#rolling stone article

[tuttle-did-it]

Well. This explains a fuck of a lot, doesn't it?

A few highlights from the Rolling Stone link above:

"The sources and the HR complaint paint Blackman as a manipulative and chaotic showrunner who fostered a toxic workplace by pitting staffers against one another; creating an environment of fear and distrust; taking credit for other people’s work; and allegedly making lewd remarks that sources say they found to be sexist, homophobic, and transphobic. (Blackman’s behavior was also mentioned in two other complaints made by a writing-team member and an actress, Rolling Stone has learned.)"

“From the get-go, it was one of the worst jobs I’ve ever had in my life,” says a Season One source.

In text messages provided to HR, he wrote, “Elliot wants to come out as trans on the show. As Ivan. Oh my fucking God. Kill me now.” (Ivan is the formal name of Page’s character’s original name; the show ended up using the name Viktor instead.)

Throughout the show’s four seasons, sources claim to Rolling Stone, Blackman would make what they viewed as homophobic and transphobic comments, including juvenile and perverse commentary on individuals’ sexualities and wondering aloud about people’s anatomies. “He found it very funny, like the butt of a joke,” one says. Again, sources claim, Blackman was clever in the art of the spin, attempting to pass off inappropriate comments as harmless jokes and innocent questions.

“He could be very good at dropping something that starts to be transphobic or homophobic, like, ��They’re a he/she,’” a second staffer says. “But then [he’ll say], ‘It’s all good, I support it. It’s awesome, live your best life.’ … He toes the line of seeing who will join in and laugh with him, and then if nobody does, really skillfully backpedals.”

Blackman would also make sexist, lewd, and disparaging comments, such as remarks about female staffers’ breast sizes and wondering aloud about their sexual proclivities, sources and the HR complaint claim.“She’s relentless,” Blackman allegedly texted one staffer about another, according to texts that were provided to HR in the complaint and reviewed by Rolling Stone. “I’m sure that’s good for certain things… but in the room it’s exhausting. But … the rack.” 

[cruucigerglobus]

KLOKTOBER DAY 1

your favorite character

happy october!! snb pickles save me save me snb era pickles

[tenderflint]

i listened to transgender dysphoria blues religiously in high school just like everyone but it's really only now dawning on me how fucking huge it was for laura jane grace to come out very publicly as a trans woman in a male dominated punk scene in 2012 in fucking florida. she did that!! and now she's gay married

[jacobglaser]

Well this absolutely sucks.

[babyeilish]

Billie photographed for Rolling Stone

[emergingghost]

i keep wanting to pull lyrics from lucy's new song and write about them but i fear every line is, pun intended, a big deal, and they all really speak for themselves. anyway just going to put this here, for archival purposes.

[hooked-on-elvis]

ELVIS interviewed during filming of 'Change of Habit'

— AMONG OTHER THINGS, YOU'LL LEARN ABOUT HOW ELVIS DID SOME IMPROVISATION IN HIS LINES FOR THE MOVIES AND HOW SELF CONSCIOUS HE WAS ABOUT HIS OWN FILMS

Filmed on location in the Los Angeles area and at Universal Studios during March and April 1969, Change of Habit was released in the United States on November 10, 1969.

Elvis Presley On Set: You Won’t ask Elvis Anything Too Deep?

Elvis talks, but he doesn't say much

BY WILLIAM OTTERBURN-HALL HOLLYWOOD – The notice outside the big grey double-doors was simple and to the point. SET CLOSED, ABSOLUTELY NO ADMITTANCE. You find notices like this outside a lot of film studios, and they tend to have a certain elasticity. This one, outside what looked like an aircraft hangar but was actually Stage D at Universal Studios, meant it. Inside, Elvis Presley was filming. And where Elvis goes, the barriers go up as if some sinister germ warfare experiment were being carried on within. Like a suckling infant, he is swathed and coddled against the realities of the world outside, as if he were made of rare porcelain rather than hewn from good old-fashioned Tennessee stock. But this day he was on show. I had been given the magic formula. The secret open-sesame known only by its brand name of “Colonel Parker’s Okay” had been handed me. The doors swung wide, and I was in. They say Colonel Parker is the man who built Elvis from the erotic gyrating days of the swiveling Pelvis through 14 long and fruitful summers to his present status, by pushing and pulling his protege through the tricky cross-currents of pop music taste. I wouldn’t know. I had asked to see him, this onetime Texas fairground barker, to thank him for the green light. But he was always somewhere else. In his office at Universal, over at Metro, down in Palm Springs, in Las Vegas to lay the trail for the next live show... always somewhere else. No matter. Who needed Colonel Parker when Elvis himself was alive and well and filming? The Publicity Man who escorted me as close as if he were handcuffed said proudly: “I’d like to work with him again, he’s so sweet and uncomplicated. I was surprised you got through – no one’s talked to him yet, you know. There must have been a good breeze blowing.” The good breeze continued to blow as far as the set. A mauve-walled pad with kitchen adjacent and a king-size bed visible through half-drawn yellow curtains. Elvis sat at a table, staring at his hands, while three mini-skirted girls, Mary Tyler Moore, Barbara McNair and Jane Elliott, scurried around with trays of food.

