The Phil Spector Trial: We Watch Court TV So You Don't Have To (08/10)

August 10, 2007 9:20 AM ET

WHAT HAPPENED YESTERDAY? After sitting in a courtroom since mid-April, the jury's long-awaited field trip to the crime scene finally took place. The jurors were allowed to inspect Phil Spector's faux-castle mansion to get a sense of what happened the night Lana Clarkson was found slouched in a chair after being killed by a gunshot wound. Though TV cameras weren't allowed to join in on the fun, and only one AP journalist was allowed on the premises, reports from the Spector household indicate that several jury members took part in a reenactment of the night of Clarkson's death. Some jurors even took turns sitting in the chair where Clarkson was found (although the original chair is in evidence storage, an exact replica now sits in its spot). Requests to see the room where Phil Spector's bloodied white jacket was found, as well as inquiries concerning whether they could recreate chauffeur Adriano De Souza's perspective, were denied by Judge Fidler.

IS THIS GOOD OR BAD FOR SPECTOR? Unknown. Cameras couldn't capture what revelations the jurors might have had inside Spector's abode, but judging by the series of questions they asked the judge, it seems reasonable doubt still might resonate in some of their heads.

MEANWHILE, OUTSIDE OF COURT: As the trial moves along, more juror details emerge. Juror number six is an executive at New Line Cinema, and was questioned by the judge following Michael Bay's testimony because New Line released two Bay productions. Juror number two is a producer on Dateline NBC, meaning he might have had a hand in those "To Catch a Predator" segments.

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Song Stories

“Try a Little Tenderness”

Otis Redding | 1966

This pop standard had been previously recorded by dozens of artists, including by Bing Crosby 33 years before Otis Redding, who usually wrote his own songs, cut it. It was actually Sam Cooke’s 1964 take, which Redding’s manager played for Otis, that inspired the initially reluctant singer to take on the song. Isaac Hayes, then working as Stax Records’ in-house producer, handled the arrangement, and Booker T. and the MG’s were the backing band. Redding’s soulful version begins quite slowly and tenderly itself before mounting into a rousing, almost religious “You’ve gotta hold her, squeeze her …” climax. “I did that damn song you told me to do,” Redding told his manager. “It’s a brand new song now.”

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