speaker 4 (12:15):
Got it, absolutely? Absolutely?

Speaker 3 (12:16):
Yeah, Yeah, he's very much at this point, he's very
much interested in Phil.

Speaker 4 (12:21):
Phil is what's driving him, right.

Speaker 3 (12:24):
Yeah, So what he's looking for this whole time he
keeps talking about this is a constant reference. He's looking
for the voice. He's looking for the voice that perfectly
compliments his wall of sound, his musical compositions, like being
all these like big Fuagnerian like opuses and everything. He
wants a person to be that thing, to be that

(12:47):
that front and center for all of this to make
it worth what he's doing. He doesn't feel like he's
found that with any of his previous stuff.

Speaker 4 (12:54):
So in walks.

Speaker 3 (12:56):
Ronnie Bennett. Ronnie Bennett, let's talk about Ronnie Bennett will
eventually become his wife's spoiler alert.

Speaker 4 (13:03):
I don't know how much I wrote, so now I
just gotta I wrote a lot. I wrote a lot.
There's a lot of words in here.

Speaker 8 (13:10):
I'm forty one pages, you wrote, my friend, yeah, Jael.

Speaker 3 (13:15):
Yes, no, no, no, that's exactly what I was gonna say.
You know, I'm on the subreddits, I'm on the YouTube's.
I read the comments. I read the comments because they
keep me humble, Because like I'll be like posting something
on the Internet and somebody be like, this guy's a
fucking loser, and I'm like, oh cool, you.

Speaker 2 (13:29):
Know, I'm really.

Speaker 3 (13:33):
Just you know, I gotta, I gotta keep it real
out there. But sometimes I see comments on there where
people be like, I can't believe Robert.

Speaker 4 (13:40):
Fuck you.

Speaker 3 (13:41):
Fuck every one of you who has ever made a
comment like that. Fuck any of you who have ever
said anything bad about Sophie too.

Speaker 4 (13:46):
I slapped the shit out of you. And this is
for the subreddit right now.

Speaker 3 (13:51):
I'm one of you, and I see the things you
say and I'm disgusted by them.

Speaker 4 (13:56):
Sometimes because I'm like do you know this took me
a year.

Speaker 3 (14:00):
This took me a whole year to do this.

Speaker 4 (14:03):
I'm busy. I'm a busy person.

Speaker 3 (14:05):
But even whenever I was like, like, you know, I
told you like last week, oh I'm done with this,
and I was like mostly done, but I wrote another
like three thousand words because I was like, well, there's
some parts I'm missing and.

Speaker 2 (14:15):
All this because ship.

Speaker 4 (14:19):
This is hard. And I hear all your little Internet
comments like oh you said some weird ship or what. Yeah,
I'm doing my best, dude.

Speaker 3 (14:26):
It's like I'm improvising at the same time, I'm obviously
drinking a little bit and like, you know, you guys.

Speaker 2 (14:31):
Got to cut me a break, got to do that.

Speaker 7 (14:34):
Yeah.

Speaker 4 (14:36):
I don't know anybody else operates, but this is how
I do things.

Speaker 3 (14:40):
Speaking which purchase, greasy does it, recording course taught by me.

Speaker 4 (14:45):
I'm very responsible marketing, incredible word thank you. Yeah so
so yeah.

Speaker 3 (14:53):
So. Ronnie is born into a family shape. She's born
in Spanish Harlem, New York City, August tenthnineteen forty three,
four years after Phil was born, just down the street. Basically,
they probably lived almost in the same area at this time.

Speaker 4 (15:08):
Essentially all right.

Speaker 3 (15:09):
So her father, Lewis Bennett, was an Irish American and
her mother was African American Cherokee. Her father was also
a drummer and a drunk, something that can still be
found together in massive quantities around the world. You can
have a drummer and drinking anywhere you go. It's true,
you can find it. It's this prevalentist Coca cola man.

(15:29):
It's there. So he's also a failure, right. He can't
he can't keep a job, he can't do anything. He's
just a mess most of the time. So she grows
up not really down with alcohol. Right, this is important
for later, but.

Speaker 2 (15:49):
She starts her life understandable.

Speaker 3 (15:51):
Being traumatized by a little bit by alcohol. She always
loves her dad, but she definitely feels like, you know,
this is an alcohol thing.

Speaker 2 (15:57):
Yeah.

Speaker 3 (15:59):
She loves singing. She's really big on like Frankie Lyman.
She loves Frankie Lyman. She thinks he's the best ever.
Dinah Washington just voices that were raw and like real,
real authentic feeling, right, And she also gravitated towards performance.
She was always like, you know, like the classic front

(16:19):
woman thing. You know, it's like when she was a
little kid, she was always singing into microphones. You know,
it's like that story, right. Her father being a drummer
and a failed drummer did not discourage her mother because
her father left pretty early, but it didn't discourage her
mother from encouraging Ronnie's musical talent. She didn't just like
all of a sudden, I mean, if it was me, like, dude,

(16:39):
I had ex girlfriends that were like, my ex boyfriend
was a drummer and he failed at music, so you
can't possibly make money off of music.

Speaker 4 (16:45):
And I'm like, you know, maybe you're wrong.

Speaker 3 (16:47):
I don't know, to be fair, I didn't make a
lot of money off of it, so whatever. So yeah,
so her mom, her mom supports her. Her dad's always
waxing poetic about his days as a musician, and so
she grows up as that being like a really important thing.

Speaker 2 (17:03):
Right.

Speaker 3 (17:04):
She was always singing at school events, neighborhood functions.

Speaker 4 (17:08):
She she got a style. Right.

Speaker 3 (17:10):
There's something that happens when you do a lot of
music is eventually, at first you're just learning, you're just
trying to replicate other people's things. But eventually, once you
do it enough, you develop style. Right, and for her,
she developed a very unique style. It was very raw,
It wasn't musically perfect, but it had just.

Speaker 4 (17:28):
A tone that was just beautiful. Everybody recognized it, right.

Speaker 3 (17:31):
So her oldest sister Estelle and her cousin Nedra formed
a vocal group called the Darling Sisters. The trio practice
constantly singing in school hallways, street corners, in their apartments.
That's like a thing that still happens in this time period,
people like out doting on the corner, just singing in public. Bro,
if you saw that shit now, you'd be like, oh
my god, fucking influencers of this shit?

Speaker 4 (17:52):
Shit is it about to say?

Speaker 2 (17:53):
Unfortunately, I would assume it's some like incredibly irritating like
TikTok thing or whatever, some fucking viral bullshit or something.

Speaker 4 (18:00):
Yeah, I don't want to be a part of your
fucking videos, weirdo.

Speaker 2 (18:04):
You know it'd be a huge as.

Speaker 4 (18:07):
I would absolutely. I mean, like, you guys suck anyways,
I don't even.

Speaker 2 (18:10):
Want to you from making music, and I'll tell you so.

Speaker 4 (18:16):
The group was eventually renamed the Rawnettes and namely captured
their identity and Ronnie's emerging role as a front woman
you know Ronnie and the Rawnettes.

Speaker 2 (18:24):
It's very sure normals toteduely.

Speaker 3 (18:27):
Yeah, you know, but you know, Ronnie's lead vocals really
do become the defining characteristic of this whole thing. Their
early performances were energetic, glamorous, and slightly rebellious. Ronnie developed
distinctive stage presence that blended confidence with vulnerability. She wore
dramatic eye makeup, teased her hair into towering beehives, and

(18:50):
moved with a swagger that contrasted with her petite frame.
She was creating an image that felt simultaneously innocent and dangerous,
and aesthetic that would later become iconic.

Speaker 4 (18:58):
In nineteen Sixtyes, Pop Colder.

Speaker 3 (19:00):
Sophie, if you would please show Phil and the lovely
Ladies of the Ronets. Yeahful they didn't invent that beehive hairdoo. Yeah,
but they're the reason it became popular, right. It was
like their adoption of it was the thing that made
that you I mean, that was my grandmother had one

(19:20):
of those when I was a kid. Still and it
was like the eighties, like it stayed on for twenty
some years. How popular that was. So it's like their
cultural irrelevance just cannot be understated in any way. They
were incredibly important to the look of the early sixties,
so breaking into the professional music industry proved difficult for them.

