#she an awful human being

[thatdykepunkslut]

Taylors wift is just elon musk for horse girls and gays who are afraid of faggots

[the-winds-of-destiny-xxx]

.

[knowthatiloveyou]

God as Herself

[batfamhyperfixation]

Imagine if Tim "Public Figure and CEO of Wayne Enterprises" Drake had to take his boyfriend Bernard "Agent of Chaos (I swear, no pun intended)" Dowd on a PR-suggested interview after the public finds out they are dating, like-

Interviewer: And what is your favorite pastime, Bernard?

Bernard, who swore before the interview that he would not say anything that would make either of them look bad or cause a controversy: watching Tim read conservapedia and get angry

[coolauntlilith]

So I finally watched Sense8. I regret not watching it sooner for a couple reasons. But I'm so glad I finally watched it.

[idsb]

Not a song title called “the boy is mine” with her talking about how she can’t wait to fuck her new man bc he’s hers… regarding BREAKING UP A MARRIAGE????? It really well articulates what’s gross about this album; it’s not just “about” an affair it’s actually BRAGGING about the fact that you did it, and like rubbing in someone’s face that you ruined their life like I actually could fucking throw up about it

[spotaus]

Doing Doppletale designs, so here's Asriel and Chara!

There's not a lot going on with them, but I gave Asriel a tail, and he's got a cute lil human disguise too!

I like to think that Chara's a bit lanky (Kris-style) but never quite grew into their limbs. In fact, that and their naturally red eyes drew a lot of people on their hometown to believe that they were a Monster (<- y'know, doppelganger moment) which was how they ended up underground in the first place. They felt a lot more at home with the monsters than they ever had humans, and thoroughly enjoyed the time they spent underground.

(Side Note: "Flowey" takes on Chara's human shape rather than Asriel's own shape, because he misses Chara a lot. Chara was his older sibling, he wanted to be just like them, and so in some twisted way, he was.)

[rollercoasterwords]

I have, a genuine question for you. Do you acknowledge the racism in the original AYTD or at least know about it? Like how MsKingBean uses slurs and racist stereotypes?

hey, so, i'm a bit apprehensive about answering this because...it doesn't feel like a very geniune question to me, if i'm being honest. "do you acknowledge x thing" is a question that is inherently set up so that i'm meant to answer "yes, i acknowledge that x thing is true," because the alternative is saying "no, i don't acknowledge that x thing is true," which is already framing this interaction as if to disagree with you would be a kind of failure on my part to do some due diligence of engaging critically with a text. and the fact that you say mskingbean89 used slurs in atyd shows me that you haven't even engaged with the text, because that simply...isn't true.

if what you're referring to when you say "slurs" is the anti-romani stereotypes--this is coming from an extra chapter in the bootleg tapes focusing on greyback, where there is a slur used to describe his living situation + he + his family were portrayed as nomadic irish people in a way that was insensitive. people who read that chapter and then went back to the canon story with that characterization in mind rightfully pointed out that it was fucked-up. mskingbean89 addressed those criticisms by adding this note to the beginning of that bootleg chapter:

personally, i think this was a good way to take accountability + acknowledge the mistakes she made with that portrayal. she was a human being who made an ignorant mistake, which then just happened to get absolutely blasted to millions of people--she did not have sensitivity readers or editors looking over her fanfiction, because she did not write it expecting it to reach the level of popularity that it has. to be honest, i am not really sure how she could have better acknowledged her mistake, aside from just....not having made it in the first place. she explains her intentions without acting as though that intent cancels out harm, owns up to the fact that the stereotyping was harmful regardless of intention, and provides resources to learn while also committing to be more mindful + educate herself moving forward. honestly, that's exactly the response i would hope to see from someone who makes a mistake like this one.

i agree with you that people reading atyd should acknowledge + understand the racism regarding romani stereotypes stemming from that bootleg chapter, which is why i think it's great that there is a note literally built into the beginning of that chapter acknowledging it! but i feel as though there's been this like...game of telephone happening online when it comes to atyd, where there are now people who have never even read the story talking about things that quite literally do not appear in the base text itself. i've also seen people acting as though mkb herself did not address these issues when they were raised to her, which is just...patently false.

