#bill fontana

[garadinervi]

Bill Fontana, Sound Sculpture, (LP/Vinyl), YPRX-1434, EMI Custom, 1978 [midcenturyclassical]

[sound-notes]

Sound sculpture: By placing listening devices on the surfaces of built and natural monuments—the Golden Gate Bridge, temple bells in Kyoto, trees in Sequoia National Forest—artist Bill Fontana captures uncanny natural music that reveals that these bodies are alive with sound. Fontana’s latest project amplifies the voice of Notre Dame. Since the devastating fire of 2019, the ringing of the bells has ceased. To create his new work, Silent Echoes, Fontana attached seismic accelerometers—sensors designed to detect vibrations—to each of the ten bells of Notre Dame. As the bells reverberate in response to the ambient sounds of Paris—rain, the calls of birds, the noise of the street—the live feed is transmitted to a series of speakers at the Centre Pompidou creating a haunting, immersive sound sculpture. Silent Echoes debuted at the Centre Pompidou in June, where, on the fifth floor terrace of the museum, visitors stood awash in the acoustics of the bells, with the towers of Notre Dame in view just across the Seine.

[heyitsmylessart]

I just wanted them to see the stars...

[hooked-on-elvis]

APPRECIATION POST

ELVIS AND THE BLUE MOON BOYS: As told by Scotty Moore.

On a December 27th SCOTTY MOORE was born.�� I'm a little late but I wanted to celebrate this special month and date still in 2024. So here's a little summarized story, from Scotty's POV, of how it all started to happen in the music industry for him, Elvis, Bill and D.J,, our dear Blue Moon Boys. The story of how Rock and Roll music was born when initially three young men formed a trio in mid-1954.

I must begin with an observation: "That's Alright, Elvis: The Untold Story of Elvis' First Guitarist and Manager, Scotty Moore" by Scotty Moore as told to James L. Dickerson, from where this excerpt above comes from, is a GREAT book! A definite Elvis and Rock and Roll music fans "must read." I'm yet to read Bill Black's story in "Don't Be Cruel, Elvis: The Bill Black Story" by Paul F. Belard and DJ Fontana's memoir book ("D.J. Fontana remembers Elvis")... but I'm taking my time enjoying Scotty's book for now. It's full of details and I'm impressed with each little part of his (their) story in those pages. People are not usually that interested in musicians as much as in the lead singers, specially if they're not musicians themselves, like me - but Scotty Moore had a very interesting life, besides the book is so well written, honest and fun you can't seriously feel it's even close to being uninteresting. Reading Scotty's book I never had the feeling of wanting to skip the story to the part where Elvis comes into the picture because Scotty's own story is that incredible! I mean it. Anyhow, I'm just sharing how much reading Scotty Moore's story was so important to me and made me feel a deeper appreciation for the Rock and Roll history as a whole and also it helped me better understanding Elvis as a person and how he came to be the legendary artist he became. I didn't finish the book yet, but I can tell from where I am in my readin that having Scotty, Bill and D.J.'s support, guidance and friendship was crucial to the rise of Elvis Presley as we know.

For the record, it actually started with Scotty Moore chasing his dream, cutting a record at the Memphis Recording Service and being asked to audition Presley afterwards. To think Scotty wasn't even supposed to be born! Haha... we'll get to that.

PICTURES: Three-months and five-years old Scotty Moore.

