#blue moon boys

[austinbutlermedia]

Austin Butler, Adam Dunn and Xavier Samuel photographed Ruby Bell

[hooked-on-elvis]

"He's just one of the agitated Elvis Presley Fans at the show"

Wrote the Omaha World-Herald paper published the day after the two Elvis Presley concerts held at the Omaha Civic Auditorium in Omaha, Nebraska, on May 20, 1956.

Elvis, Bill Black, DJ Fontana and Scotty Moore backstage at the Omaha Civic Auditorium, Omaha/NE, on May 20, 1956.

Source/Credits: scottymoore.net -- Article: Omaha Civic Auditorium Omaha, NE

Photo courtesy and credits [1] Omaha World-Herald Photo courtesy FECC/stranger -- [2] Photo courtesy Brian Petersen -- [3-4] Photography © J. Kent -- [5] Omaha World-Herald Photo courtesy Scott Hayward.

Elvis and Bill Black (and a glimpse DJ Fontana behind EP's guitar) onstage at the Omaha Civic Auditorium, Omaha/NE, on May 20, 1956.

Elvis was paid $600 for his first show at the Omaha Civic Auditorium on May 20, 1956.

Over the years, Presley performed in five different occasions at the Omaha Civic Auditorium but May 20, 1956 would be the only time he performed there together with the Blue Moon Boys.

As for the dates, Elvis performed at the Omaha Civic Auditorium on May 20 1956 (2 concerts), June 30 1974 (2 concerts), July 1 1974 (1 concert), April 22 1976 (1 concert) and June 19 1977 (1 concert).

[sagesolsticewrites]

Happy BMB Sunday y’all!!! 💙🌙

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

[doll-elvis]

Hiii, I always love reading your perspective on Elvis. What do you think about the friendship between Scotty Moore and Elvis? I think his book doesn't get much attention and not being talked about enough, so I'm curious what happened between them (because I loveee seeing the early pictures of Elvis with the Blue Moon boys). Did they go in separate ways in bad terms? Thank you!

stop you are so sweet !! 😭 thank you so much for taking the time to read my posts and for saying this, it truly means the world to me that you get something postitive out of my perspective and the info that I share, thank you again 🫶🏻💗

and I wholeheartedly agree that his book needs more attention, solely because of the unique, and very genuine, insight that he offers as he was right by Elvis’ side when he became the performer/star that we all know and love. It was really interesting to read from the perspective of a fellow entertainer/musician, as opposed to a friend or girlfriend

The best part of this book, and what makes it worth reading, are all the stories of Elvis and his fellow bandmates, many of which I never knew until I read it

As for your question, when Scotty initially quit in 1957 it definitely wasn’t on the best terms however I don’t think either of them harbored any hatred for one another as Elvis invited Scotty to play in the 1968 comeback special which he did agree too. And while Scotty mostly talks highly of Elvis, it’s clear to me that he held some resentment towards Elvis and an overall feeling of frustration at how his professional career went while working for Elvis

The reason for Scotty quitting, as he tells it, was because he was paid very little for the work he did with Elvis, which wasn’t Elvis’ fault but rather the Colonels’. However Scotty didn’t see it that way and he felt betrayed that Elvis never stood up for him or the others against the Colonel

And despite Scooty Moore and Bill Black going to the press after they quit and saying that they were paid next to nothing, there was talk of reconciliation between them and Elvis. But before the band could reunite, Elvis was drafted into the army in 1958 which definitely put the nail in the coffin for their professional relationship and personal relationship ⬇️

I was also really shocked to learn that after they reunited for the 1968 comeback special, Scotty Moore never saw Elvis again and he didn’t even go to his funeral

And I don’t know if I’m misinterpreting the passage below wrong ⬇️ but the “misunderstanding” Scotty is referring to is the whole situation of him not being paid enough. And so it seems to me like Scotty was upset that he couldn’t have a career with Elvis and make money again as he had passed away… it’s just such a weird thing to be upset about of all things. Like Elvis passed away and you’re still stuck on how you could have gotten a better career out of him?