and so what i'm wondering here is what you're looking for from me when you ask a question like "do you acknowledge the racism in atyd." anyone who actually reads the texts has to acknowledge the racism in that bootleg chapter, because mkb puts that acknowledgment front and center at the beginning. and also like...in the part of the fandom i'm in, in the conversations i've listened to or taken part of regarding atyd, people have acknowledged the issues with that bootleg chapter and the ways it reflects back on the main story. so what do you mean by "acknowledge" when so many people, including mkb herself, have already... acknowledged it? what action are you calling for, and who are you calling for it from?

because like. if what u actually want to say here is that atyd is Irredeemably Problematic and we should all like....shun it? universally agree that it's Bad? then it's just like. it is up to each individual reading the story to decide whether that specific portrayal of greyback in the bootleg chapters is something that ruins the story completely for them or whether they still think the story as a whole holds worth. personally, i feel like i can acknowledge that there are issues with mkb's portrayal of greyback and i need to be mindful of that when reading the story so as not to internalize harmful stereotypes while still finding atyd to be a masterpiece that really beautifully deals with a lot of nuanced issues regarding class and disability and systems of power. this is just part of thinking critically when you read; many famous and beloved works of fiction contain the biases of their authors or have mistakes or issues in the way they portray things that are a product of ignorance. and i know everyone reading marauders fanfiction should understand this, because if u genuinely think that a character being negatively stereotyped means u should throw the entire work in the trash, then none of u would be touching harry potter fanfiction with a five foot pole in the first place.

so, anon - if you have actually read atyd, and there are issues with racism that you have found that i am unaware of, and not just telephone-game twitter posts of people taking shit out of context that you're accepting as truth without bothering to engage with the work yourself--if you want to have a real conversation about it, i would invite you to come to me as an actual person and not an anonymous ghost in my inbox. my dms are open, but when it comes to talking about serious issues, i tend to find it more genuine if the person coming to me actually cares enough and believes in what they're saying enough to say it as themself. and if you haven't read atyd and are just parroting things you've heard other people say online then i would invite you to actually sit down and read the work and form your own opinions on it before getting back to me. i know that might sound harsh, but honestly i'm just completely fed-up at this point with all the bad-faith takes and misinformation that i've seen people spreading about atyd just because they think it's cool to dislike a popular thing.

[feluka]

Neil Gaiman has literally said "I think Israel has the right to exist." a full year after the killing of thousands of Palestinians in Gaza in 2014 - by very definition, Zionism. If he currently feels that this statement is outdated or inaccurate, then he should have responded as such or acknowledged that what he has said before warrants suspicion at the very least, but instead his response has made it seem like OP's post came out of nowhere, causing his leagues of fans to flood OP's blog with assumptions and accusations of antisemitism - knowing full well they are wont to jump to his defense at the slightest judgment, and yet he chose neither a definitive statement in response nor to ignore the OP, but the most deplorable middle ground. He must have known that accusations of antisemitism are THE leading silencing tactic against anyone who opposes Israel. He couldn't spare support for the cause, and even fanned the flames against it, and I'll always remember how people considered their love for a show more important than bearing the thought to even QUESTION its creator.

[daintydoilypon]

I went on a lowkey rant about that girl who cheated on her husband and I would like to share my favorite diss-

"She has an inferiority complex as big as her forehead."

Thank you.

[poisonousquinzel]

sorry but if you actually think Cancel Culture ™ is a thing then you're kinda a dumb fuck. Cancel culture isn't real, holding people accountable for their actions is a thing, but this whole narrative around Canceling that's evolved over the past few years isn't real. It's never been an actual thing. Its just a fear mongering tactic to further vilify the groups who were being harmed in the first place and victimize the person who did something wrong.

Your fav being called out for playing an antisemitic video game that directly gives profits to a hugely influential TERF, who's said openly she sees getting profits / royalty cheques from her franchise as endorsements for her bigotry, is not "cancel culture". It's called the consequences for your actions.

You have every right to do and play whatever the fuck you want, but that goes both ways. If you go out of your way to build up and financially support these people who're openly advocating to take away trans people's rights, then you get to deal with people not trusting you because of it. You get to deal with trans and Jewish folks not feeling safe around you, not wanting to be around you or not wanting to talk to you. Because you have shown that you care more about nostalgia and temporary personal emotional gratification over the wellbeing and safety of those communities in the real world.

People have explained why supporting HL is wrong, people have explained why it's harmful, people have explained in detail the issues with this situation. You. Just. Don't. Care. You don't listen, or read, because in the end, you can't be bothered enough to put in the effort of having 1 moment of critical thinking.

