and Scotty Moore, as well as Jerry Hopkins' interviews with Marion Keisker and Bob Neal
(MVC / MSU).
207 maybe her boy was being overworked: Jerry Hopkins interview with Marion Keisker
(MVC / MSU).
207 spending a few days with Colonel and Mrs. Parker: Jerry Hopkins, Elvis, p. II7.
207 "He seemed like a smart man": Good Housekeeping, p. 157.
208 she "heard someone screaming": Jerry Hopkins interview with Marion Keisker
(MVC / MSU).
N O T E S c-., 5 1 3
208 "Of course I never acrually met the Colonel": Interview with Marion Keisker, 1988.
209-2 10 a document that named "Col. Thomas A. Parker": Report of Guardian Ad Litem
re the Estate of Elvis A. Presley, Deceased, in the Probate Court of Shelby County, Tennessee.
T H E P I E D P I P E R S
All quotes from Sam Phillips, Marion Keisker, Scotty Moore, and Dixie Locke are from the author's
interviews, unless otherwise noted.
213 When Arnold Shaw, the newly named general professional manager: Arnold Shaw,
The Roclein' '50S, pp. 4-7. Shaw had accompanied Chick Crumpacker to Meridian in May.
213 The contract stipulated: The contract that I have seen does not stipulate the fourhundred-
dollar penalty, but Horace Logan has referred to it frequently in interviews and in his
interview with Rob Finnis said of Elvis, "He probably thought I pocketed it!" In any case, it
clearly came into effect in the spring of 1956, when Elvis in effect left the Hayride, and it clearly
stymied the Colonel. The Colonel's role, and his frustration with Vernon, were clearly delineated
by the Colonel to me, within the context of a story about Vernon signing the renewal
while the Colonel was in New York trying to sell Elvis' contract. Since the Hayride contract is
dated September 8, and the Colonel was in New York a month and a halflater, I can only think
that this is another case of memory telescoping events - unless, of course, the renewal was
backdated. But Bob Neal's pride in negotiating that renewal eWe negotiated a deal that was
quite a thing then," he told Jerry Hopkins [MVC / MSU]) would suggest otherwise.
213 share the cost of [D.J.'s] SIoo-a-week salary: Max Weinberg, The Big Beat: Conversations
with Rocle's Great Drummers, p. IIS.
213 he kept saying he couldn't afford it: Jerry Hopkins interview with Scotty Moore
(MVC /MSU).
2 14 "The evenrual basic decision": Jerry Hopkins interview with Bob Neal (MVC/ MSU).
214 Scotty and Bill were inclined: Scotty has always spoken of a royalty understanding
that would have gone into effect at some undefined (but clearly indicated) point in the future,
but I don't think that is what came into play here.
Scotty's expectation was based on conversations at the very outset of Elvis' career. "It was
never on paper. Bill and I would split half of one percent, one quarter percent each. Strictly on
record royalties. This came about from several conversations sitting on the steps in front of the
house on Alabama just pipe-dreaming, a few weeks, I'm guessing, after the first record came
out. [We were thinking]: 'With all the commotion going on in Memphis, we better tighten up
our business sruff here. We're liable to have to go across to West Memphis!' We had already
agreed to a three-way split, with expenses equal. He said, 'Okay, we'll do this on everything
[including record royalties]: I told him, from what little I knew about the music business, 'No,
that won't work. 'Cause if we do anything, you'll be the headliner, you'll be the main guy.
There will be problems down the road if we go into anything like this on record royalties: I
said, 'If you want to give us a toleen - ' And that's what it would have amounted to. But it never
did start."
In later years, understandably, this became a source of considerable bitterness, but at the
time I would guess it was as much a case of legitimately hurt feelings as of financial claims.
215 "when Elvis went up into the control room": Colin Escott and Martin Hawkins, Good
Roclein' Tonight: Sun Records and the Birth of Roc Ie 'n' Roll, p. 83.