But anyways- other than that I would still say it’s a must read for any Elvis fan. However, if I were to read it again, I would only read the chapters dedicated to the 50s 🤧

[lserver362reviews]

While Elvis doesn't seem fully comfortable in this movie, the wardrobe (esp complete denim & cowboy looks), the songs (I loved Teddy Bear as a child), and the character fit really nicely. It is very meta and I find it so interesting with where he was at with his life, and this being his second film. Graceland purchased months before this movie was released for him and his family, pre-service, his own mother still alive, revolutionized music & performance, and he's got his Blue Moon Boys in this. What a young beautiful baby! Note the same weird 50/50 deal with his manager is in this as in Jailhouse Rock, also released in the same year as this film. King Creole (also starring the lovely Dolores Hart) which would come out one year later as his 4th film, is still the best I've ever seen Elvis, but this works as a stepping stone. Lovely to see! This movie did make me a little sad thinking about his exploitation and talent. ily, Elvis.

[ahundredlifetime]

Blue Moon Boys in the early days 🥹🥹🥹

Elvis, Scotty and Bill at The Cotton Club in Lubbock, Texas, April 29 1955.

[hoolyelina]

one last spanner

some sketches also. mods moe-ify that 30 year old man

[bluerosefox]

Masks and Moonlit Night

-Crashes through DPxDC window and sticks a new AU sticky note down on everyones foreheads-

ANGER MANAGEMENT MASQUERADE BALL AU!

Jazz is forced by her parents to go to all Masquerade ball at Vlad's, whose using Jazz as both a way to keep Danny in line (as well as Jazz, basically Danny can't fight back or he'll hurt Jazz and Jazz can't fight back because he'll also hurt Danny who he has locked up at the moment) and to 'impress' the elites (As much as Vlad wants to use Danny for the party he knows the boy would do something to embarrass him in front of them, he at least knows Jazz will keep her manners in check) with how intelligent his goddaughter is.

During the ball, Jazz (in a stunning dress and mask, think like manhwa worthy outfit tbh if you want) meets Jason (who lost the Bats/Birds most recent 'Not it' game and was made to go with Tim to Vlad's party) and both hit it off when they meet in the garden, under moonlight, both wanting some fresh air.

Jazz wants to enjoy her time with Jason but worries about Danny and thus tries to leave and figure a way to help him without tipping Vlad off she was trying to save her brother. However she notices she's being watched by some ghosts Vlad employed and no doubt would report her should she even try. So she kinda uses Jason as way to keep them being unaware of her planning... or at least that was the case until she noticed another Team Phantom member sneaking into Vlad's place and knows its only a matter of time before her brother is freed.

Within the hour she gets a text from Danny who tells her, he's out and gonna fight Vlad for locking him up, that Dani is with him too so it'll be double beat down and that he'll come get her soon.

She is pulled away from the text when Jason asks what books she likes to read and now with the weight of her brother needing to be safe, or as safe as he could be, is lifted off her shoulder she answers.

Its magical, its wonderful, and for a moment Jazz is able to actually enjoy this party, ignoring the pained hits Vlad was no doubt receiving from what she can hear with her liminal enchanced hearing, because talking to Jason, or J as he introduced himself as, was very fun and wonderful and wow he was very handsome even with his mask and-

Jazz is startled out of her wondering thoughts when she could hear someone in the party scream, no doubt Danny, Dani, and Vlad's fight probably bleed into the main hall and she could see people starting to run out.

Jazz sits on the bench as Jason goes running in, no doubt curious as to what is happening and going to get his 'brother' Tim who he came to the party with out. Jazz takes off her mask and sits it down the bench and waits before Dani appears and says they should get going, Danny is keeping an angry Vlad busy and that she can take Jazz home.

By the time Jason comes back, with a researching on his phone Tim, all he finds of the charming woman he met at the dumb ball he got dragged to was her mask on the bench.

[ryllen]

blue thundery rage 💙⚡

[luckyartdrawer]

(Bitter) Sweet! Art & Drabble

For @divinit3a Café Lunch Rush prompt list! There's still plenty of time before the first prompt is due (Jan 12th), and there's 2 other prompts as well for the month! Definitely check it out lovelies! <3

Drabble name: Instability Of The Heart Contents: Sun x reader, Heavy Pinning, Bitter Sweetness Chosen Words: Clouds, Opals, Celebration, Star-crossed, Letting Go, Hope, Candle Word Count: 1,625

AO3 version now available!

(Close Ups are also at the bottom <3)

It’s been a whole year…

Unsure how to approach the festivities now, Sun decided to find a quiet spot instead, spending all morning setting things up to participate in his own way. He couldn't not join in, but it just wouldn't be right to go back into the thick of it either.