It's not that folks don't have arguments or evidence, it's that it clearly does not matter to you. It's that the value of an antisemitic game full of one horrific thing after another is worth more to you than the real, living breathing people who are going to be, and have been, affected by this.

You come across as a bad person. Not because some person on Twitter determined you must be, but because your actions speak far louder. And they're screaming red flags.

I'm not going to argue with you over your own bad decisions and life choices. You've made your bed and are mad that people are telling you to lie in it.

[simplytolkien]

Wow, I’m getting a lot of aggressive messages about my opinion of Rings of Power. I knew there would be some push-back from our lovely modern internet society, but this is stupid. I never said the show was perfect, but I enjoy it, and I hate this snobby nit-picking. Why our society has come to believe that this sort of tiny-minded critical attitude shows how intelligent and sophisticated you are, I don’t know, but it’s frankly stupid. It just shows you up for being ignorant and lacking in grace. Especially since right at the beginning of the show it says ‘based on The Lord of the Rings and Appendices by J.R.R. Tolkien’ right on the screen in the intro. Based on means not 100% faithful. In any project. And the complaints I’m getting about changes to the story show that people haven’t actually paid attention to the original lore anyway, and all but two of the complaints are about things that actually are accurate. They just seem to be riding the seemingly ‘cool’ wave of hate for the show that started long before there ever even was a preview released. Some people made up their minds when it was announced that it was going to be bad, and they seem to be controlling the narrative about it, which is a shame, and people who have such a need to be ‘cool’ follow along without their own opinions as usual. But I think the show so far is strong enough to overcome such narrow bigots and stand firm in its own merits and be loved by people for time to come, and if some people want to watch it and be angry and miserable, that’s their loss. I do know some people are actually not going to like it, and hey, that’s okay too. Just give it a fair shake before you actually decide you don’t like it.

Yes, there are a few issues with Galadriel so far. They are changing her story and timeline, but that isn’t a deal breaker for me. I don't mind her taking a more active role in the wars, just like I've said before that Arwen riding Frodo to the Fords, while not at all accurate, is still one of my favourite scenes in the movies, and they had more scenes filmed with her along those lines that didn’t make it to the films. As a woman who loves Tolkien, I understand that he definitely wasn’t the misogynist he’s often accused of being. He wrote many beautifully strong women and wrote several who expressed dissatisfaction with the ‘traditional’ notion of womanhood, Éowyn being the most famous. And of course, Lúthien, based so lovingly on his wife, was anything but traditional. Another favourite of mine is this quote and conversation between Erendis and her daughter in Númenor. I like that these projects are portraying strong women, even if it isn’t in the exact same places where Tolkien did. Galadriel fighting isn’t far-fetched to how her character was written. Tolkien even had her mother-name (one of three names elves are given) mean man-maiden because she was such a tomboyish elf, always riding and hunting and doing it all better than most of the men (and also because she was taller than most women and had a deeper voice). So far she is somewhat tactless, grumpy, and hasty, but I think it’s simply a case of early-episode overcompensation. I’ve seen it over and over in shows where they come out of the gate really hard with a character’s attitude for the first few episodes to firmly establish a character in viewers’ minds, and then they begin to mellow or soften their approach. It isn’t my favourite approach, but it is commonly used in the industry. I am hoping they give her more grace soon. And it isn’t Morfydd Clark’s fault. I think she’s doing an amazing job with what they’re writing for her and how they’re directing her. The only things about her that aren’t exact for the role is that she isn’t tall or deep-voiced, but she can’t change those... Otherwise, perfect.

But you have to understand that Galadriel was a rebel. She was a rebel and a leader in the rebellion of the Ñoldor when they left Valinor because she strongly desired to rule her own kingdom. She was full of pride and ambition, and that was her driving force for many many years, which was why she was still tempted by the Ring in the Third Age and had to resist to be allowed to sail back into the West. No, she never would have sailed for Valinor (which I think was included to portray her rebellion against the Valar), and yes, she should have met Celeborn by this time, but again, this show has five seasons planned. It’s only been three episodes. Give it time. Yeesh. And I myself am not sorry that we potentially get to watch her love story happen. But she wasn’t a ruling elf from the beginning. Eventually for a time she and Celeborn ruled a small group of elves sort of like a fiefdom under Gil-Galad before moving into what becomes Lothlórien, so her being a commander under Gil-Galad isn’t ridiculously far-fetched.