Winfield Scott Moore III (December 27, 1931 – June 28, 2016) was fond of music since he was a child. One of Scotty's bigger brothers gave him his guitar as a farewell gift when Scotty was five years old and his brother, Ralph, the youngest son in the family prior to Scotty being born, joined the US Navy (picture 1 is Scotty wearing a Navy uniform his brother sent him while he was serving). Scotty Moore had four siblings, three boys and a girl. In ascending order of age, they were Carney, Mildred Lee, Edwin and Ralph. His sister, Mildred, sadly passed away when she was only fourteen years old and Scotty wasn't even born yet. It was a hard time for the Moore family, but that sad event in their story was the reason why Scotty existed. Scotty's father, Winfield Scott Moore, found relief for his grief in music, playing fiddle and the banjo, instruments he taught himself how to play. Later he would teach his children how to play guitar. His mother, on the other hand, never got over losing her only girl. Scotty's brothers were born respectively in 1911, 1913, 1915 and 1917. Mildred, born in 1913, died in 1928. A couple of years later, Mattie Moore, Scotty's mother was already thirty-eight years old while her husband and Scotty's father was forty. Regardless of their age, she was so inconsolable over losing her only girl child, they decided to have another baby, hoping for another girl. That's when Scotty was born, in 1931. Scotty laughed when sharing this story. His parents never treated him as if he was a mistake, always showed him the same love they had for all the other children. However, being born with a huge gap regarding the other children in the family (Scotty's brothers were already 20, 16 and 14 when he was born), was not that easy. He felt left out simply because his siblings were in different moments in life than he was. Growing up as the only children in their household possibly contributed a lot to Scotty's relatively reserved, cautious, sober but highly creative personality.

The Moore family — L-R: Edwin, Scott (father), Carney, Ralph, Mattie (mother) and Scotty.

Given the circumstances surrounding his family, as the Great Depression hit hard, Scotty and his brothers grew up watching his father playing music in square dances and parties to help supplement the family's income. Eventually all the boys were involved with music, joining their father in a family band and playing together to help making ends meet. Like them, Scotty grew to love music but found in his guitar more than a way to unwind or to make a few bucks, he actually got serious over playing music and eventually went to dedicating most of his free time to improve his guitar skills.

"Scotty wanted to go fast. He wanted to play music you could dance to. It was as if there was some yet undefined, an inner rhythm simmering inside him, something wild and raw trying to break out into the light of day."

Excerpt "That's Alright, Elvis: The Untold Story of Elvis' First Guitarist and Manager, Scotty Moore" by Scotty Moore as told to James L. Dickerson.

Growing up, Scotty did not find his vocation in school. In his words, he "didn't dig" the school, being an average student. He dropped school for one year after completing the ninth grade, dedicating his time working in the family's farm, but not enjoying the work decided to go back to finish his high school education. In January 1948 Scotty followed his older siblings' steps and decided to enlist in the U.S. Navy. He was only sixteen at the time — the minimum age to join the Navy was eighteen or seventeen, with parent's permission. Therefore, Scotty had to lie about his age. He was lucky his father was supportive. According to Scotty, that was the only time his father lied, to help him. At the age of sixteen, Scotty Moore was a Navy man, still he never left his guitar aside. During his time in the Navy, Scotty formed different bands. One of them even had a fifteen-minute radio show on radio station KPRO in Bremington, Washington, and also played at clubs and parties off-base.

"When he played song the way they were written, they somehow came out different - faster, more energetic. On the outside, Scotty was cool and collected, and shy country boy. On the inside, he was bubbling with emotion. Music was his release. No one had ever heard music the way Scotty heard it; no one had ever felt it the same way."

Excerpt "That's Alright, Elvis: The Untold Story of Elvis' First Guitarist and Manager, Scotty Moore" by Scotty Moore as told to James L. Dickerson.

PICTURE: (1) The USS LST-855, the first ship on which Scotty served in China, and its officers. (2) Later, Scotty served in Japan and Korea on board of the aircraft carrier USS Valley Forge. Picture shows Scotty (left) with musician friends on board of the USS Valley Forge.

Scotty had to become a man fast, the Navy training and his time serving were enough to achieve that. Still, when he returned home to Tennessee after being discharged from the Navy on December 4, 1952, with a China and a Korean service medals in his collections, he was still headset to make music his life and main source of income. By 1954, while he worked at common jobs to make a living, after all at the tender age of 23 he was already a former Navy man, married (then to Bobbie Walls, his second wife) and had two children from his first marriage (to Mary Durkee) he needed to support — Linda Moore, born in December 16, 1950 and Donald Moore, born also on December 16, but in 1952 — Scotty had been trying to gather musicians to play in his free time around Memphis and its neighborhood. Those musicians groups had many different formations, none in particular and no official band for a while. it was upsetting since Scotty took playing music seriously. He looked for musicians as passionate and dedicated to music as himself to form a band and, eventually, he would find those musicians who would encourage him to pursue his dream even further.