215-2 16 Hill and Range, one of the most prominent: Information on the folio deal comes
specifically from interviews with Sam Phillips, Grelun Landon, and Freddy Bienstock. Informa5
1 4 c-.. N O T E S
tion on the Aberbach family and Hill and Range from Russell Sanjek, American Popular Music and
Its Business, vol. 3; Billboard Music Week, January 30, 1961, as cited in Country Music, U.S.A. by Bill
Malone; and research generously provided by Tony Scherman. Bill Randle's views are articulated
in Memphis Lonesome by Ger Rijff and Jan van Gestel.
216 Randle's belief, fostered by the Aberbachs' desire: The political intricacies of all this
are somewhat unclear. Randle spoke of the specifics of the Hill and Range connection in an
interview with the Cleveland Plain Dealer; December 6, 1984, and is quoted to this effect in Rijff
and van Gestel, Memphis Lonesome, as well. There seems little question that he fully believed
that, had he taken the Aberbachs' offer, he would have become Elvis Presley's manager though
perhaps this is another instance of memory cropping and enlarging to some degree
(possibly the Aberbachs offered him the position of Elvis' song manager, which Freddy Bienstock
later became). In any case, when I tried a blunter version of this scenario on the Colonel,
he professed utter ignorance of any part that Bill Randle may have played and deemed it the
most ridiculous thing (my scenario) he had ever heard - at least from me. I hope I have improved
on it since then.
217 "the folk music world": "Rockin' to Stardom," Country Song Roundup, winter 1955-56.
2 17-218 The Colonel had approached Haley's manager: John Swenson, Bill Haley, p. 66.
219 "Now this was a long time": Ken Terry interview with Bill Haley, as cited in ibid.
219 "Elvis was one of those guys": Peter Mikelbank, "Elvis '86: Myth and Memory," Washington
Post, August 3, 1986.
220 they were angry at their former landlord: Interview with Eve and Sarah Baker, 1990.
221 "Called Top Jock' ": The title was subsequently changed to, alternatively, The Pied Piper
of Cleveland or A Day in the Life of a Famous Disc Jockey, with the latter also used as a subtitle to the
former.
221 the idea was for this one: "Randle Short Scuttled by IBEW Ruling," Billboard, December
3, 1955.
22 1-224 According to Randle: Rijff and van Gestel, Memphis Lonesome, pp. 19-20.
222-223 Pat Boone never forgot: The information on Pat Boone's meeting with Elvis Presley
comes from "Pat Boone" by Jeffrey Ressner, Rolling Stone, April 19, 1990; Dave Booth's interview
with Boone; and an unsourced clipping included in Ger Rijff and Poul Madsen's Elvis Presley:
Echoes of the Past. In each interview Boone discusses exactly the same moment in virtually the
same language, but each offers a slightly different emphasis with more, or less, detail at certain
points. The two quotations that I have included here are edited versions combining elements of
all three interviews.
222 he hoped these Yankees liked his music: John Haley and John von Hoelle, Sound and
Glory, p. 109.
224 if they could successfully negotiate union problems: They didn't. Filming was shut down
in New York by an International Brotherhood of Electrical Workers dispute on November 29.
What was shot in Cleveland had yet to be seen as of spring 1994.
225 "I have told you repeatedly": Escott and Hawkins, Good Rockin' Tonight, pp. 80-81.
226 "ladylike tardiness": Memphis Press-Scimitar; October 28, 1955.
227-228 "Elvis did ask me once or twice": Jerry Hopkins interview with Bob Neal (MVC I
MSU).
228-229 The convention itself: Interviews with Chick Crumpacker, Grelun Landon, Buddy
Bain, Buddy Killen, Mae Boren Axton, Galen Christy, et al.
230 On Sunday he played Ellis: The description of the concert comes primarily from Fred
Davis, who was there.