L-R: Mary Tyler Moore, Jane Elliott and Barbara McNair.

The film is about three nuns who pose as nurses to “identify with the people” in a Negro ghetto in New York. The title is Change of Habit (yes, it is) and stars Elvis as a medic who falls for one of the nuns. Elvis is wearing a paint-stained blue denim shirt and tight blue jeans. He looks relaxed and affable and rather meatier around the jaw-line than one remembers from previous films. Marriage (back in May 1967 to Priscilla Beaulieu) is obviously agreeing with him. His eyes have that smoky slow-burn of the old-time movie vamp. He seizes a guitar and strums a few chords. It’s the last week of shooting, and like the good days between exams and the end of term.

The atmosphere on the set is hip and loose, full of leather-clad youth and clever in-talk. The director is thin and intense, wears a check shirt and gym shoes, and is called Billy Graham, which is going to look interesting on the posters of a swinging nun. Elvis produces some dialogue. He is never likely to win an award as an actor, but he knows what the kids want and he gives it to them. The girls are talking about a party. The cameras turn. Elvis says: “You get a lot of people down here on a Saturday night, and all the old hates come out. Before you know it they’re bombed out of their skulls and you’ve got World War III on your hands.”

The scene is this one below. NO, it was not cut out during the editing of this movie.

Earth-quaking stuff. But this simple homespun philosophy is off-key. “Bombed out of their skulls” wasn’t in the script. And the director isn’t too happy about it. “It’s a good line,” says Elvis. “Okay, okay,” says Billy Graham. The line stays. Maybe it will come out in the cutting room, but it’s there for now. “The whole thing is downhill,” says a technician. “He don’t talk to anyone, except his own friends.” There is no sign of tension, but then Elvis has nothing to be tense about. He can go on churning out the same thing for another decade, and they’ll still queue to see it. If he’s over the top, as some unkindly souls occasionally try to make out, he doesn’t seem bothered. He is 34 . . . Raised in Memphis . . . Once a truck-driver, stumbled into records, took the world by storm as the original snake-hips . . . Now lives in cloistered seclusion in a colonial mansion near Nashville, with a Rolls, a solid gold Cadillac, a wife, a daughter (Lisa Marie, aged one) and several bodyguards for company . . . Has made 29 films, grossing 220 million dollars at the box office, and sold more than 200 million records.

Elvis Presley and director William A. Graham on the set of Change Of Habit (Universal 1969) between takes.

Elvis heads for his trailer in the far corner. A group of friends (known in some quarters as the Memphis Mafia) close around him like a football scrum after a loose ball. The code-word is given. I am beckoned over. The good breeze was still blowing. “You won’t probe too deep, will you?” The Publicity Man asks anxiously. “This is just an informal chat, that’s the deal. So keep it light and airy, okay?” Well . . . okay. I checked my notes. Does Elvis fly high on acid trips? Does he see himself as a prophet for the new generation? Does he think his style is too square? Does he have any sexual hang-ups? His marriage altered his attitude to life in any way? Does he kick his cat? Does he have a cat to kick? What are his views on pop, religion, hippies, demonstrators, Vietnam? Stuff like that. No, I wasn’t going to probe too deep. In the dressing room Elvis shakes hands in a firm grip. “This is Charlie, this is Doc.” Two small, burly men light leather jackets and open-neck shirts rise and shine briefly and subside again. The trailer feels a bit crowded.

Elvis Presley on the set of Change Of Habit (Universal 1969). Mary Tyler Moore, Elvis and director William A. Graham share a joke between takes.

Elvis talks. He speaks slowly and carefully, and puts a lot of space between his words. “The film? Uh, well . . . it’s a change of pace for me, yeah. It’s more serious than my usual movies, but it don’t mean I’m aiming for a big dramatic acting scene, no sir. The way I’m headed, I want to try something different now, but not too different. I did this film because the script was good, and I guess I know by now what the public goes for." “Most of the scripts that come my way are all the same. They’ve all got a load of songs in them, but I just did a Western called 'Charro', which hasn’t any songs ‘cepting the title tune. It did have a couple of nude scenes, but they’ve been cut. Anyhow, can you imagine a dramatic Western where the hero breaks out into song all the time?” He has said plenty, and now he leaps to his feet, hands flashing to imaginary holsters, and sings in a deep drawl: “Go for your guns . . . you’ve got ’til sundown to get outa town . . . ” It could be the start of a promising sketch. The others follow suit, singing, clowning, all on their feet. If this is the Memphis Mafia, they’re a friendly bunch.