When it comes to Elrond, the theme in the messages I’m getting is that he isn’t being treated right because he’s a lord and not a politician, like he’s being treated like a nobody. Again, people need to read more of Tolkien than Lord of the Rings to talk about these very aged characters. Lord of the Rings was the very end of Elrond’s life in Middle-Earth. Rings of Power has his earlier role spot on so far. He wasn't Ñoldorin, who were the ruling elves at this point, or even a High Elf since he was never in Valinor. And he wasn’t full elf. He had some human and Maia. (I’ll post a cool breakdown of Elrond’s genealogy that 5ummit created after this.) He wouldn't have naturally had a high position with the Ñoldorin at this point, but it goes a long way to showing how he was valued that he was Gil-Galad's herald and a captain, which is lore accurate. He wasn't the heir of all major houses as such. He wasn't even a prince while Galadriel was a princess in both the Ñoldor and the Teleri. Elrond’s line was respected and loved since he was Lúthien’s great-grandson, but it wasn’t a ruling line (ringofsecrets is right; he was royal through Lúthien, but they no longer had a kingdom). It was just that after the first war with Sauron, he was one of only two elf commanders who survived, Cirdan being the other, and so Elrond became a ruling elf because he was loved and wise. He was offered the title High-King, having been connected with Gil-Galad, but he turned it down since he wasn't of the bloodline of the High-Kings through a male ancestor (even though he was through a female ancestor) and because so few of the Ñoldorin were left that it didn’t matter. And actually, Galadriel had a far closer claim to that title herself, being niece or great-niece or something close like that of the first High-King. (I get all the F names in her family confused when I haven’t read The Silmarillion in a while.) But I don't think anyone wanted the title. The four Ñoldorin kings all came to bloody ends... I do like that they made Elrond and Galadriel friends since eventually Elrond marries Galadriel’s daughter.

And then there was the comment on the post about the hobbits and their age, but it was worded oddly, so I’m not sure exactly what you’re saying? I think you mean the culture is portrayed as too old, like hobbits didn’t exist for another 2300 years? But again, there’s nothing objectionable here. In Tolkien’s lore the hobbits came from more primitive ancestors, the same ones Gollum came from, and if you remember, Gollum had found the ring over 500 years before ‘The Hobbit’ happened, and he was in an established group in the east where Isildur would have dropped the ring when he died. It was in the same region that Beorn lived, east of the Misty Mountains near what became Mirkwood. There were three breeds: Harfoots, Stoors, and Fallohides. The Harfoots and Fallohides were the first who over time travelled north and west to finally settle in the Shire because of various unrest and dangers, especially those caused by Sauron moving into and settling in what became Mirkwood. The Stoors, the breed Gollum was, moved around in the east a lot longer and interacted with the Dunlendings some before finally moving west into the Shire. These hobbits aren’t early. They’re simply living primitively in the east, just like Tolkien said the three different breeds who were the hobbits’ ancestors did before they came to the Shire and intermingled until they were one people. And unlike every other race in Middle-Earth, Tolkien didn’t once write an origin story for hobbits. He never described their creation. The first record of interaction with the ‘Big Folk’ was with the Éothéod, the ancestors of the Rohirrim, in far-away times and in the east, so no one knows when and where they originated.

I never said I thought Rings of Power is 100% accurate to the books. That never happens in any project, especially one that says ‘based on’. But I love that it seems so far like they're staying true to more than people think. Really, so far they’ve just changed some of the timelines or minor events. The actors have interviews explaining some of the thinking behind decisions made, and the creators themselves said that some of it would be different to the commonly held versions of Tolkien's works because Tolkien was ALWAYS changing things. I mean, he worked on this world for decades, so he was always fiddling with timelines and lineages and so on. Even some of the main characters and events in the Silmarillion changed quite a few times after the Silmarillion was written, including Galadriel and her whole family of Finarfin and Fëanor and such, who were changed enough times that it's still not clear who Gildor Inglorien is. That's why the creators of Rings of Power consulted Tolkien's grandson Simon. They wanted his knowledge of some of the more obscure information since Tolkien was changing things until he died. I think that's cool. It feels like they're honoring Tolkien's whole approach to his world instead of just saying 'this is what it was period end of.'