23 1-232 The purchase price was $35,000: This is my understanding of the deal. RCA paid
N O T E S c-.. 5 1 5
Sam Phillips $35,000 as specified, beyond the initial $5,000 deposit which Tom Parker had made
(and for which he was reimbursed). Presumably, the $5,000 represented the back royalties that
Phillips owed Elvis, who was specifically exempted from any future royalty payments. Beyond
that, RCA and Hill and Range kicked in an additional $6,000 total as a signing bonus for the
artist. This was paid to Parker, who deducted a 25 percent commission, which he split, after
expenses, with Bob Neal. It has been speculated for years that Hill and Range put up a substantial
amount of the purchase price itself, up to $15,000, but I have found nothing either in the
contract or in the negotiations that led up to it to confirm that arrangement, nor has anyone I
have spoken to confirmed it from a position of know ledge. At the same time it remains a logical
pOSSibility.
STA G E SHOW
All quotes from Sam Phillips and Scotty Moore are from the author's interviews, unless otherwise
noted.
235 The last admonishment I had: Interview with Sam Phillips, 1992.
235 About a week before the session: Interview with George Klein, 1988.
236 At the OJ convention: "What Has Happened to Popular Music?," High Fidelity Magazine,
June 1958; "Sholes Has Last Laugh," Billboard, April 21, 1956, covers much the same
ground.
237 The room was big, high-ceilinged: Chet Atkins, Country Gentleman.
238 Tommy showed her a Miami newspaper story: The story appeared in the Miami Herald
of October I, 1955, as documented in Arena Television's Tales of Rock 'N' Roll: Heartbreak
Hotel, broadcast in 1993.
238 Mae promised the song to Buddy: This account is based primarily on interviews with
Buddy Killen, 1989, and Mae Boren Axton, 1988. Buddy's account is at odds with Mae's mainly
in terms of the availability of the song prior to Elvis' recording of it. In Buddy's recollection he
got the song from Mae in July, at the same time that she introduced him to Elvis, but the date of
the Miami Herald headline would seem to disprove that scenario.
239 a "morbid mess": New York Post, October 3, 1956.
239 Stoker, who had met the boy: Interview with Gordon Stoker, 1989.
239 "They all told me": Tandy Rice interview with Steve Sholes, Country Music Foundation
collection, used by permission.
239 a father's night show at Humes: Robert Johnson, Elvis Presley Speaks!, p. 44.
239 a Christmas show produced by Miss Scrivener: "Elvis Presley," prepared by the editors
of TV Radio Mirror, 1956, p. 31.
240 "I think there was a big difference": Shelley Ritter interview with Minnie Pearl, 1990.
241-242 According to Maylon Humphries: Interview with Maylon Humphries, 1991.
242 Steve Sholes introduced: Interview with Chick Crumpacker, 1992; additional interviews
with Arlene Blum and Lorene Lortie, 1993.
242 "Steve brought Elvis in": Interview with Anne Fuichino, 1992.
242ff introduced Elvis to the Oorseys: Interviews and correspondence with Grelun Landon,
1988-94; also, unpublished manuscript by Landon.
242-243 "and Elvis exhibited a kind of deference and courtesy": Arnold Shaw, The Rockin'
50S, p. II.
243 ("We didn't know what to expect"): Jerry Hopkins interview with O. ]. Fontana
(MVC/MSU).
5 1 6 ", N O T E S
243 talking to Grelun and Chick Crumpacker: Interview with Chick Crumpacker, 1989.
244 The show that night: Chick Crumpacker liner notes to Elvis (RCA LPM 1382) and interviews
and correspondence, 1989-94.
245 "Daddy just sat there": Interview with Jackson, Sarah, and Eve Baker, 1990.
245 Bob Johnson wrote in his notes: Elvis Presley Speaks!, p. 45.
246 it was no use doing any more: Grelun Landon, "Elvis Presley: The Tape Keeps Rolling."