(19:42):
The Run has performed at clubs and talent contests dance
venues all throughout New York City, struggling to secure recording
contracts or industry attention. The persistence reflected both ambition and
necessary necessity because music was.

Speaker 4 (19:55):
Important to Ronnie. Like she it was get rich, d
die tryan on this. You know she was fifty cent
hard right now.

Speaker 3 (20:03):
Eventually the group secured opportunities to perform at venues that
expose them to evolving pop and rhythm and blues.

Speaker 4 (20:08):
Scene of the nineteen sixties New York.

Speaker 3 (20:10):
They performed at the Peppermint Lounge and other popular clubs,
and again Ronnie driving the way.

Speaker 4 (20:17):
Yeah, they were starting to get.

Speaker 2 (20:18):
Sorry, go ahead, just because this is an inspector and
I know what's coming is like based on just how
he treats artists, like the replaceability of them treating him
just like another tool. And hearing a story like this
that really drives home. Just like, no to get anywhere
close to people hearing you on the radio, you have
to have been relentless about making it your life, like

(20:40):
as evidentally unhinged in your dedication to this career.

Speaker 3 (20:44):
Especially at this time, right, Like, and it's a really
good point, Like it cannot the dedication cannot be understated.
It's like at this point, in order to get a
record made, right, that cost a lot of money, you know,
like yeah, for the time, you know, it'd be like.

Speaker 4 (20:57):
One hundred or two hundred dollars or something like that.

Speaker 3 (21:00):
To record a song at the studio, Like two hundred
dollars is like a whole month's paycheck.

Speaker 2 (21:05):
For people, Like it's a crazy amount of money.

Speaker 3 (21:08):
Yes, it's a lot of money for a lot of people.
So and it's still kind of that way today. In fact,
if you're interested in working with Greasy Will, you can
find them at the Grease factory.

Speaker 4 (21:17):
Greasy Will do right.

Speaker 2 (21:21):
Anyway.

Speaker 4 (21:22):
So you know, it's very expensive.

Speaker 3 (21:24):
So even to just get something recorded as expensive, then
you have to get it to a DJ. You have
to get it on the radio, because the only way
you will ever sell anything is if it's on the radio.
So you got to get it on the radio, and
then it has to build local support, and then it
has to build regional support and then it has to build.

Speaker 7 (21:40):
You know.

Speaker 4 (21:40):
It's like sometimes this is like a years long process
to get music to be heard.

Speaker 8 (21:45):
So she's hustling, she's like relentless in trying to get
her stuff out there.

Speaker 4 (21:50):
Absolutely, absolutely, uh.

Speaker 3 (21:53):
She strongly believed that the right producer would eventually understand
how to capture her voice authentically, and she continued to
performing relentlessly, touring, rehearsing and refining her stage present. She
saw her career not as a sudden break waiting to happen,
but something that she would build through persistence and emotional honesty.

Speaker 4 (22:10):
So, yes, that's exactly it. She worked.

Speaker 3 (22:13):
She put in the work from the time she was
like fourteen years old, just grind it all the time.

Speaker 2 (22:19):
Yeah, I'd say it's the only way to do it,
but it's the only It's not it's but it's the
only way to do it. If like you're not somebody
who's coming from somewhere, you know.

Speaker 3 (22:28):
Absolutely absolutely, yeah, yeah, yeah. You know, there's a lot
of Nepa babies in the music industry right now, so
we don't have to pretend. So they're rising through New York.
It's nineteen sixty three and she's looking for this producer,
and coincidentally, a producer is looking for his voice, his muse,
his wall of sound, his girl who will be that
for him? And they meet they though literally it's very funny.

(22:53):
They literally just they just call, you know. It's like
it's like nineteen sixty three, just like you just look
up in the telephone.

Speaker 8 (23:02):
Hey, you want to produce my album?

Speaker 2 (23:05):
Yeah.

Speaker 3 (23:06):
It's like when I think about the old days of
how things were done, it's like, what you just called somebody.

Speaker 4 (23:11):
I won't even answer a phone call from a number
I don't know right now.

Speaker 2 (23:15):
Yeah, you just pick up the phone and yeah, get
a fucking music deal based on that. Yeah, you know,
so they're assuming your call timed in well with when
he'd just done a line. Yeah, you might be able
to fucking make some shit happen.

Speaker 4 (23:29):
Absolutely so.

Speaker 3 (23:30):
Yeah.

Speaker 4 (23:30):
So I was like, all right, So they just called him.

Speaker 3 (23:33):
They call him, they call him, and he's like, oh, yeah,
I've heard of you guys, because they're making a noise
in New York right uh and Phil at this time too,
there's a lot of geographical confusion with a lot of
the stuff that he is bouncing back and forth between
California and New York all the time like that.

Speaker 4 (23:48):
It's like he loves working in gold Stars.

Speaker 3 (23:50):
So he goes out to California to work at gold
Star at the studio, but he he doesn't like the
New York scene is still the scene, right, so he's
got to like go to New York and then he
flies back and then he'll work there for a while.
So a lot of times that it might seem like
he is just like transporting across the country and the story,
but he really is.

Speaker 4 (24:11):
So he heard phil in Ronnie.

Speaker 3 (24:14):
He heard the voice that he had he'd been waiting for,
the emotional landscape that he had spent years construction would
fit perfectly with her.

Speaker 4 (24:23):
Right.

Speaker 3 (24:24):
The professional relationship, though, immediately blurs into personal fixation. Yeah,
he starts, he starts spending you know, extraordinary amounts of
time rehearsing Ronnie, rehearsing Ronnie. He's always rehearsing Ronnie. Like
it's like, Ronnie, stay after, we got to do this,
you know, Ronnie, Ronnie. It's like always Ronnie. And of
course she is the front woman. I'm not saying, you know,
that's not important or whatever, but it's like very obvious, right,

(24:49):
that he is, that he is trying to isolate her
as a great isolation is began disguised as mentorship.

Speaker 4 (24:58):
Exactly right.

Speaker 2 (25:01):
Yes, you know what else hasn't happened before advertisements. We're
the first podcast to do that. So yeah, you're welcome.

Speaker 3 (25:09):
Yes, let's do it, and we're back. We're back into
Phil Spector. Actually, I don't know if I like that,
soby's faith Yeah, yeah, all right, So yeah, it's easy
to portray Ronnie as a victim, and only as a victim, right,

(25:32):
but it kind of it denies the fact that Phil
Spector is Phil Spector at this time. He is a
legendary person in the music industry, and she fell into
love with him as well. It was not one sided.
It was not just Phil love bombing her, but it
was in fact, quote, I already knew I liked him
that first day, and I knew he liked me too.

(25:52):
It really was love at first sight on both our parts.
Even though I hardly said three words the whole night,
I didn't have to say anything else. We commune in
other ways. Every time Phil put that song back on,
I was wondering. I wondered if he wasn't trying to
tell me something because it Shirre didn't speak to me.
I couldn't stop thinking that today I really met the
boy I was going to marry.

Speaker 8 (26:12):
And that's from Ronnie's book Be My Baby.

Speaker 4 (26:15):
Yes, from Ronnie's book Be My Baby.

Speaker 2 (26:18):
I'm so bummed about.

Speaker 4 (26:22):
He showers her with gifts, attention, grand declarations of devotion
like he is just he's on it right.

Speaker 2 (26:28):
Yeah.

Speaker 3 (26:29):
However, remember I said that Phil has his studio in
his house, right, yes, and he is still married.

Speaker 4 (26:35):
Oh, his wife lives upstairs. So again, this is also
from Ronnie's book.

Speaker 3 (26:41):
She goes to visit him, and she says, quote, I'd
never been in a panhouse before Phil or anyone else,
so naturally, when I walked in, I couldn't resist peeking
into all the closets and poking.

Speaker 4 (26:51):
Around behind all the closed doors.