The not-too-far-off town square, only a mile below his expanse of cloud, is alive in the lieu of celebration. The live orchestra plays the same casual songs, their passion dying the expanse of clouds they rest upon pink with their infectious energy, and the music drifts up clear as day to his ears despite the distance. The community brightens at each strum of a chord, chatter so lively that they create lyrics to their own song. They all are so alight that even once the sun sets, not even a single candle will be necessary to keep the festival bathed in a warm glow.

Sun sighed as he looked towards his namesake, feeling both relief and dread seeing it only moved a little since he last checked, located slightly past the center of the sky above him. Any moment now the square should clear its center and engage in its Hearthwarming Dance.

A spark crackles in his chest, sending longing pangs to his heart and head. It swirls through the burning magma and dips through every ligament, the tips of his fingers and toes buzzing with the itch to do something.

He turns to his partner, waiting for the first note of the new song to swell before grabbing their soft hand and whispering,

“May I have this dance?”

Without his usual banter, Sun embraces them and sways to the familiar beat without hesitation.

Upon closing his eyes, he is suddenly not dancing on a patchy field of clouds, but rather upon a lively opal plaza shimmering in the warm sunlight; the polished stone reflecting all those lovely pink clouds to create a mosaic, speckled with a rainbow of beautiful color.

Yet, the way you shined changed everything. It had completely ruined his view of beauty.

Your smile glistened through the sheer cloud of stardust that orbits around your form. Your eyes were as hypnotic as the ring of light you absorb, blindingly white before turning into a pitch black that's impossible for him to comprehend. He could barely even remember what you wore that day, too busy memorizing your face.

You were a star that had gone supernova, a rarity unseen for the last 3 centuries, let alone for a star of your kind.

Even the thought of your imagery causes him to inhale sharply. He clutches at his partner tightly, mindless of the give as he steps around in a traditional dance.

You were so scared when the change happened all those months ago...

Sun had found you holed up in your dark room, begging him to not look at you. He had initially come over to barge down your door for being an hour late to meet him, only to find your home was unlocked. It wasn't too unusual, so he welcomed himself inside, used to doing so after years of friendship.

His bitterness over how you kept him waiting for so long evaporated at finding your tearful state, almost unrecognizable if it weren't for your usual wear and voice.

He's still ashamed to say that he was enraptured by you despite the state you were in.

You were a glimmering dwarf star before, enchanting enough as is, and yet somehow you turned into something even more bewitching, compounding his years of desire into something even stronger. It felt right. Not to see you sad, but to see you in that form. Everything about it felt like you. The pull was indescribable in every step he took, the very essence of you invading his senses.

As soon as he recounts reassuring you, drying your tears, and pulling you into a hug; he snaps back to having you in his arms in the light of day, grasping his right hand and prancing with ease across the square, expertly avoiding other participants.

The magnetic pull is intense, the need to somehow get closer and closer was nearly impossible to ignore. He wanted to run away from such a force, yet he only clutched your hand tighter as he spun you, pulling your back into his chest and locking you there for a beat too long.

He was so afraid that you could read his every move, regardless of knowing your sheer obliviousness to his desires.

You always playfully indulged his yearly insistence of being your dance partner, yet nothing had come of it from either side. But this time, his gaze was constantly locked with yours, unable to break contact. His possessive grip had ensnared you, barely leaving even an inch between you. He couldn't help but pause, disregarding the mass of bodies moving around him, wanting to hold you forever.

How could it not be obvious?

Regardless, he knew it was inevitable he'd spill out his soul to you soon, barely able to restrain his lips from colliding into yours at that very moment.

He hoped, he prayed, he begged like a mantra to the celestial mother that you'd feel the same. That this magnetism isn't so one sided. That restraint would one day be unnecessary and he'd finally be able to drink in the flavor of your kiss.

Only mere seconds had passed when he released you from his hold, continuing the dance as if nothing happened. Perhaps to you, nothing did happen.

Would that explain what had happened?

He spent that whole day with you, following you to vendors with traditional carbon foods and indulging in your proximity as you'd graze hands and bump shoulders on occasion, finally left comfortably alone as the town's people were accustomed to your new appearance by then.

He was more than happy to scoop you up the moment you said you were getting tired and overwhelmed. You insisted that you didn't want the fun to end, but he could tell by the sound of your voice that you at least needed a change of pace.