RCA publiciry package, 1984.
247 On the second day of recording: Interview with Fred Danzig, 1993.
248 "a tall, lean young man": Manuscript copy of "The Day No One Wanted Elvis- But
Me" by Fred Danzig.
248 They went into the control room: Interview with Fred Danzig.
249 The William Morris people threw a parry: Interviews with Freddy Bienstock and Grelun
Landon; also Martha Lopert, "The Boy with the Big Beat," Celebrity, winter 1958, p. 62.
249 a reception at the Hickory House: Interviews and correspondence with Chick Crumpacker;
also interviews with Arlene Blum and Fred Danzig.
250 "I thought Elvis did even betrer": Booklet for Elvis: The Complete 50'S Masters.
250 "The Colonel embarrasses me": Interview with Gabe Tucker, 1990.
2H "We were working near every day": Jerry Hopkins, Elvis, p. 125.
2Hff To Justin Tubb: Interview with Justin Tubb, 1989, and subsequent correspondence.
252-253 ("My brother didn't get along"): Jimmy Guterman interview with Charlie Louvin,
1987.
253 "Fuck the Colonel": Interview with Chet Atkins, 1988.
253 "Elvis said, 'Boy' ": Howard Miller, The Louvin Brothers, p. 47.
253 Ira flashed: Jimmy Guterman interview with Charlie Louvin.
254 In Jacksonville on February 23: Robert Johnson, "Elvis Himself," TV Star Parade, September
1956, p. 65; also Elvis Presley Speaks!, p. 45. Other sources include the Jacksonville Journal
(as cited in Morrie and Virginia Kricun, Elvis: 1956 Reflections); my interview with Justin Tubb
and Jimmy Guterman's with Charlie Louvin; also James Poling, "Elvis Presley: Go, Cat, Go,"
Pageant, July 1956, p. 12, and Red West et al., Elvis: What Happenedr, p. 109.
T H E W O R L D T U R N E D U P S I D E D O W N
All quotes from Scotry Moore are from the author's interviews, unless otherwise noted.
258 "I suppose," Neal said: Jerry Hopkins interview with Bob Neal (MVC /MSU).
259 Hazen's sister-in-law: Interview with Joseph Hazen, 1993.
260 Wallis was impressed: Hal Wallis and Charles Higham, Starmaker.
260 From Anne Fulchino's point of view: Interview with Anne Fulchino, 1993.
260-261 "The transformation was incredible": Allan Weiss, "Elvis Presley: Rock Music
Phenomenon," in Danny Peary, ed., Close Ups: The Movie Star Book. Used by permission.
261 "I knew my sCript": August 6, 1956, interview.
261 This character was "lovesick": Will Jones, "Squeals Drown Presley's Songs," Minneapolis
Tribune, May 13, 1956.
Just when Elvis delivered this opinion is a matter of conjecture. As of April 13, he eVidently
still believed he would be making The Rainmaker starting in June (this is borne out by an interview
with Jay Thompson in Wichita Falls, Texas, on April 9 and his interview in the PressScimitar
four days later), but whenever he spoke to Wallis, and whatever words he actually
N O T E S n.. 5 1 7
used, I believe that the feelings represented here - not to mention the combination of verbal
confusion and emotional assurance - ring true.
26 1-262 Wallis for his part: All Wallis quotes from Wallis and Higham, Starmaker; further
information gleaned from interviews with Joseph Hazen and William Morris agent Leonard Hirshan,
and correspondence with Nick Tosches.
262 The Colonel reserved the right: Just for the record the strategy worked, and the Colonel
continuously improved every aspect of the deal, getting Elvis s65,000 for the first Wallis picture (1957's
Loving You) after making Love Me Tender in 1956 for Twentieth Century Fox at a salary of SlOO,Ooo.