Speaker 3 (26:53):
I opened one door and was surprised to find a
bedroom where six or seven pairs of women's shoes were
scattered all over the floor. Asked Phil who they belonged to,
and he nearly turned pink. Will you stop snooping around
where you don't belong, he snapped. I think it was
the first time I ever saw Phil lose his temper. Okay, honey,
I said, I'm sorry. He must have noticed the hurt
look in my eyes because he softened his tone immediately.

(27:15):
Those are my sister Shirley's shoes, he explained. She stays
here sometimes when she's.

Speaker 4 (27:20):
In New York.

Speaker 8 (27:20):
Liar, Liar, pants on fire.

Speaker 2 (27:23):
Your sister Shirley.

Speaker 3 (27:25):
Yeah, bro, getting mad was the distraction to come up
with the excuse, right, He was like, what are you
looking around for?

Speaker 4 (27:31):
Oh, yes, sister shoes. But those are my sister shoes.
If I'd have thought of that before, I wouldn't have
gotten mad first. If I'd have thought his sister's shoes immediately,
I would have gotten mad.

Speaker 3 (27:38):
Come on, so, uh, you know he abrupt, defensive, you know, aggressive,
This is this is a pattern that would kind of
define the relationship. You know, Curiosity would be met with
intimidation or reality would be replaced with Phil's version of truth.

Speaker 2 (27:56):
Right, he's gaslight.

Speaker 4 (27:57):
She accepts that.

Speaker 3 (27:59):
Yeah, yeah, she accepts that as the truth, right, and
just doesn't even question it. She does say that she
recognized that Phil Phil was had some issues, right. She
was like, he's got some confidence issues. And this is
another quote that I could get it Okay, so important,

(28:20):
so so important.

Speaker 4 (28:21):
Listen to this all right. So this is from her
book Be My Baby. Quote.

Speaker 3 (28:25):
Phil first started losing his hair around the time we met.
In fact, there's a picture that was taken when he
signed us in March nineteen sixty three, which also was
the first day I ever saw him wearing a two pay.
It was so obvious if you knew him, but he
still went to great lengths to hide the fact that
he wore wigs. Even when we slept together. After we'd
do our foreplay, he'd get up from bed and make
sure the lights were all out.

Speaker 4 (28:46):
That way I couldn't watch him when he took his
hair off.

Speaker 3 (28:49):
Then he'd stumble into the bathroom in the dark so
he could rub this acid tone solvent all over his head.
It was the smelliest stuff in the world, but I
guess it was the only thing he could get the tongue.

Speaker 4 (28:58):
The two pay glue off his out.

Speaker 3 (29:00):
So's he's like twenty one, and he's like lost all
his hair already, and he is incredibly the.

Speaker 2 (29:09):
Worst way to ooh.

Speaker 4 (29:11):
Sorry, and everybody knows. Everybody around him knows, but like
he's so powerful, you don't say anything.

Speaker 3 (29:17):
Sure sure, And so it's just like everybody's just just
kind of accepting that this is a thing that has happened,
and nobody says anything, and they just let him go on.

Speaker 4 (29:27):
With his little delusion about not being bald. You know,
I'm not really bald.

Speaker 2 (29:31):
Yeah, yeah, of course, Phil, Absolutely. I always wonder with
guys like that, do you know that everyone knows? Is
this like a power thing? Are you truly deluded?

Speaker 3 (29:42):
I'm so excited that you brought this up, and I
can't wait for it down the road when we discuss
Phil in his hair, because we have to at some
point in time really get into Phil psyche about his hair.

Speaker 2 (29:52):
And spoiler, is a big deal for him.

Speaker 4 (29:54):
It's a big deal. It's a big deal.

Speaker 3 (29:57):
He just flat out does does never, never acknowledges that
he wears wings. It's amazing, all right. So, uh and
that's gonna get even funnier in a couple of paragraphs here.

Speaker 4 (30:10):
All right.

Speaker 3 (30:10):
So Phil brings Ronnie to California under the promise of
expanding her career opportunities away from her family.

Speaker 4 (30:16):
She's now cross the country New York to California.

Speaker 7 (30:19):
Way, you know.

Speaker 3 (30:22):
During this whole time, Ronnie claims to have not known
that Phil was married. She didn't find out until they
had been sleeping together for several months, when a fellow
musician finally broke the news to her. She had been
in love with Phil and ignored all the warnings, but
now it was clear, it didn't change your love. She
still loved him, and he still loved her, and he
loved bombs her with the house and they move in together.

Speaker 4 (30:44):
Yeah.

Speaker 3 (30:44):
So she's literally just in like the bathroom one day
and somebody's like, oh, yeah, because you know, because his wife.

Speaker 4 (30:50):
And she's like wait what, She's like, yeah, he's married.
You didn't know he's married.

Speaker 2 (30:53):
He's married.

Speaker 4 (30:54):
What are you talking about? So she's just like she's hurt.

Speaker 3 (30:56):
But she's like, uh, you know, I mean he comes
and tells her, of course, you know, nat, Oh it's
not we're done, we're getting divorced.

Speaker 4 (31:02):
We don't love each other. It's a whole thing, right.

Speaker 3 (31:04):
So Phil lied to Ronnie's mother about the nature of
their relationship too, and tells her that they're married already
because she's like, you guys can't be living together in shit,
And he's like, no, we're already married.

Speaker 4 (31:14):
It's fine.

Speaker 2 (31:15):
And she's like, I don't believe its so bad.

Speaker 4 (31:18):
I believe it's a lie. Yeah, yeah, I don't believe you,
but I do need to, like, you know, figure this
all out right?

Speaker 8 (31:26):
How old is Ronnie at this time?

Speaker 3 (31:29):
Ronnie is like nineteen years old, like twenty nineteen, twenty,
and Phil is Phil is like twenty two, twenty three
years old, like he was born in thirty nine, so
twenty four, he's twenty four, okay. He would have these
wild swings between like heavy love and then targeted insults.
One night, after a show, he flew into a rage

(31:50):
after a cameraman compliments her, and he loses his mind.
Quote from Ronnie's book quote. This was a big thing
with Phil. If I lost control in front of a crowd.
He hated it because that meant I was out of
his control, and on top of everything else, you came
in off key. He could only ever criticize my singing
for technical reasons because he knew I didn't read music,

(32:10):
so I couldn't argue. Don't bother coming to the party.
After the show, he ordered, I don't want to see
you there. I went straight back to my hotel room
and cried. I suppose I could have gone to the
party anyways, but I never considered it. I just couldn't
go against Phil's wishes in those days. Phil couldn't control
what I did once I got out on stage. But
that wasn't a problem he had in our personal life.

Speaker 9 (32:31):
So he is.

Speaker 4 (32:33):
It is pretty early. They're not Mary.

Speaker 3 (32:35):
This is very early, and he's already taken control. The
Beatles asked them to go on tour with the Ronettes,
and Hill told Ronnie.

Speaker 9 (32:46):
Not to do it.

Speaker 4 (32:47):
Yeah, and.

Speaker 3 (32:51):
He's very anyway, Yes, absolutely, yeah, yeah, fuck those guys,
those those random blokes from Liverpool or whatever.

Speaker 4 (33:01):
Yeah, no future.

Speaker 3 (33:04):
So so, following the incident where he was urinated on
spec to developed an intense obsession with personal protection.

Speaker 7 (33:10):
This is.

Speaker 4 (33:12):
This is classic fill right.

Speaker 3 (33:13):
He began collecting firearms, frequently carrying them during studio sessions
and public appearances. Over time, his guns become more than
defensive tools. They become theatrical symbols of authority and intimidation.
Naturally right, Like this guy doesn't just he loves guns, right.

Speaker 2 (33:31):
He likes to scare people with guns a lot, yea,
and yeah, he.

Speaker 3 (33:35):
Loves a snub nose. He loves a thirty eight dude.
He just like that's a pocket gun, like crazy little.

Speaker 2 (33:42):
Whip it out and wave it in people's faces. You know,
that's the perfect.

Speaker 4 (33:46):
Yeah, it's the perfect. And also you can hit him
with you.

Speaker 3 (33:49):
It's very heavy, it's gotta yeah, I mean that's a
hit with hitting you. That's a good pistol whipping gun
for sure. Right.