Elvis on set of 'Change of Habit' (Universal 1969) talking to fans.

Elvis sits down, and everyone stops singing. He eyes himself in the dressing room mirror. “I don’t plan too far ahead, but I’m real busy for a while now. I’ve got a date in Vegas, and maybe another film after that. Then I’m going to try to get to Europe, because I’ve always promised I would and I’ve got some good, faithful fans over there.” Slow-talking Elvis may be. But he certainly isn’t the slow-witted hick from the backwoods his detractors make out. If he is, then he’s a better actor than they give him credit for. Get through to him, and you find a pleasant, honest, not-too-articulate hometown boy who has been protected for his own good from the hysterical periphery of his present world. The party was warming up. Elvis cracked a gag. Charlie cracked a gag. There was a call from the door. Elvis was wanted, and the good breeze was still blowing as he made for the set, one hand on my shoulder. Charlie and Doc were all smiles.

Elvis and his manager, Colonel Parker, on set of 'Change of Habit' (Universal 1969).

“Okay?” said the P.M. “You did real fine.” "Well . . . not quite." I said. "This Colonel Parker, would he be around for a word later?" Elvis stopped in his tracks. The P.M. went a whiter shade of pale, and whispered something to a friend. The friend nodded in sympathy. “I must tell you about an experience I had like that once,” he said, eyeing me as if I’d just crawled out of the woodwork. Elvis said: “I think he’s in Palm Springs. I’m not sure...” He hurried off. The P.M. said: “Don’t let’s push our luck any more. We never trouble him for too long a time. You should be very happy. You had more than anyone’s had in years.” Somewhere along the line, unaccountably, the good breeze had dropped. This story is from the July 12th, 1969 issue of Rolling Stone.

Source: www.rollingstone.com

[throwbackgaylor]

september 8, 2014 | ten years ago

rolling stone released their cover and article of taylor swift titled, ‘the reinvention of taylor swift’

[iwanthermidnightz]

same sweetie

[dailylaurajane]

New Rolling Stone article by Brenna Ehrlich, with pics by Maria Juliana Rojas, new music, Paris, Against Me! etc

[tomorrowxtogether]

Tomorrow X Together to Continue Journey on New Mini Album ‘The Star Chapter: Sanctuary’

The project is set to arrive in November and follows the K-pop outfit's April EP Minisode 3

TOMORROW X TOGETHER are gearing up for the release of a new mini album, The Star Chapter: Sanctuary, set to arrive Nov. 4.

The K-pop stars announced the new project Monday, Oct. 7, sharing a short, shimmering visualizer, in which the the “X” logo from Tomorrow X Together’s last release, Minisode 3: Tomorrow, transforms into a sparkling star. As of now, however, Tomorrow X Together are only sharing the the mini album’s title and release date, as a track list has yet to be revealed.

The Star Chapter will mark Tomorrow X Together’s seventh mini album, and second release of 2024 following Minisode 3: Tomorrow, which arrived back in April and featured the single “Deja Vu.” The Star Chapter will kick off a new era in TXT’s ongoing story, building upon the narrative set up in previous installments of their musical journey like The Dream Chapter, The Chaos Chapter, and The Name Chapter. (In between these releases, Tomorrow X Together have shared other projects and EPs, like their Minisode series.) 

Earlier this year, after releasing Minisode 3, Tomorrow X Together embarked on a North American tour that included major shows in Los Angeles, New York, Chicago, and more cities. The band has a handful of additional gigs lined up this year, including three shows at the KSPO Dome in Seoul, South Korea in early November, as well as a pair of gigs in Osaka in late November and early December.

Tomorrow X Together have also popped up on American television a couple of times this year. In April, ahead of the release of Minisode 3, they performed “Deja Vu” on The Kelly Clarkson Show. Then in May, ahead of their two-night stand at Madison Square Garden in New York, they performed the song again on Good Morning America. 

[princemonday]

[brookbee]

On November 17th of 1973 David Bowie met William S. Burroughs. A few months later their conversation would be published in Rolling Stone. photographer: Terry O'Neill

[asurrogateblog]

one day. all I would like is one day without any of the beatles getting fucking involved. my best friend is a swiftie and insisted she make me a playlist to listen to, and midway through listening to one of the songs (“sweet nothing”) I was like “haha weird that verse sounds exactly like something I’ve heard paul say about linda” and then I looked it up and it turns out that apparently all of the lyric-archeology swifties have also noticed this and I’m right they know each other and the song is totally about paul. no fucking escape from this man

[horridcassette]

Talking Heads - Rolling Stone Magazine

October 1983 Issue (x) / PDF

[thestarsarecool]

MEMORIES OF AN APPLE GIRL

By Francie Schwartz, Rolling Stone #46, November 15th 1969