262 Berle met Elvis and the Colonel: Andrew Solt interview with Milton Berle.
264 At one point Elvis: Variety, April II, 1956.
264 "The crowd was too noisy": San Diego newspaper story, as quoted in Ger Rijff, Long
Lonely Highway, p. 78.
264 "I changed my whole style": Interview with Glen Glenn, 1990.
264 The Colonel had extricated Elvis: Interview with Horace Logan, 199I. In Elvis' interview
with Jay Thompson on Monday, April 9, he speaks of his final night on the Hayride as being
"last Saturday night," but March 31 was advertised as his final appearance. The figure of ten thousand
dollars is stipulated in the revision of his Hayride contract.
264 a recording session on Saturday, April 14: This session has always been listed as taking
place on April II, but Ernst Jorgensen called my attention to a number of discrepancies in scheduling,
and a story in the Press-Scimitar on April 13 makes it dear that Elvis recorded on the fourteenth.
265 everyone wanted to know everything: All quotes are from Elvis' interview at the Warwick
Hotel on March 24 but reflect fairly both the kind of questions he continued to be asked and
the answers that he gave.
265-266 "He was working for Elvis, period": Interview with D. J. Fontana, 199I.
266 Scotty and Bill knew the Colonel: One of the Colonel's early schemes, according to
both Scotty and D. J., was to replace them with Hank Snow's band for the ostensible purpose of
saving money. The difference in musical styles was of little or no concern to him, they felt.
266 In Red's account Elvis: Red West et al., Elvis: What Happened?, pp. 120-12I.
267 'Til bet I could burp": Interview with Gordon Stoker, 1989.
267 They chartered a plane: Interviews with Scotty Moore, 1988, 1989; also Memphis Press-
Scimitar account, May 4, 1956.
267 "Man, I don't know if": Interview with Chet Atkins, 1988.
267-268 "It was the worst sound": Interview with Gordon Stoker.
268-269 Elvis gave a brief interview: "Elvis Gives Out with Crazy Cool Interview," Waco
News-Tribune, April 18, 1956.
270 Scotty and Elvis and Bill headed for the Club EI Dorado: Interviews with Scotty Moore
and Lowell Fulson, 1989.
270 "no check is good": Time, May 16, 1960.
271ff It was the first sit-down gig: Principal sources for this account of the Las Vegas booking
are interviews with Scotty Moore and D. J. Fontana; stories in the Memphis Press-Scimitar
and Commercial Appeal; Robert Johnson, Elvis Presley Speaks!; Billboard and Variety coverage; Marge
Crumbaker and Gabe Tucker's Up and Down with Elvis Presley; Bill Randle's comments as detailed
in Ger Rijff and Jan van Gestel, Memphis Lonesome; RCA's recording of the final show as presented
on Elvis: The Complete 50'S Masters; various contemporary interviews with Elvis Presley;
Bill Dahl's story on Freddie Bell ("Remembering Rock" Chicago Tribune, December 5, 1990); and
Jonny Whiteside's interview/memorial to Johnnie Ray, "Who's Crying Now," LA Weekly, March
9-15, 1990.
5 I S '" N O T E S
I t should b e noted that it has frequently been assumed that Elvis was fired from this engagement
because he left after two weeks and Freddy Martin stayed on. In fact it would appear from
all indications that Elvis was hired for the first two weeks of Martin's engagement only. He went
on to regular scheduled gigs starting in St. Paul on May 12 and going through the entire next
week, which included a headlining appearance at the Cotton Carnival in the middle of what
would have been his fourth week in Vegas. I think the confusion initially arose from trade
accounts that had him "replaced on the bill by Roberta Sherwood" (Variety, May 9, 1956). This
came in the midst of a negative article, and indeed in the midst of a negative sentence ("The more
sophisticated gambling clientele didn't dig his frenzied antics, and Presley was replaced... "), but
I believe from interviews and all other indications that it was booked as a two-week engagement
from the start and that the announced replacement was a planned one, the conjunction ("and")
merely sequential. This, too, however, is subject to revision.