Speaker 2 (33:55):
Yeah, when you jam it into someone's body, the slide,
doesn't you know, get out of battery or every like
you can. You can really just poke people with a
thirty eight very easily.

Speaker 3 (34:03):
And yes, and let's be real honest too, when it
comes to a thirty eight, like, it's not like a
long distance weapon.

Speaker 2 (34:09):
It's not a name gun.

Speaker 4 (34:10):
It's not a naming gun, not at all. All right.

Speaker 3 (34:15):
He also developed a fascination with martial arts, particularly karate.
All right, no again, this is nineteen sixties America. We're
about to see Elvis get into the same thing, isn't us.
This isn't like out of control. Lots of actors are
like okay, but all right, but.

Speaker 4 (34:31):
Feel's particularly fun.

Speaker 3 (34:33):
So he's watching television right now, and he sees a
guy named santi Yo Soul break a brick with his hand,
and and he's it.

Speaker 4 (34:40):
That's it.

Speaker 3 (34:40):
He's sold bro share. Yes, So he starts taking lessons
from this guy. He finds this guy and starts taking
lessons from him, right, and he just like goes crazy.
It's like every day, and he starts he starts walking
around town just like in a karate gee, just like.

Speaker 2 (34:59):
Yeah, you like this, Like he's inventing being a wee.
That's amazing.

Speaker 4 (35:05):
Yes, yes, and all right and again and again.

Speaker 3 (35:07):
He doesn't have real hair, so he's he's wearing a wig, right,
He's wearing an obvious wig and a karate outfit walking around.

Speaker 2 (35:17):
But you can't make fun of him because you know
he's also going to pull that thirty eight on you if.

Speaker 4 (35:20):
You do yes, and probably armed with the gun. So
like all of the things right, all right, this is so.

Speaker 1 (35:27):
He is.

Speaker 3 (35:28):
This also gives him access to actual karate practitioners because
he's taken lessons from these guys. So then he hires them.
He hires Santy to to be his his bodyguard because
he's like, well, now I got this tough guy right
here karate and these guys. Also, I just want to
point out, like I don't know this to be fact,
but I just can't stop thinking about this because because

(35:49):
another bodyguard who's a karate guy.

Speaker 4 (35:51):
He talks about this a little bit.

Speaker 3 (35:53):
But uh, you know, you know that they're getting paid
a lot of money, yeah, to be around this guy.
They're making a lot of money off of this guy, right,
so you know they're like, yeah, bro.

Speaker 4 (36:04):
You're you're killed me with.

Speaker 2 (36:07):
Phil? Really you got the most power, so dangerous. Yeah,
just a little push knock me right over Phil.

Speaker 4 (36:13):
Wow, Oh my god.

Speaker 2 (36:15):
Well it's also, especially in this period of time, just
lying about your martial arts qualifications. Oh yeah, spent ten
years in China learning kung fu from monks. Who's gonna
check up on that ship? You learn and you're good,
you know.

Speaker 3 (36:30):
Yeah, you could lie about anything back in the day.

Speaker 2 (36:33):
It's so easy.

Speaker 3 (36:34):
Even when I was like in high school, you could
still lie about things like what am I gonna do?

Speaker 4 (36:38):
Go to the library and prove you wrong.

Speaker 2 (36:40):
All of the top build native American actress in Hollywood
were Italian men. Italian guy. Very easy to lie.

Speaker 4 (36:47):
It was so easy, all right.

Speaker 3 (36:48):
So so Santi uh, bodyguards for him, and then he's like,
Brian got time for this anymore? I'm actually getting a
legitimate business, like so he passes it off to this
other guy, and Neil farkas and felt that Specter was
using his bodyguards as status symbol but also as a
threat to anyone who might get froggy.

Speaker 4 (37:05):
So he's like, you know, walking around and got these guys,
you know, like, what are you gonna do?

Speaker 3 (37:08):
Kind of shit very Jack Doherty coded, you know Jack Doherty,
the young kid, the Zennils or whatever, will know who
the fuck that is.

Speaker 4 (37:15):
Anyway, he's he's you know, he's doing that.

Speaker 3 (37:18):
He's he's going up to clubs on Sunset Strip, getting
in front of everybody, and then when somebody dares to
question him, he says fuck you, and they're like, okay,
well let's fight. And then from out of behind him
comes some actual karate guys you know. Plus also two
actual karate guys in the sixties must have beat the
ship out of everybody. Dude, like they're still in like

(37:41):
the world of like wild Haymakers.

Speaker 2 (37:43):
And everyone else is doing like the Captain Kirk two hundred,
you actually know how to hit somebody?

Speaker 3 (37:49):
Yeah, doing this thing, you know Jack, Yeah, yeah exactly.
So So it's like like actual karate guys. I think
about this all the time. Like Dave must have just
mopped the floor. It's not like now you might actually
run into like a UFC guy like or.

Speaker 2 (38:07):
Like an MMA guy. The guys who actually do that
now just.

Speaker 4 (38:10):
Walking but he's just karate guys walking around anyway.

Speaker 3 (38:14):
So so yeah, so he he basically is just antagonizing
people and purposefully to cause problems and then has his
bodyguards beat the shit out of them, which is super
fucked up so a meal though he says this is
from breaking the wall of sound quote. Specter had never
quite got the hang of karate. He might have worn

(38:35):
a black belt tied around his ge and he might
have boasted a journalists that in case of real trouble,
I could totally kill a guy. But according to Emil Farcas,
he just play acted. He'd do a lot of chopping
his hands in the air, but he was nowhere near
a black.

Speaker 2 (38:51):
He's like a chopping his hands in the air. If
the thing someone's going for it as a chop, you
can kind of guess, I know, you couldn't really hurt
people that way.

Speaker 4 (39:02):
But generally he's hitting him with the hyah, yeah.

Speaker 3 (39:08):
You know, I mean, it's it's hilarious to picture like
in your brain, right, I just always have to remind
myself because he's a giant in the world.

Speaker 4 (39:15):
But he is a five foot three man. He's a
tiny little dude out here.

Speaker 3 (39:19):
Karate choppings, incredible wearing a karate gar.

Speaker 2 (39:23):
He's a man who believes he's a martial artist.

Speaker 1 (39:26):
My god.

Speaker 4 (39:27):
But all right, but what he was good at was
playing pool.

Speaker 3 (39:31):
Apparently he was pretty good at playing pool, and so
he hired this pro player, Willie Musconi, and paid him
one hundred and seventy five thousand dollars a year to
hang out at his house and teach him how to
play pool.

Speaker 4 (39:43):
Okay, that's cool, yeah, and then hold on, hold on.

Speaker 3 (39:51):
Then he would go to pool halls and hustle people
with him, and then when people got mad, he'd have
his bodyguards beat the shit out.

Speaker 2 (39:58):
Of He's really he's really scraping all of the fun
you can have when you're rich enough for bodyguards. He's like,
I just have a posse of dangerous men that have
to beat people up if I'm if I'm a dick,
I am surprisingly more rich guys don't do this.

Speaker 3 (40:16):
To be honest, and honestly, I'm gonna be honest man
if I ever get that kind of money, like walking
around with bodyguard's money.

Speaker 4 (40:24):
Oh that's all I'm gonna do. Yeah, Yeah, that's all
I'm gonna do.

Speaker 3 (40:29):
So he would throw crazy parties and then disappear. He's
a weird dude right now, He's like, uh, he throw
these crazy parties and he disappear the whole night and
then reappear right as people are about to leave, and
he would get super mad if the girls wanted to
go home, super mad.

Speaker 2 (40:46):
Yeah, I'm not surprised.

Speaker 3 (40:48):
He has got real He hates to be alone first
of all, and he establishes this, but he also just
has like specifically when women want to leave he is
he gets.

Speaker 4 (41:01):
Upset every single time.

Speaker 2 (41:02):
Not cool with him?

Speaker 3 (41:03):
Yeah, Phil would This is from a meal Farcas again
from breaking down the Wallace Hund. Phil would get very
upset with women walked out on him. Farcas says he
would rant and rave, you'll never work again, I'll get
you fired.

Speaker 4 (41:15):
Whatever.