The sun was setting when he leapt up stray puffs of clouds to the field above the plaza. He pranced in circles, leaping gaps to the dying beats of music, and teasing about dropping you through them when you didn't believe he could cross. Your rivers of laughter only fueled his audacity, as he never wanted to hear them end. Inevitably, his foot barely slipped off the edge of one of his more daring jumps, causing the two of you to fall forward and collide with the cloud beneath you.

Despite the grunt the two of you made at the impact, you were quick to laugh at Sun’s failure, teasing him about his cockiness biting him in the behind.

But Sun couldn't ignore the press of his body on top of yours, the echoing melody of your voice ensnaring his throat, refusing to allow him to even draw breath, let alone words. His mind fogged over, the only reprieve to his pinning troubles all pointed towards you, and he desperately needed that relief.

Your lips were more delicious than he could have ever dreamed of, your endearing expression was wide eyed and glowing.

Glowing so much that he actually had to close his eyes for a moment to recuperate, despite how much he wanted to savor your appearance.

And then with a fluttering blink, he's back in the present, kneeling down in the same position over some sad facimally of you. The cloud he molded this morning was mangled already from his delusions, but due to his fall it had melded into the cloud below it, its pink color feeling more taunting than sweet.

Sun looked down at his hand to find a tiny piece of said cloud still in it, a tear welling up in his eye.

It was too fitting.

In that original moment, it was as if you dissolved right in his arms after that kiss, but he refuses to believe anything bad happened. He searched your home, your favorite places, and even contacted your friends and family. No one knew where you were.

Some believed you to be dead after he finally admitted what happened between the two of you.

He vehemently denied that possibility, despite the plausibility. You were barely older than he was, still spry with centuries of life ahead of you. You couldn't just die from a kiss…

The only spark of hope he was given was when he questioned one of the elder Neutron stars, one of whom recalled personally knowing a singular supernova; one who had been taken suddenly to a world beyond the sky to contain their unstable make up. They had returned only once to explain their departure, before saying goodbye for their next one shortly after.

Sun brought the small puff of cloud to his lips – it should have been your hand.

He couldn't repress the tear that escaped him.

It's been a year since your disappearance. He still hasn't given up on his star-crossed lover, if he may even call you that. Your sudden departure left him wanting, stagnant, unsure of so many things.

If you reciprocated, wouldn't you have come back to him by now..?

Overtime, many have caught onto his depressed demeanor and advised him that it's best to learn to let go.

Preaching that waiting is fruitless.

Denouncing the Neutron’s tall tale of some magical plain snatching you away.

Scolding Sun for ruining his life over some runaway star.

However, he cannot help it; you own all the hope he has left. As he is unfortunately, completely, woefully in love with you.

Close Ups!

[crayoncat-works]

Dance with 14th Moon tonight

[deke-rivers-1957]

Happy belated birthday, Scotty Moore! If only you cameoed in all of Elvis' movies. It made for a nice easter egg in the early days.

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 bother 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 release 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. Yet, she was so inconsolable over losing her only girl children, 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, Scotty and Mattie (mother).

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 personal 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 in 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 of 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 the 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, the only personal 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 the boys: "I figured the best thing for these guys was to stay out of the way, hy woyld 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," said Fontana.

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 longer 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. Scotty and Bill were a reflection of what Elvis was. As I said before, they matched. It was meant to be.

Happy heavenly 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. ♥

[thenancydrewtimes]

Cleaning today, I found this ad in the back of my old Hardy Boys book 😍 It even features some concept art specifically for TRN that I’ve never seen before. They appear to be in the mines towards the game’s end sequence? I see they’re wearing the same clothes, which makes me wonder if they were suppose to have more presence at the end? 🤔

ALSO!!! Where is all this wonderful concept art?!?!?! Petition for @nancydrewpcgames to open the vault and release it allllll muhahaha! There’s no telling how much we haven’t even seen 😁

[missunderstood-with-ideas]

Hera: children you have not found the love of your life if you didn’t find them in the trash!

*Sabine and Ezra both look at Kanan*

Kanan: why do you assume that I was in the trash?!

Leia: no she’s got a point

Ezra: does this mean I can space Kallus cuz Zeb didn’t find him in the trash!

Kallus: Bridger I swear

Zeb: kid….Kallus was the trash

[mxgicdave]

last train doodles 🚂