Scotty's first real band, a band he formed (under contract and all, quite unusual at that time for small bands) and to which he was the manager to, was the Starlite Wranglers — Lead vocals by Doug Poindexter, Bill Black on bass, Millard Yow on steel guitar, Clyde Rush on guitar and Thomas Sealy on fiddle. Just like Elvis but prior to him, Scotty did cut a record with his band at Sam Phillips' Memphis Recording Service facilities (Sun Records) in Memphis, Tennessee, in May 1954. That's how he got acquainted with Sam. The songs they recorded were "My Kind Of Carryin' On" (A-Side) and "Now She Cares No More For Me" (B-Side).

However, the Starlite Wranglers did not succeed as Scotty hoped for. Still, he continue to perform live in small gigs with his band, concerts he would book himself. At that moment, it was enough satisfying that he had a band with a real record out but he wanted better, he needed more. Scotty continued to visit Sam Phillips at Sun Records, hoping the man could get him a better chance to succeed in the business next time around. One summer day in 1954, Scotty was asked by Sam Phillips to audition Elvis Presley for him, to find out if Elvis was worth his time, money and records producing skills, following the suggestion of Sun Record's secretary Marion Keisker, who had been chatting with Elvis back and forth since he got into the studio in July 1953 looking to cut a private record as a gift to his mom, as he said. Marion was enchanted by the young's man politeness and lovable personality but also with his persistence in making music his real job. Scotty, on the other hand, knew nothing about Elvis, had never seen him until that point. He decided to invite Bill Black to help him out with the audition at Scotty's home (983 Belz street, North Memphis), a house that shared the same neighborhood as Bill Black and his wife's home. It happened on a Sunday afternoon: July 4, 1954. That same day, after the audition, Scotty gave his approval to Sam Phillips and they all got together at Sun Records. That's when "That's All Right, Mama" a 1946 blues song originally recorded by Arthur "Big Boy" Crudup was covered... but at Elvis, Scotty and Bill's brand new style.

PICTURES: 1. Scotty Moore's home in 1954, at 983 Belz street in Memphis, TN. The street was renamed and now (as far as I know) it's the Eldridge street, North Memphis. 2. Bill Black's home at the same neighborhood (967 Belz street). Moore and Black were neighbors in mid-1954 after the Blacks (Bill and his wife Evelyn) told Scotty and his then wife, Bobbie, about a home available for rent there. They first auditioned Elvis in Scotty's home on July 4, 1954, according to Scotty "Elvis arrived shortly after noon." ••• Credits (pictures): Mike Freeman on Flickr, pictures taken on February 21, 2011. Additional info: Youtuber Billy from "Spa Guy" channel visited the address. Here's a video uploaded in 2017 that shows the sites: "Elvis Presley Audition Scotty & Bill."

Scotty had a long story with music of his own prior to Elvis coming into his life. He knew much more about the music industry than Elvis at that point when they met (mid-1954) and so did Bill Black, both already used to entertaining small audiences in honky tonks, which proved to be just what Elvis needed, jovial musicians with a passion for music as strong as his own, but people that could school him on the business.

The trio was a perfect match. Elvis' voice and the attention he got, the curious gazes from both youngsters and adults, interested not only in his voice but also in his flashy looks and unusual movements onstage, combined with Scotty's management skills and Bill's boldness to experiment with sounds and the great enthusiasm and energy he brought onstage, encouraging the rather shy young Elvis to let loose and show everyone his true self, was like the stars were finally aligned when those three met. When Elvis already had a deal with Sun Records and was finally a music artist as he dreamed of becoming, a member of the trio gathered by Sam Phillips to which Scotty Moore naturally took over the management responsibilities (in contract signed on July 12th, 1954 just a few days after Elvis' first audition with Bill and Scotty), due to his previous experience as a band manager. Initially, Scotty Moore was the only person actually booking gigs for them. The easiest way for Scotty to introduce his new band to the public was by incorporating the trio as "special guests" to the Starlite Wranglers shows. One of the sites they played at was the Bon Air Club, a bar at the outer rim of the city (Memphis) limits. That was before Elvis and The Moon Boys could even have a name, as it would be for a little while...