Speaker 3 (41:16):
But then again, you'd have this thing at parties where
you might have twenty girls each and each one would
try to last out the other to see who was
going to stay the night with him. But the feeling
I got was that Phil sort of realized that most
of these people were around for the external rather the internal,
and he would have preferred that he wasn't liked for
the limousines and the money and all that. He would
have really liked to be loved for himself, and there

(41:38):
were girls who liked him for that. I think the
problem was that Phil could never believe that these people
could love him for who he was.

Speaker 2 (41:45):
I'm not surprised he had trouble believing people could love
him for who he was, because he's a dick.

Speaker 4 (41:49):
Yeah, I mean it's sad, but I'm also yeah.

Speaker 3 (41:53):
Yeah, it is very strong like like uh like yeah, dude,
of course nobody like Stiffler, right, it's like Stiffler like, yeah,
of course no one likes you.

Speaker 2 (42:01):
Bro giant prick to everyone man like, yeah, you're not liked.

Speaker 3 (42:08):
You know who won't get mad when you try and
leave their parties in the middle of the night. These
these sponsors paid money.

Speaker 8 (42:17):
I want to say me because if my parties don't.

Speaker 2 (42:19):
Go that late, but the Party of Capitalism, that one
keeps on going forever. Yeah, and we're back, okay, will
take it away.

Speaker 3 (42:37):
Yes, So it's nineteen sixty four, the Runnettes toured England
with the Beatles. They go they do, actually go to
the Beatles to tour with the Beatles, and Phil insists
on being there. He is super jealousy that he does
not like it. You gotta keep in mind, too, the
Beatles are the next evolutionary step.

Speaker 4 (42:58):
In this chain.

Speaker 3 (42:59):
We went who now producers are and bands are gone,
and Phil Spector represented the most important version of that.
But it's nineteen sixty four and the Beatles are about
to crossover in America and Phil Spector is incredibly threatened
by them. They have been tearing up the charts and
kind of pushing him out very much so. So when
the Ronnets are asked to go on tour with the Beatles,

(43:20):
he's like and so he goes to England to supervise.
You know, he has to go over and watch and
make sure no one's putting the moves on the own girl.
You know, he said from Ronnie. This is from Be
My Baby, Ronni's book. Phil never came out and said it,
but I could tell he didn't like the idea of
a spending too much time with the Beatles. I don't

(43:41):
think his ego could stand the competition. Beatles were leaving
to start their first US tour in a few days,
and when John asked me if we wanted to fly
back with them on their chartered jet, I didn't have
the nerve to ask Phil if it was okay, So
I mad my mom make the suggestion. You know, Phil,
she told him it might be good publicity if the
girls went back on the jet with the Beatles. No,

(44:02):
he told her, I have already bought their tickets, and
that was all that said. So he tells them, no, man,
I got tickets for you already. You can't fly back
on the plane with the Beatles.

Speaker 4 (44:11):
Are you crazy?

Speaker 3 (44:12):
I'm just gonna let my girlfriend get on a fucking
plane a private play with a bunch of rock stars.
Hell no, that's a horrible idea. Yeah, yeah, hell no.
Uh So he buys them. He buys them private or
commercial flights back, right, she says. She continues, My mother
and they landed the next day at Jfkin. She says,
My mother and I watched the whole thing on TV.

(44:33):
We're amazed at how many kids showed up at the
airport screaming and carrying banners. But what surprised me even
more was something that happened after the plane landed. The
jet was on the ground and the cameras zoomed in
on the door that was about to open up to
give America its first glimpse of the Fab four. But
when that hatch finally did swing open, who do you
think was with them? I almost faded when I looked
at the TV and saw Phil Spector following the Beatles

(44:56):
out of their place. So he's like, you can't fly
back with the Beatles, and then he flies back with
the Beatles.

Speaker 2 (45:02):
I want to fly back with the Beatles absolutely. Yeah.

Speaker 4 (45:05):
Yeah.

Speaker 3 (45:06):
So like there's like thousands of people greeting him at
the airport and they're like and there's Phil Spector and
they're like that sick, amazing, amazing pettiness, amazing that is
that is Tom Petty right there, dude, that's amazing.

Speaker 2 (45:22):
Yeah, that's like a grand level of dickery. Like it'sulary.

Speaker 3 (45:27):
You can't ride with the hottest band that's going on
in the world right now, but I can't and you.

Speaker 4 (45:32):
Have to take a definitely. Yeah, so funny. So Ronnie's
life keeps like it's more and more confined.

Speaker 3 (45:40):
She's starting to get like kind of more trapped by
Phil and everything and Phil starts working repeatedly at the
studio gold Star. I mentioned it before. It was like
the scene of his Wall of Sound, and it's really important, like.

Speaker 4 (45:52):
It is kind of like a big deal. It's it's hate.

Speaker 3 (45:55):
Ashbury for the hippie movement, right or you know or
or or would stocks. It's an important moment in time
where a bunch of people come together for a thing
that is like significant. And gold Star is there. Gold
Star is where the Wrecking Crew kind of was born.
It's where Phil was doing all these hits. And it's
a shithole for the record, but Phil loves it. He

(46:16):
turns it into his fortress, right. He just like like
he no one's allowed to come in unless he says so.
He's booking so much time there, like he lives in
this studio and at this studio. He uh, he is
working with Sonny Bono and share Sonny Bono, side Bastard

(46:37):
Sonny Bono, Sonny Bono, We're gonna side Bastard Sonny Bono. Uh,
Sonny Bono is a is a big giant dick and
we first of all bro He's like the most first
of all. First of all, I mean the Copyright Productions
actor that he did just so Disney could keep Mickey
Mouse in fucking in there in there. That that sucks, right,
But also, how do you go from being Sonny and

(46:58):
share like this whole like they they sang on on
Mama's and Papa songs and stuff.

Speaker 4 (47:05):
Yeah, yeah, they were.

Speaker 3 (47:06):
How do you do that and then become a Republican senator?

Speaker 4 (47:09):
You know, like that's like the ultimate betrayal.

Speaker 2 (47:12):
Of a human being ended as a Republican senator.

Speaker 3 (47:16):
He wasn't a Republican sellout senator fucker.

Speaker 2 (47:20):
Yeah, amazing.

Speaker 3 (47:22):
He was the one and also the subject of one
of my favorite eminem lines, Sonny Bono Ski's.

Speaker 4 (47:26):
Horses and hitting some trees. Oh, I love that great.

Speaker 3 (47:31):
So so Ronnie develops a close relationship with Cherr, who
became one of the few people that Ronnie could confide
him because she's also living very similar situation at this time.
Sonny and cher is about as famous as Ikeantina about
his famous as Ronnie and Phil Ironic that they would
all work together with very strange. And it's really interesting

(47:52):
too because in all of these situations, it shows that
the men in these situations who.

Speaker 4 (47:57):
Are very dominant to their women. Also, oh, are all
subserving to Phil.

Speaker 3 (48:03):
Sonny Bono bends over for Phil, like completely, like he
is he yes, absolutely, he is he is he lets uh,
I mean he, I mean Phil is the god at
the time. Sonny Bono is nobody. He's a gopher. He's
a runner at a studio, and Phil treats him like
a runner at the studio is horrible to him. He

(48:25):
treats him awfully. Sidone, this is a really funny story.
When Ronnie first met Cher, she thought she was a hooker.

Speaker 4 (48:32):
She like, she like, yeah, she thought Share was a hooker.
She was like, oh, this must be Sonny Bono's hooker.
Oh my god, and she just she just says that,
which is.

Speaker 3 (48:44):
There's a lot of things in these like interviews and
books and stuff that I've read, Like, I I love
Phil s Becker, so I've read many books on him.
I watch every documentary I love, I love Phil Spector
and I'm so interested by so uh. When I watch
and read all these things, it's insane to see, like

(49:06):
how open and honest people are about the horrible things
that they think can say out loud.

Speaker 4 (49:12):
It's so crazy. Why did you write this in a book?
You wrote that you thought Share was a hooker? Anyone
that just say that that was it was totally free
to shut the monk up. Nobody you want it. No
one's gonna be like, hey, man, do you ever think
Share was a hooker?