271 one of Richardson's guests: Crumbaker and Tucker, Up and Down, p. 38.
271 "For the first time in months": Elvis Presley Speaks!, p. 53.
271 ':After the show our nerves": Elston Leonard, "Elvis Presley: The New Singing Rage,"
Tiger, c. 1956, p. 14.
271 "They weren't my kind of audience": Elvis Presley, prepared by the editors of TV Radio
Mirror, 1956, p. 43.
271 "It was strictly an adult audience": May 14, 1956, interview, La Crosse, Wisconsin. See
the Memphis Commercial Appeal of May 9 for a similar interview, in which he declares, "Man, I
really liked Vegas. I'm going back there the first chance I get."
272 "Elvis, who has played hard audiences": RobertJohnson, "The Golden Boy Reaches for
a Star While the Music Goes Round and Round and -," Memphis Press-Scimitar, May 4, 1956.
272 They played what Elvis calculated: Richard Lyons, "Presley Irked by Overtime - Even
at $4000 an Hour," Memphis Commercial Appeal, May 9, 1956.
272 "One thing about Las Vegas": Elvis Presley Speaks!, p. 55.
273 "The carnage was terrific": Memphis Press-Scimitar, May 4, 1956.
274 eight-hundred-dollar watch with diamonds: The gift is shown in a photograph accompanying
the Press-Scimitar story. The thank-you notes are specified by Marge Crumbaker and
Gabe Tucker in Up and Down with Elvis Presley.
274 "Like ajug of corn liquor": "Hillbilly on a Pedestal," Newsweek, May 14, 1956.
274--275 He was back in Memphis: Memphis Commercial Appeal, May 9, 1956.
" T H O S E P E O P L E IN NEW Y O R K A R E N O T G O N N A C H A N G E ME N O N E "
277 this "new and open-to-the-public feature": Memphis Commercial Appeal, May 13, 1956.
277 "Henry introduced me to him": Shelley Ritter interview with Minnie Pearl, 1990.
277-278 "I grabbed his hand": Memphis Commercial Appeal, May 13, 1956.
278-279 Vernon and Gladys were already present: This account is based primarily on Fred
Davis' firsthand testimony, as well as the Press-Scimitar story of May 16 and a fortuitous recording
of the Little Rock concert the follOWing day. which followed virtually the same format.
279 Hank Snow meanwhile was finally beginning: Hank Snow with Jack Ownbey and Bob
Burris, The Hank Snow Story, p. 390. Used by permission. The chronology of Snow's understanding
is somewhat difficult to understand. In a March 2 letter to his attorney, the Colonel explained
that a "recent unpleasantness" with Snow had been resolved by the dissolution of their management
and booking agency contracts, but clearly Snow could not at first fully accept that he would
see nothing from the deal. In his book, Up and Down with Elvis Presley, coauthored with Marge
Crumbaker, Gabe Tucker posits that this all stemmed from a trap the Colonel laid when the idea
N O T E S ", 5 1 9
of selling Elvis' contract first came up. "Hank, you put in everything you make," Tucker has the
Colonel saying, "and I'll put in everything I make, and we'll buy this boy's contract.... " When
Snow demurred, as Parker knew that he would, Parker cut him out of the deal.
One essential factor not to be discounted is that Snow was a proud man and would never
have been able to brook the idea of being "taken." In the other words of his son: "I don't think
that my dad realized at that time what had happened," and certainly Snow's explanations to this
day do not fully explain the matter.
280 "I'm so proud of my boy": Interview with Cliff Gleaves, 1990.
280 Mrs. Presley answered the doorbell: Interview with Pallas Pidgeon, 1990; RobertJohnson,
Elvis Presley Speaks!, p. 64; Jerry Hopkins interview with Faye Harris (MVC / MSU).