The group's name soon after would come. Taken from the B-side of "That's All Right, Mama", "Blue Moon of Kentucky," a Bill Monroe hit from 1946 that was recorded at Sun Records by Elvis and the boys just a couple of days afterwards, on July 6, 1954.

"With 'That's All Right, Mama,' Elvis took a blues song and sang it white. With 'Blue Moon of Kentucky' he did the opposite: he took a country song and gave it a bluesy spin."

Excerpt "That's Alright, Elvis: The Untold Story of Elvis' First Guitarist and Manager, Scotty Moore" by Scotty Moore as told to James L. Dickerson.

Already on the road, a little while afterwards the three added a drums player to the group, D.J. Fontana. They'd met and become friends during the Louisiana Hayride gigs, where D.J. was an in-house drummer on its Saturday night radio broadcast. Hidden behind the curtains onstage for a Louisiana Hayride performance of Elvis and the Blue Moon Boys, on October 16 1954 at the Municipal Auditorium in Shreveport, LA, D.J. had his first taste of what it was like to play with the boys. D.J. said about playing with them: "I figured the best thing for these guys was to stay out of the way, why would I clutter it up with cymbals? I'll just play the back beat and stay out of their way. They already had the good sound."

Scotty's management on Elvis' career didn't last long, tho. As a local musician with no connections in the business that could give the band a national break, Elvis' management contract was given to the deejay Bob Neal, a friend of Sam Phillips, and, not long afterwards, to Colonel Parker, who would take over Elvis' destiny from then on. Scotty shares in his book that the moment he talked to Parker he could feel Elvis and the Blue Moon Boys as they were was not far from becoming history. He wasn't wrong. but that's another story. The boys still had time to be featured in some of Elvis' most remarkable films released in the 50s, as "Jailhouse Rock" (1957), and definitely left an everlasting mark in music and a legacy that'll never be forgotten.

It was crazy being a musician for Elvis Presley, sure, but those three guys rocked and, IMHO, the Blue Moon Boys are the responsible ones for Elvis getting to be so demanding on hiring his musicians when he went back to performing live, in 1969, after the end of his Hollywood acting career and a hiatus from live performances that lasted seven years. At the beginnings, Scotty said there was a point [at the peak of the Elvis Mania in the 50s] where they couldn't hear any music during the concerts, so they had no option but to guide themselves by Elvis' moves onstage to get an idea of what part of the songs they were supposed to be playing. D.J. Fontana said he could hear the music but couldn't see the other musicians when he started playing with the boys. Elvis couldn't hear himself in most of the shows in the 50s, specially when things got bigger and wilder from 1956 on. Elvis was a perfectionist and he expected his musicians to follow his lead onstage. He would gesture to them whenever he wanted a change in the pace or sound... when to begin playing, when to pause, when to lower the music, when to come to an end. Elvis liked how intuitive, quick and responsive to him Scotty, Bill and D.J. were onstage, and that established his standard for what good live musicians were made of. Other than a perfectionist, Elvis was quite methodical character in work. He wasn't one to get easily convinced into changing his way of doing things if he liked the way they worked before. That's another great insight Scotty's book gives us. As the band was originally composed by three members, they didn't have a lot of instruments to fill the sound in records, so Sam Phillips decided to put Elvis' vocals at the same level as the instruments as he produced their records. Elvis liked how that sounded, so much so that he just hated when people (and I mean Colonel Parker) wanted to bring his vocals front and put the instruments more or less in the background, which happened in some of his later records. Colonel Parker reasoned with that saying Elvis' fans wanted to hear Elvis' voice, nothing more and Elvis didn't agree in the slightest. Other example of Elvis being resistant to changes in the music business was in 1969 at the American Sound studio, when the way of producing records was very different than in the 50s, being more common to tape the parts of the songs separately (backing vocals, instruments and leading vocals) because that gave a better opportunity to explore with the sounds to the music producers, allowing them to reach different sounds than recording songs with all of the musicians playing and singing together in the same room as in a live concert could give. Elvis had a little bit of a hard time accepting it. He loved how the 50s music was made. That, my friends, is how the Blue Moon Boys era and his experience recording at Sun Records was dear to the King's heart.