Speaker 2 (49:27):
Right?

Speaker 4 (49:27):
Like you just yeah, okay, incredible, so funny.

Speaker 3 (49:31):
So anyway, so they got a complicated relationship, Sonny and Phil,
and it blossoms into this very like subservient relationship where
Sonny just does everything that Phil asks.

Speaker 4 (49:44):
He like whatever Phil tells him, like, hey, don't let
the girls do this, He's like okay.

Speaker 3 (49:48):
And he becomes like an enforcer for Share and Ronnie
Bennett's relationship in a lot of ways. And it's very again,
he's like getting other people to carry out his like possessive,
weird details of his life stuff.

Speaker 4 (50:00):
It's very strange.

Speaker 3 (50:01):
All right. So Phil has had a killer career, right,
He's had a killer career. Things have been going good
for him. The Beatles come to America, things start to change.
He does, he still has some hits. Things are going
good or whatever. But we're about to hit nineteen sixty six.
And in nineteen sixty six, he produced River Deep, Mountain

(50:25):
High for Tina Turner. Yes, and he to him, he says,
this was the greatest thing he ever did. It was
the ultimate realization of the wall of sound.

Speaker 6 (50:36):
It was.

Speaker 3 (50:36):
If you listen to this song, it is such a song.
It's phenomenal. It's a cacophony of sound.

Speaker 4 (50:42):
It is a it is.

Speaker 3 (50:44):
I mean, it's like you cannot tell other than Tina's voice.
You cannot tell a single thing that is happening in
the background. You can kind of hear like a guitar
riff in the beginning of Barn, but that could be anything, right.
It's like the whole sound is so amorphous, it has
no shape, it has no it's so drenched in reverb
and it's just noise behind what's going on.

Speaker 4 (51:04):
It's so brilliant and so beautiful.

Speaker 2 (51:06):
It is.

Speaker 3 (51:07):
Yeah, it does rip, and it's very reminiscent of like
modern day like shoegaze type stuff is like this. You know,
it's got a really cool atmosphere. It's all atmosphere and emotion. Yeah,
even notoriously shitty side bastards, notoriously shitty side bastard Ike

(51:27):
Turner boud.

Speaker 2 (51:30):
It is it is a Music Industry episode, We're gonna
have a lot of side bastards.

Speaker 3 (51:34):
I just really like the effect myself as well. By
the way, Yeah, I think you should make it into
the regular rotation.

Speaker 4 (51:43):
It's so nice.

Speaker 2 (51:44):
I have a soundboard.

Speaker 9 (51:46):
I need it.

Speaker 4 (51:47):
There we go, it's so good. It's so good.

Speaker 3 (51:50):
Yeah, so notoriously shitty side bastard Ike Turner, Yeah, revered
Phil let him be in control. You're talking about a
band Ike in the Ike gets Right featuring Tina Turner.

Speaker 4 (52:01):
Like, like we're talking, Ike is the control freak of
control freaks, and.

Speaker 8 (52:06):
He's submissive to this weird little guy Sophie.

Speaker 3 (52:11):
In the beginning, we asked, we asked this question, why
do we allow people to be horrible and shitty and
just because they can make a really cool it's the
same that, it's the same world. Why why do those
people allow this other person who's also shitty to to
get away with being in control of them? Because the
music industry, because you can write a good song, you're

(52:35):
you can get away with murder sort of not not
completely spoiler alert, and like do people like he is
visiness wearing that's missively wearing wings. Nobody is confused about this,
and he is wearing platform shoes. He has five foot three,
he's wearing platform shoes that barely make him five to five,

(52:56):
which is still really really sure.

Speaker 2 (53:00):
Yeah, you know, no, Hi knows nothing wrong with it,
but it clearly is fucking with him.

Speaker 9 (53:07):
I mean, this is this is what pops up when
I searched Phil Spector in nineteen sixty six.

Speaker 2 (53:12):
Okay, look at that. Oh no, the glasses, the days
diamond glasses is amazing.

Speaker 4 (53:20):
This is a little early for this.

Speaker 3 (53:21):
Those glasses are honestly with but but I want to
share this picture real quick because this is also very important.

Speaker 4 (53:29):
Robert, Oh god, I have been waiting to show you
this picture. I can't wait.

Speaker 2 (53:34):
This is so good.

Speaker 3 (53:35):
All right, So this is Phil Spector in nineteen sixty six,
around the same time. Around the same time. This is
him with his his security guard, George Brandt. Oh my god.

Speaker 2 (53:45):
So they're they're sitting in some sort of old timey
van and George Brandt like Phil is in George Brandt's lap.
He looks like a child because Phil's holding a gun
and pointing it out the window, and he's got like
a fucking like, what what's that?

Speaker 3 (54:03):
It looks like a labrador or like like like a dog,
like what a poodle? Like a poodle hair situation going
on my head like a.

Speaker 7 (54:14):
Gun.

Speaker 2 (54:15):
And his bodyguard has his arm around Phil and is
like holding him in place. And his hand is like
as big as both of Phil's hands put together like
one hand. Like this contrast between the two men is jarring.

Speaker 8 (54:29):
It's like the flappy hats.

Speaker 3 (54:33):
Incredible. Yeah, it is very It is so incredible. I
cannot believe that he took that picture.

Speaker 4 (54:42):
And was like, yeah, print that ship.

Speaker 2 (54:47):
Crazy.

Speaker 4 (54:48):
It's so funny.

Speaker 3 (54:49):
He's he's a tiny person that really gives you like
a perspective.

Speaker 2 (54:54):
He's look very silly posing with a gun.

Speaker 3 (54:57):
George brand This is George Brandon. George Brand is a
kind of big. He's like six' one or something like that,
but he's not that's not huge.

Speaker 4 (55:04):
That's me. I'm six foot, you know, he's like my.

Speaker 2 (55:07):
Size, but he looks like a giant compared to him.

Speaker 8 (55:11):
Ike Turner and Sonny bowing to him in submission.

Speaker 3 (55:17):
That's crazy, yes, yeah, yes, but that's the power of
a hit maker. That's the power of pretty cool. It's
like somebody who's controlling the industry and that kind of
power is But as I said, uh, this this uh
well I didn't say it, but spoiler alert, it doesn't
last long. He produced this river, deep, Mountain, dit high

(55:40):
for Tina Turner. And he spends enormous amount of money.
This is signed to his lebel to the Phyllis records.

Speaker 2 (55:46):
Uh.

Speaker 3 (55:46):
And he he spends a ton of money, right, emotional energy,
just everything. Time, he puts everything. This is his magno opus,
This is his his his thing, right he he thinks
it's the best thing he's ever done. Massive orchestration, intricate layering,
one of the most powerful vocal performances ever recorded. Spector
later described it as the greatest work of his career. Yeah,

(56:08):
in the United States, it failed miserably.

Speaker 2 (56:11):
That's so wild.

Speaker 4 (56:13):
It fails horribly. Now, Yeah, Spector says. Spector's belief and
a lot of people's belief.

Speaker 3 (56:18):
I've heard a lot of opinions on this, but the
belief is generally it was too white for black audiences
and too black for white audiences. It was that rare
moment of in between. It had orchestration, and but it
had Tina. But it had wall of sound mud, but
it had Tina. But you know, it's like it's like
it was so confusing for DJs at the time because

(56:40):
you either played race records or you played white records,
and that was it.

Speaker 4 (56:43):
Like it was like where does this fall? We don't know.

Speaker 3 (56:46):
Phil Spector is taking this to a logical like conclusion,
but it it just doesn't hit.

Speaker 2 (56:52):
Yeah this it did.

Speaker 3 (56:56):
It did have success in the United Kingdom. In the UK,
it did chart, but the domestic rejection just devastated him.
For a man who equated control with emotional safety, the
failure felt deeply personal. If he could not guarantee success
through perfection, then his entire identity as a producer was
suddenly unstable.

Speaker 4 (57:13):
Right, So this this breaks him, Like this is the
breaking point.

Speaker 3 (57:18):
It he He takes out a full page ad in
a newspaper in America saying Benedict Arnold was right.