280 "I wish," he said to a contractor friend: Interview with Guy Lansky, 1990.
280-281 Gladys had filled the house: Edwin Miller, "Elvis the Innocent," Memories, May
1989. Miller's account of his visit at precisely this time was written up first in a 1956 issue of Seventeen
and, later, in this more reflective article.
281 "It didn't happen all at once": Memphis Press-Scimitar, May 4, 1956.
282 On the way they had heard a song: Peter Cronin interview with Scotty Moore, 1992.
282 "If you ever do anything to make": Albert Goldman, Elvis, p. 505.
283 "it was a relaxed and therefore more effective": Variety, June 13, 1956.
284 "Mr. Presley has no discernible": New York Times, June 6, 1956.
284 "The sight of young (21) Mr. Presley": New York Journal-American, June 9, 1956.
284 under the banner "Beware Elvis Presley": America, June 23, 1956.
285 ("She'd get mad and cuss"): Shelley Ritter interview with Vester Presley, 199I.
285 "I don't do any vulgar movements": Aline Mosby, "Presley Sexy? He Denies It," New
York World Telegram, June 15, 1956.
285 'Tm not trying to be sexy": Phyllis Battele, New York Journal-American, June 18, 1956.
285 "I hired a doctor's wife": Interview with Charlie Lamb, 1990.
285 'Tm going to get a wiggle meter": New York World Telegram, June 15, 1956.
285-287 He drove up to the house and foundJune: Interview with June Juanico, 199I.
287 a one-shot appearance at S7,500: Allen indicated this figure in his interview with Andrew
Solt, though the amount has also been cited as S5,000. The higher figure would seem to explain Ed
Sullivan's unprecented bid (S50,000 for three appearances) after the Allen broadcast.
287 "there has been a demand that": New YorkJournal-Amencan, June 13, 1956.
287 On June 20 a compromise of sorts was reached: Ibid., June 21, 1956.
287 It was, said Allen: Andrew Solt interview with Steve Allen.
288-289 Elvis Presley is a worried man: Kays Gary, "Elvis Defends Low-Down Style, Charlotte
Observer, June 27, 1956.
290 "Mr. Johnson, you know some things": Memphis Press-Scimitar, May 4, 1956.
290-295 He arrived at NBC's midtown rehearsal studio: This particular detail, along with
extended and attributed quotations, comes from Alfred Wertheimer's book Elvis '56: In the Beginning,
© 1979, and is used by permission. All observations are from Wertheimer's point of view,
unless otherwise specified, and are used with grateful acknowledgment. This credit carries
through to the end of the chapter, wherever noted.
291 "if you just stuck around with him": Anita Houk, "Lensman's Early Look at Elvis Was
Rare, Personal," Memphis Commercial Appeal, August II, 199I.
294 ("He always did the best he could"): Peter Cronin interview with Gordon Stoker,
1992.
297-302 The next day he seemed: Once again Alfred Wertheimer's firsthand observation
(in words and pictures) was an invaluable source of visualization, information, and insight. In
5 2 0 C'6I N O T ES
addition, interviews with Freddy Bienstock and Chick Crumpacker were of great help, along
with Grelun Landon's, Scotty Moore's, and D. J. Fontana's recollections. Finally, Chick Crumpacker
took Ernst Jorgensen and me on a guided tour of the old RCA neighborhood and building,
which is now a division of Baruch College, in which Srudio B has been astonishingly preserved
as a television teaching srudio.
297 "Barbara Hearn of Memphis": Rhea Talley, "Memphis, Biloxi Girls Share Top Spot in
Elvis' Date Book," Memphis Commercial Appeal, July 8, 1956.
299 As Otis Blackwell later said: "Otis Blackwell: The Power Behind Elvis," Essence, May
Дата добавления: 2015-09-29; просмотров: 31 | Нарушение авторских прав
| <== предыдущая лекция | | | следующая лекция ==> |