Well, not so full of dates and details but that's it. Just a summarized story of the beginnings of Rock and Roll music in the 50s. In Scotty's book it's all way more interesting, I guarantee you. The point is... those guys were a force of nature together. They were different, fresh, exciting... as a team. It was not only about the lead singer for a while. Scotty was quite shy and modest, yet very mature and serious over playing music, while Bill Black was fun and energetic onstage, giving Elvis the encouragement to act more wild and bold onstage too, little by little but quickly becoming as untamed as he could be, inspiring fear and frenzy into the "square" 50s society. EP learned a lot about how to be an exciting entertainer at that time.

Scotty, Bill and DJ... I will always appreciate your efforts and dedication to music. You were extremely important, taught and guided Elvis while he was finding his way in the industry. Your place in history is permanent, and so is our gratitude. Don't be fooled, my friends, we still feel the direct impact Elvis and the Blue Moon Boys caused in the entertainment industry. They rocked our world.

I specially will always appreciate Scotty Moore being stubborn on his passion with music. In a world where so many people are wannabes, so many try to make it and give up when things get rough and life happens, Scotty's vision and creativity helped change the course of music forever. It wasn't easy. Scotty, just like Elvis in a future time, lost his (first) wife - among other reasons - because of his music inclination. Scotty and Bill were a reflection of what Elvis was, if we take a closer look at their private lives. As I said before, they matched. It was meant to be.

Happy heavenly belated birthday, Scotty. I hope I did justice sharing a little bit of your story. I am an admirer of your work. Even not knowing the least about music technicalities, I know enough to be certain your guitar playing talent inspired many great musicians that would come after you. Your story is unique and so special. I feel blessed knowing a little bit of who you were and how you felt. God bless your soul, dear Scotty. ♥

[elvisbooty76]

[albaandbatty]

Dazzling Carla Gugino at Toronto Film Festival premiere for The Friend (2024)

[sagesolsticewrites]

Happy 1 year since Elvis (2022) was released! Did y’all see the pics Adam posted? 👀❤️

[sassy-ahsoka-tano]

fuck marry reject or kiss the blue moon boys + EP

OMG OKAY nakwkdnddn

F - i gotta say elvis right?? i mean marrying him would carry kind of a lot of baggage for someone as mentally unstable as me lmaoo but i still wanna experience ✨ HIM ✨ you know?

M - scotty because i wanna do everything with him and if we're married i get forever to do it 😈

K - bill!!! this man was such a good kisser i don't make the rules thanks

R - im so sorry dj....we can still be besties anyway tho. we'll just make fun of the bmb behind their backs and maybe he can teach me how to play the drums 👀

this was so hard 😩 what would you do shawni? tell meeee

[presleyspassions]

Rock and roll singer Elvis Presley poses for a portrait with his guitarist Scotty Moore (left) and other men on a movie set in 1956 on Los Angeles, California.

[garadinervi]

Bill Fontana, Landscape Sculpture With Fog Horns, (LP/Vinyl), 209034X, KQED-FM, 1982 [midcenturyclassical]

Design: Bill Anton, Dennis Favello

[doubledeadstudio]

Hello, happy holidaysヾ(＾∇＾) I apologize for this being a long question but I've been thinking for a long time and I really have to ask if you would ask the RH crew (Mars, Abel and Fleur too if that's okay) for book and/or movie recommendations, what would they give ? If it's not a spoiler, what media inspired their depiction, if any? I want to practice English so I find new things I like, and I hope my words make meaning when I use translation. Have a happy holiday (づ ᴗ _ᴗ)づ♡

Happy Holidays! This is so sweet. Good luck on your language journey.

Recommendations:

Crux Hertz - The Ritual (2017) or Bones and All (2022) (movie), Siddharta by Hermann Hesse or No Longer Human by Osamu Dazai (books)

Black Lumaban - Mad Max: Fury Road (movie), The Conquest of Bread by Peter Kropotkin (book)

Vincenzo Fontana - Possession (1981) (movie), The Picture of Dorian Gray by Oscar Wilde or Lolita by Vladimir Nabokov (book)

Florentin Blanchett - The Substance (2024) or Dead Ringers (1988) (movie), Stiff by Mary Roach (book)

Abel Valencia - American Psycho (2000) or Wolf of Wall Street (2013), no books because he's stupid but I will give a TV show... Desperate Housewives

Inspirations:

So, the thing about this is really complicated because I'm an avid art fan and I consume all sorts of media, from books to movies to tv shows and music. Generally, I get a concept then my brain starts piecing things together. (Crux is the hardest to explain because he originally started off as the child of two of me and my husband's oldest OCs... and he became a whole separate beast on his own.)