Speaker 4 (57:26):
Whoa, yeah, because England liked it in America didn't.

Speaker 2 (57:30):
Whoa, That's nuts. That's a crazy place for your head
to go, right, okay, bro.

Speaker 3 (57:42):
So after that, everybody's like, Okay, well we're not spinning
this record anymore. This dude just called us all traders,
like he said, he said, England should have won the war.

Speaker 2 (57:52):
But yeah, that guy Little.

Speaker 4 (57:57):
So Fill's failure with River Deep Mountain High calls him
to pull out of music completely.

Speaker 3 (58:01):
He announced his retirement from music and spent the days
wandering around his mansion, desponded and depressed.

Speaker 4 (58:07):
This is a common theme with Phil as well. He
spends a lot of time wandering around his mansion depressed.

Speaker 3 (58:12):
Dennis Hopper was actually chronicling the process of making River
Deep Mountain High. He was doing like a documentary film
on the process, and because he'd been around, he saw
this and how it reacted Phil. He offers Phil a
job playing a drug dealer, an easy rider, which is
an amazing, amazing film, amazing role. They said literally, they're like, yeah,

(58:34):
we get him. We let him be an easy writer.
The story I read framed it as like, oh yeah,
you know, like it'll pick him up, it'll make him
feel better.

Speaker 2 (58:42):
Yeah.

Speaker 3 (58:43):
But then when you actually hear, like the Dennis Hopper interview,
he's like, yeah, he had a Rolls Royce and he
would let us use it.

Speaker 4 (58:49):
We'd put him in the movie.

Speaker 2 (58:51):
We couldn't afford it. Otherwise it was easy writer.

Speaker 4 (58:53):
You know, we're like money five thousand dollars.

Speaker 3 (59:01):
So other than that, other than his time on Easy Rider,
he spend most of his time playing pool and often
hanging with his friend Lenny Bruce.

Speaker 4 (59:07):
Are you familiar with Oh my god, Yeah, of course.

Speaker 2 (59:10):
I mean Lenny Bruce was the inspired George Carlin. He's
kind of the er he's not.

Speaker 3 (59:15):
He's like the first first stand up comic, but he's
like the first show some people say.

Speaker 2 (59:20):
The first really good stand up comedian.

Speaker 4 (59:22):
But yeah, yeah, yeah yeah, And big.

Speaker 3 (59:24):
Dude Phil loves him, right, Phil just idolizes him.

Speaker 4 (59:29):
He thinks he's amazing.

Speaker 3 (59:30):
He's Phil Spector, so he's big enough to just be like, yeah,
just hanging. Lenny Bruce is, by the way, in his
personal life a massive pieces basically.

Speaker 2 (59:39):
And horrible drug problems.

Speaker 3 (59:41):
Yeah, horrible drug problems, horrible everything problems.

Speaker 4 (59:45):
Lenny Bruce is a mess.

Speaker 3 (59:46):
And for those of you who are not familiar with
Lenny Bruce, I if you look it up, you're going
to be a lot.

Speaker 4 (59:55):
There's a lot of n word Lenny Bruce rants, is
what I'm saying.

Speaker 9 (59:58):
Yeah, a lot of They also try to like fictionalize
romanticize him in that Marvelous Missus Masel show that was
on Amazon.

Speaker 8 (01:00:06):
They make him a character in that and they make
him like this, like yeah, because.

Speaker 4 (01:00:11):
He did not want.

Speaker 2 (01:00:14):
Because of his influence on like comedy from a freedom
of speech standpoint, which he really did stand and pay for, yes,
but that they also whitewash a lot of like he was.
He was a messy motherfucker among comedians, and the medians
are almost all messy.

Speaker 3 (01:00:30):
There's a lot of stories about him showing up at
Phil's house and like and like, you know, Phil having
to like basically kick him out and be like and
apologize to his guests. Phil, Phil, the guy who held
people at gunpoint, waved guns around, had to be like, yeah, guys, sorry,
Lenny's messy.

Speaker 4 (01:00:47):
Yeah, yeah, Lenny's messy.

Speaker 7 (01:00:51):
Guys.

Speaker 2 (01:00:52):
You know, you know, he's my friend. Doesn't always use
the right terms. He can be kind of in appropriate,
all right.

Speaker 3 (01:01:00):
So the two men bonded over a shared sense of
being misunderstood outsiders navigating industries that simultaneously rewarded and rejected them,
which is extremely valid. They're both kind of outsiders while
also being like praised and glorified.

Speaker 2 (01:01:15):
Also kind of at the top of their their careers.

Speaker 4 (01:01:19):
It's very strange.

Speaker 3 (01:01:21):
Bruce admired Spector's musical intensity Inspector appeared to be drawn
to Bruce's defiant rejection of authority and social norms. He
quotes Lenny Bruce all the time. He'll Lenny Bruce says.
You know, it's like always how he goes. He loves
Lenny Bruce. He loves Lenny Bruce so much that Phil
keeps a blown up image of Lenny Bruce above his bed.

(01:01:43):
What oh what.

Speaker 4 (01:01:46):
Ronnie? Ronnie?

Speaker 2 (01:01:51):
Oh okay, so where is guy and Wasted together? Okay, yeah,
it's weird, Okay.

Speaker 3 (01:02:03):
I like when I wrote this, I literally had this
like funny mental image of me having me having a
Robert Evans above my bed and like your shirtless, you know,
like just like just like you know, over the shoulder
kind of look, you know, just like I just I
was like, yes, dude, that's how I want.

Speaker 4 (01:02:19):
My relationship with Robert to be. Is like like like
quasi sexual.

Speaker 2 (01:02:24):
And relationship absolutely.

Speaker 8 (01:02:29):
My goodness.

Speaker 3 (01:02:30):
So, so Specters get he gets his belief that he's
existing outside of conventional society.

Speaker 4 (01:02:36):
By hanging out with Lenny Bruce.

Speaker 3 (01:02:37):
It validates that for him, you know, and that society
just didn't understand him. This is why River Deep Mountain
High failed. It's just like Lenny Bruce, right, It's like
society just doesn't get how important this is.

Speaker 8 (01:02:52):
But then but then Lenny Lenny dies.

Speaker 4 (01:02:54):
But then Lenny Bruce does die.

Speaker 2 (01:02:56):
Doesn't have a long life expectancy. It's a Lenny Bruce type.

Speaker 3 (01:03:00):
On August third, nineteen sixty six, Lenny was found on
the floor of his bathroom with his pants around his
ankles and a needle stuck in his arm. Yeah, yeah,
that's how that that goes, right. He died of an overdose.
He died in an overdose on the toilet, which is
very Elvis and sad. Very I mean Bruce said, yeah,

(01:03:21):
very Lenny Bruce. Yeah, Lenny Bruce was the original Lenny
brucey od died on the toilet.

Speaker 4 (01:03:26):
Yeah.

Speaker 3 (01:03:27):
So Phil was devastated to lose his friend. He's so
sad about this and again mopes around the house for days,
you know. But a few days later, a cop shows
up at his I think it was his lawyer's house.
It might have it is either his friend or a lawyer.
But cop shows up and says, hey, I got I
got these pictures of Lenny Bruce from the crime scene.

(01:03:50):
Either you buy him or I'm selling them to the tabloids. Right,
and so Phil spent five k of his own money
just he purchased him. Spent five thousand dollars of his
own money, which at that time is.

Speaker 2 (01:04:01):
Like a house. Yeah, that's a lot of money.

Speaker 3 (01:04:02):
Yeah, you know, spends five thousand dollars of his own
money to purchase those photos to keep them out of
the press.

Speaker 4 (01:04:10):
He also paid for Lenny's funeral, and then after Lenny's funeral.

Speaker 3 (01:04:14):
He locked himself in his house for weeks on end
and didn't talk to anybody because he was so depressed
at the loss of his friend.

Speaker 4 (01:04:22):
That's one of those real.

Speaker 2 (01:04:24):
He is capable of deeply caring for someone, and it's
Lenny Bruce.

Speaker 4 (01:04:29):
Yeah, exactly, That's what I'm saying.