But I can give characters that really remind me of them!

Crux - Sans (Undertale), Gojo (JJK), Loki (Marvel), Shawn Spencer (Psych) (This is the worst list of all time), also Markus (Red Embrace:Hollywood), and Lee (Bones and All). Hozier and Will Wood remind me of his aesthetic.

Black - Guts (Berserk), Lio Fotia (Promare), Fenris (Dragon Age), Warren Peace (Sky High), Bigby (Wolf Among Us), Juri (Utena). For music, grandson has his vibes.

Vincenzo - Lestat (Interview with a Vampire), Orin (Baldur's Gate 3), Gilbert (Kaze to Ki no Uta), Mahito (JJK), Alois Trancy (Black Butler), Ryo Asuka (Devilman Crybaby). His storyline was largely inspired by HP Lovecraft's Dreams of Witch House. For music, near everything by Emilie Autumn and Mindless Self Indulgence.

Abel - Ashley (The Boys), Rhys (Tales from the Borderlands), Nathan (Life is Strange). (I won't lie, a huge part of him is directly inspired to parody Right Wing pundits lolol) For music, no lie, Laufey and Lana del Rey, LMAO.

Florentin - Griffith (Berserk), Viktor Frankenstein, Dr Herbert West (Re-Animator).

~~~

For Mars:

Hello, Clovis here, creator of Mars! Thank you for the interest! Mars likes classic films with lots of sexuality and violence. Kill Bill, Pulp Fiction, Chicago (he loves a good musical if it isn't too sugary-sweet). He'll go for the stereotypical Dad Movies too as long as he thinks they're suave enough, like James Bond and Indiana Jones. For books, he reads a lot more than you'd think and enjoys being well-read, but let's say A Song of Ice and Fire, because there's political drama and everyone's suffering. (Their misfortune and crushed innocence amuses him.)

Mars is inspired heavily from the Fullmetal Alchemist Brotherhood depiction of Greed. While not a direct inspiration (I've had the character for years), Sukuna from Jujutsu Kaisen is hilariously similar to him. Vintage mafia movies are where a lot of his aesthetic comes from. If you like crime thrillers, I would highly recommend the television show Fargo for bastard men that you love to hate, are scary as hell, and are darkly comedic. — Clovis @VileFable

[hooked-on-elvis]

What is your favorite part of the '68 Special?

Pictures: Singer Presents  ... Elvis, commonly referred to as the '68 Comeback Special. 1968.

For me, undoubtedly I say my favorite part of the '68 Special is the sit-down concerts, specially the reunion between Elvis and the remaining members of Elvis' former band, the Blue Moon Boys, Scotty Moore and DJ Fontana.

I wonder if the fans, not the specialized critic such as musicians and general people in the business but specially the fans, back then, while watching this TV special for the first time, understood or merely felt the significance of this moment. I wonder if they were surprised in seeing Elvis not only back onstage after a while but back onstage with Scotty and DJ Fontana by his side. Man, that was special! To me, the most special portion of the '68 Comeback. ♥

Bill Black, bassist, unfortunately passed away in 1965, while Elvis was still full time engaged with his Hollywood career. Fans only wish Bill could have been there with Scotty and DJ. He had that irreverent performance that fascinates me, surely he would've been a great asset to the show. I only feel sorry Elvis, neither Scotty or DJ, ever mentioned Bill on the '68 Special, but its understandable the reason why. It wasn't about the Blue Moon Boys more than it was about Elvis returning to the stage. Even so, had Bill made it to this moment, man! That would've been something else. Even more meaningful than it already was.

Scotty Moore: His memories on the '68 Comeback Special and 'behind the scenes': Elvis and The Blue Moon Boys performing in Europe?

Source: Excerpt of the documentary "Elvis: The Birth of Rock n' Roll" (2004)

Scotty reveals Elvis asked him and DJ Fontana if they would agree to go on the road with him again, this time performing overseas, in Europe. Curious enough, to that question, Scotty says Elvis called him and DJ Fontana to another room in his home, so they could talk in private - which was something unusual for him because "usually anything he had to say, he'd say no matter who was around".

For the longest time, performing around the world was something Presley aimed. Ever since he had been stationed in Germany with the US Army during his service time, a period he did paused his career therefore he didn't perform while in Europe between 1958 to 1960, reporters asked him if and when that moment would come when Elvis would go back to Europe but this time for live concerts, to the thrill of his passionate fans overseas who followed him career from afar, many since the 50s. Unfortunately touring outside US (other than few performances in Canada in 1957) never seemed the get the right time.

Once Elvis begin performing live again in 1969, after he was out of the movie contracts, Elvis' manager, Colonel Tom Parker, would always have excuses on the tip of his tongue for why an European tour, or world tour for that matter, would not be a such good idea. When Elvis received some death threats coming his way through letters sent to his crew occasionally, starting from 1969 on, those incident perfectly fit to Colonel Parker's intentions for his gold boy. Parker would use the incidents to manipulate Elvis to believe they couldn't do his security properly out of the US. Colonel would tell Presley how it would be too dangerous for him, besides they could make just as much money performing home as they have been doing so far.

Elvis never had this one dream of performing overseas coming true in his life, as much as another reunion between him and the Blue Moon Boys never came to be after the '68 Comeback Special. Scotty says that private conversation in Elvis' home (in 1968) was the last time he was together with Elvis like that, which makes this moment in history one of a kind.

During the '68 Special (sit-down concert), Scotty submits a special request to Elvis for them to play "Lawdy Miss Clawdy" together.

The song was recorded by them on February 3, 1956, at RCA studios in New York. It was released as B-side to the EP "Elvis Presley", out in September 1956. The cover shows Elvis, Scotty Moore and Bill Black performing together.

Later, the song would be featured on the LP "For Elvis Fans Only" released in 1959. Elvis would frequently include "Lawdy Miss Clawdy" to his main setlists from 1970 to 1975, occasionally performing it in 1976 and 1977.

No wonder Scotty picked this song. Maybe a subtle way of honoring late Bill Black. ♥

About their performance of this tune during the '68 Comeback Special:

As they jam together, Scotty gives a cue and Elvis tears into “Lawdy Miss Clawdy” with a raw assault of mixed emotion. His performance is so intense that it almost—in the best way—scratches the ears. Vocal cords that, so far, have proved their owner’s mastery with smooth singing are pushed to the point of fraying at the edges. As Greil Marcus noticed, when Elvis lurches into the number, what he experiences is a feeling that is both joshing and liberated. At one point, as the musicians jam together, it’s possible to hear Charlie Hodge getting carried away with laughter, as if bobbing in the fray of a heady, almost oceanic moment. In his underrated 2004 pocket volume The Rough Guide to Elvis, Paul Simpson describes “Lawdy Miss Clawdy” as “Elvis’s answer to Jack Kerouac’s On the Road.” Taking on this old staple in the Comeback, what the singer delivers is lusty, passionate, and commanding, yet also desperate, angry, and sad. He conjures with immense powers. — Mark Duffett (Counting Down Elvis - His 100 Finest Songs, 2018)

Again, what is your favorite part of the '68 Special?

[elvisbooty76]

[disneytva]

Disney Branded Television Sets PRIMOS Premiere For July 25th As Part Of Disney Channel Epic Mid-Summer

Oigan Primos! from the talented people who brought you Big City Greens comes a new meaning for BEST SUMMER EVER. ☀️🌈🖍️📔