Speaker 3 (01:04:32):
It's like, it's a really weird moment because you're like, yeah,
that's sad, but also.

Speaker 2 (01:04:37):
This is the first really human emotion we've gotten. Yeah,
like yeah, okay, interesting, but also huh, you.

Speaker 4 (01:04:44):
Know back to Ronnie.

Speaker 3 (01:04:48):
Right, Ronnie's mom finally is like, you guys aren't really married, right,
So so she's like, you're not living with somebody if
you're not married to them. She like uses her mind
over the whole thing. Yeah, She's like, you guys need
to get married, right. So Phil, you know, he still
lies to her. He tries like lie, but she comes
out to California and she's like, nope, don't believe you.

(01:05:09):
And see she takes Ronnie and makes her move back
to New York, which is again very crazy. This is
like an era where being twenty one is actually what's
considered an adult at this time. I mean it kind
of still is a little bit, but in the manner
of like if you were under twenty one, you could
actually be told what to do by your parents. Right. Still, yeah,
you're not really and also no money and all sorts
of shit anyway, so she forced her to move back

(01:05:32):
to New York. Ronnie hates being in New York. She
hates being around her relatives. She feels like they're all
like gold diggers kind of, and she wants to get
back to California. So Phil comes and rescues her and
takes her back to California. But as soon as they
get back, he gets right back into being jealous, you know,
And it wasn't until she threatens to leave him that.

Speaker 4 (01:05:53):
He finally does commit to marrying her.

Speaker 3 (01:05:55):
Ah they're planning to be married on April fourteenth. Okay
was shot and killed on April fourth and Phil goes
into a despair. Super common Phil anytime somebody famous dies
that he has had any association with at all, which
does happen a lot, you know sixties, in all, he

(01:06:17):
falls into like these horrible depressive states where he just
like mopes around. He was just playing MLK speeches on
repeat in his house at like top volume, which I'm
sure he had a killer stereo, right, he's perspective, So
he's just blasting MLK speeches at like top volume in
his house and like crying in the living room. It's
like super crazy, which brings me to a point about

(01:06:39):
Phil that I think is super interesting. For all of
Phil's flaws, racism is neuterous, not once, not ever. He
is always when we look at these relationships, it's like
it is always black girl groups that he's like, you know,
doing this abuse to. But black is never really like
a consideration. It is women that is the consideration that
like is an issue with women. For as awful as

(01:07:02):
he is, he's never awful about black people. He loves
black people. In fact, Ronnie thinks that he wished he
was black.

Speaker 2 (01:07:11):
Yeah, and he he cried, cried given him like the
industry he's in at the time. Yeah, okay, yeah, that
makes sense. Actually. Yeah.

Speaker 3 (01:07:19):
So he eventually snaps out of his depression and they
return to their wedding plans. They get married on the fourteenth.
The marriage itself was performed at a Justice of the
Peace ceremony. They know, for a millionaire record producer, he doesn't.
He half asses the hell out of it. He does
justice to the peace, and as someone who's done a
couple of Justice of the Peace marriages, you know, I
get it right.

Speaker 4 (01:07:38):
Sometimes I just want to get it over with, you know,
I got stuff to do today.

Speaker 2 (01:07:42):
Yeah.

Speaker 4 (01:07:42):
One his chauffeur's brother was his best man.

Speaker 3 (01:07:48):
After the wedding, they celebrated by going to a concert,
and then Phil sent Ronnie and her mother home with
his driver and went to visit his mother out of
guilt of not having told her about the wedding.

Speaker 4 (01:07:58):
So he feels bad.

Speaker 3 (01:08:00):
He's like, oh, actually, I can't believe I didn't tell
my mom about the wedding. I should have told her
about this, right, So I probably should have done that.
So he goes right, and Ronnie and her mom go
back to the house.

Speaker 7 (01:08:12):
Right.

Speaker 3 (01:08:13):
Ronnie goes home. She puts on some lingerie. She gets
wedding night. Bro We wedding night, you know.

Speaker 4 (01:08:18):
She gets all up and she waits and waits and
waits and waits. Ho always go by.

Speaker 3 (01:08:23):
Phil does not come back, and she's like, uh, okay,
well the hell. Finally he returns home, laid his hell,
drunk his hell, and he's mad. He walked into our room,
she says. This is from her book, Be My Baby.
Quote he when he walked into our room, I could
tell the last thing he was interested in was my body.

Speaker 4 (01:08:41):
Remember she's wearing lingerie and everything.

Speaker 3 (01:08:44):
He was a completely different person than the man I
had sat with at the concert three hours earlier. You bitch,
he shouted. I couldn't believe how mad he looked, and
worse than I'd ever seen him. He was raving so
loud that the veins in his neck were bulging blue.
I know your game, Veronica, he shouted, You just want
my money.

Speaker 4 (01:09:01):
That is it, isn't it.

Speaker 3 (01:09:02):
I was so scared that I got up and ran
out of the bedroom and into the hallway. If Phil
was going to kill me, I wanted him to do
it where there might be witnesses. What's wrong, Phil, what
did your mother tell you the truth? He panted that
this whole marriage is about one thing, my money. He
was so mad he could barely catch his breath. Now,
Ronnie and her mother locked themselves inside a bathroom for hours,

(01:09:24):
hiding from Phil's rage and unpredictable behavior.

Speaker 4 (01:09:28):
Quote.

Speaker 3 (01:09:29):
My mother and I had been living on that pale
blue carpet for over an hour when Phil finally warm
himself out and went to bed. After that, we got
kind of drowsy ourselves. I was just drifting off to
sleep when I heard my mother sigh. Ronnie, Ronnie, Ronnie,
what did you marry? I moved in close to her,
and I started to cry. Isn't this something I sniffed here?
It is my wedding night, and I'm spending it curled

(01:09:50):
up on the bathroom floor with my mother.

Speaker 2 (01:09:52):
Geez.

Speaker 4 (01:09:54):
So it is her wedding day, her wedding day, her
wedding day.

Speaker 3 (01:09:59):
He goes to a show and then he comes home drunk,
drops her off, comes home drunk, screaming and threatening her.
An hour, he spent an hour banging on the bathroom door,
threatening her, screaming, at her with her and her mom
just in the bathroom, cut it up on the floor crying.

Speaker 4 (01:10:18):
And that extremely happy moment. Cool is where we will
leave this episode.

Speaker 2 (01:10:25):
That's Part two Baby, Part two Dune.

Speaker 3 (01:10:29):
I am greasy will you can find me all over
the internet. I have lots of things for sale if
you ever want to buy them. And it is the
same thing. You're supporting people's you're supporting people's livelihoods. Yes,
my assistants they're drug free, so you know when I
pay them money, it's not going to drugs. That is right.

Speaker 4 (01:10:51):
That is super courteous. That's the best you can say
about anybody.

Speaker 2 (01:10:54):
That's right. That's right. Whereas I take all of my
profits and hand them out underneath the bridge so that yeah,
we can buy drugs.

Speaker 3 (01:11:01):
Not You might as well pay me in heroin, you know,
like just pay me in heroin.

Speaker 2 (01:11:05):
Just because like strangers I give money to in heroin.

Speaker 4 (01:11:11):
You are Robert Evans, my good friend and found it.

Speaker 3 (01:11:15):
I write okay on the internet and also here Andrew
on Netflix.

Speaker 4 (01:11:20):
On Netflix, you might be this on the Netflix.

Speaker 9 (01:11:22):
Bro.

Speaker 4 (01:11:23):
This is the closest I will ever come to success.

Speaker 2 (01:11:26):
You could watch this watch another one of Netflix's classic
hit shows like whatever movie is out now.

Speaker 3 (01:11:34):
That one about that pervert guy that kidnaps people and
keeps them in their basement.

Speaker 2 (01:11:38):
Sure you could be watching the pervert next Wow.

Speaker 8 (01:11:45):
Behind the Bastards is a production of cool Zone Media.
For more from cool Zone Media, visit our website cool
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(01:12:07):
continue to subscribe to our YouTube channel YouTube dot com
slash at Behind the Bastards. We love about forty percent
of you, statistically speaking.