Disney Branded Television has set the series premiere for Primos with a two-episode premiere July 25 at 8:00 p.m. Pacific on Disney Channel (with two new episodes airing every Saturday starting July 27). An initial batch of episodes will be available to stream on Disney+ starting July 26.

“Primos” follows Tater Ramirez Humphrey, an imaginative free spirit bursting with creative energy who is ready to spend the summer of her 10th birthday sorting out her goals and dreams. But her plans are derailed when she learns that her mother has invited all 12 of her primos — cousins — to spend the summer at their home and share her room.

Joining the talented Primos guest cast includes

Gabriel Iglesias (Jorge R. Gutierrez "I-Chihuahua") as Tio Gustavo, Sarah Sherman (Anaapurna Animation's "Nimona) as Carmela, Cheech Marin (Pixar Animation Studios "Coco") as Abuelo Pop, Sherry Cola (Pixar Animation Studios "Turning Red") as Ms. Mahoney, Bill as Kyle MacLachlan, Jaime Jarrín (Los Angeles Dodgers) as Día de la Cultura Announcer and Xolo Maridueña (DC Studios "Blue Beetle" Marvel "Moon Girl And Devil Dinosaur").

Primos songs are GRAMMY nominated composers Alana Da Fonseca and Bobby Studley (Tim Burton's "Wednesday", Disney Channel Original Movies "Teen Beach Movie" franchise). Jim Lang (Nickelodeon Animation Studios "Hey Arnold" franchise) serves as score composer, Hey Arnold! creator Craig Barlett does additional guest clay animation.

Karla Sakas Shropshire (Nickelodeon Animation Studios "The Loud House", Disney Television Animation "Katz Café") serves as story editor.

Inspired by growing up in Fontana and Riverside with the chicano culture Primos has gotten praise by fellow industry members such as Jorge R. Gutierrez (Nickelodeon "El Tigre: The Adventures of Manny Rivera", 20th Century Animation "The Book of Life", Netflix Animation "Maya And The Three"), Phil Lord (MTV Animation "Clone High", Sony Pictures Animation "Cloudy For A Change Of Meatballs" franchise,"Spiderman In To The Spiderverse" franchise), Sofiá Alexander (Crunchyroll Originals "Onyx Equinox", Disney "Phineas And Ferb"), Guillermo Del Toro (Dreamworks Animation "Rise of The Guardians", "How To Train Your Dragon 2" "Tales of Arcadia" ,20th Century Animation "The Book Of Life", Netflix Animation "Guillermo del Toro's Pinnochio"), Miguel Puga (Nickelodeon Animation Studios "The Casagrandes", DC Studios & Warner Bros Animation "Blue Beetle The Series" ), Megan Nicole Dong (Netflix Animation "Centaurworld", Locksmith Animation "Bad Fairies" ) and more.

PRIMOS will be used by Disney TVA Multiplatform with their short series "CHIBI TINY TALES", "THEME SONG TAKEOVER", "BROKEN KARAOKE" & "HOW NOT TO DRAW" , Tater and The Ramirez Family will set to appear on CHIBIVERSE Season 2.

Additionaly a Primos soundtrack by Walt Disney Records is set to debut July 26th on digital music platforms

PRIMOS joins Moon Girl And Devil Dinosaur,Kiff, Big City Greens,Amphibia,The Ghost and Molly McGee, Hamster & Gretel and Hailey's On It! on getting official albums.

[sagesolsticewrites]

Happy BMB Sunday y’all!!! 💙🌙

@austin-butlers-gf @sassy-ahsoka-tano 💙🌙

[broadwaydivastournament]

DONNA MURPHY IN FOLLIES, I REPEAT DONNA MURPHY IN FOLLIES

On June 20th, 2024, Transport Group will stage a one-night-only concert at Carnegie Hall. The cast will feature our beloved Divas in unannounced roles, including Donna Murphy, Katie Finneran, Karen Ziemba, and Carolee Carmello.

Full cast: Julie Benko, Mikaela Bennett, Michael Berresse, Alexandra Billings, Klea Blackhurst, Harolyn Blackwell, Stephen Bogardus, Norbert Leo Butz, Len Cariou, Carolee Carmello, Jim Caruso, Nikki Renée Daniels, Christine Ebersole, Katie Finneran, Santino Fontana, Alexander Gemignani, Miguel Gil, Olivia Elease Hardy, Erika Henningsen, Grey Henson, Fernell Hogan, Jennifer Holliday, Rachel Bay Jones, Isabel Keating, Adriane Lenox, Norm Lewis, Ryan McCartan, Donna Murphy, Thom Sesma, Barbara Walsh, Nina White, Jacob Keith Watson, and Karen Ziemba.