No matter what they do, there will always be people who want to gripe and complain, and then there will be people who legitimately don’t like it, and that’s totally okay. I mean, I hate Game of Thrones, but I don’t go around the internet taking it out on people who like it. Let them enjoy what they enjoy. I’ve learned to just let people be themselves and enjoy the cool things that can come out of that, even if it’s not necessarily what I would do. That doesn’t mean it’s wrong, and if this is how the creators want to honor Tolkien, they’re the ones who had the courage to approach studios and say, ‘Hey, we know we’ve never made a tv show before, but we love Tolkien and have this great idea.’ And then they put in the hours and hours and hours of work. Don’t tear down the people that do things if you’re too scared, lazy, unmotivated, or unable to try yourself. I know I wouldn’t be interested in doing it. I think they’re doing a beautiful job with cosmetics and graphics and just creating a beautiful world for these characters to live in, and I’m going to enjoy my journey through it, along with the other people who choose to live with gratitude and enjoyment and sent lovely messages and comments. :)

[rearranging-deck-chairs]

14 tbh

[snoopyfan1283]

Always thinking about a Youtube comment I read recently that pointed out how Pink Pearl's injury was caused by the destructive powers from Rose's yelling. & when we hear Rose's voice in the more recent years of her life, in Greg's flashbacks and in the tape she gave Steven, she was very soft-spoken

[septembersghost]

"(and take a guess at who destroyed the professional affinity they built with him" is this the colonel? jfc I keep hating that man

who else? leiber and stoller initially didn't know who elvis was and had some preconceived judgment in place (which happened to him a lot), but then once they actually met with him, they were impressed and developed a rapport. elvis wanted them to be in the studio when he recorded. they had suggestions and encouragement for him, about songs, about his career, and parker didn't like that, was threatened by the idea of them getting in the middle, or worse, giving him ideas (this would repeat throughout his life, it's not dissimilar to what happened with steve binder). the colonel eventually destroyed the relationship they built by sending leiber and stoller a blank page and calling it a contract as an intentional slight. they told him exactly what they thought of that, and never worked with elvis again.

longer details from here

"Jerry Leiber and Mike Stoller were like the rap artists of the early '50s, pushing buttons, inviting scorn and testing the limits, as rock roared into being from its roots as blues and rhythm and blues. They were writing music for black artists, when one of their songs, Hound Dog, was heard by a young Elvis Presley. His adaptation turned it into a No. 1 hit and helped aim Leiber and Stoller toward the Rock and Roll Hall of Fame.

They wrote 20 songs for Elvis until the brash young songwriters had a falling out with Colonel Tom Parker, the Svengali they now remember as a 'bully' and a 'foul, greedy' man who helped destroy Elvis. But the estrangement didn't change their respect for Elvis.

'We feel that Elvis Presley was the high water mark of the 20th Century. He's legend. No, he's myth. He's in that celestial place for mythological figures. At the time, we just thought he was a white kid trying to make it as a singer', says Leiber, the man who supplied the words as lyricist of one of the worlds' best-known songwriting duos.

Leiber and Stoller originally met in 1950, sharing a love of the blues and boogie woogie. They were writing for black artists, their earliest songs recorded by Jimmy Witherspoon, Little Esther, Amos Milburn, Charles Brown, Little Willie Littlefield and, among others, Willie Mae 'Big Mama' Thornton.

It was for Big Mama Thornton that they wrote Hound Dog in 1952. Her version came out in 1953 and was adapted by several groups. Stoller had gone to Europe with royalties from some of those early songs and was on his way home aboard the Andrea Doria when it sank in 1956.

Rescued by a lifeboat, Stoller arrived in New York with Leiber yelling from the dock: 'We've got a smash hit'. 'I said, 'You mean Big Mama Thornton's record?' He said, 'No, some white kid named Elvis Presley'. Elvis had heard Hound Dog in a Vegas Lounge by a group called Freddie Bell and the Bellboys', says Stoller.

Elvis' recording of Hound Dog was released in July of 1956 and bounded up the charts, selling millions of copies. Released the same year as Heartbreak Hotel, it put Elvis on TV and turned him into a phenomenon.

After Elvis' great success with his version of Hound Dog, Paramount Studios and music publishers Hill and Range selected additional Leiber and Stoller songs for Elvis' 1957 film Loving You. It was on April 30, 1957 while working on the movie Jailhouse Rock that Elvis first met Leiber and Stoller. They were skeptical of meeting the newcomer, thinking he was a country bumpkin. However, they were very impressed when upon meeting and talking to Elvis that he was very knowledgeable of R&B music and could discuss its nuances in great detail. They went on to work closely with Elvis on the Jailhouse Rock soundtrack with Stoller appearing in the film playing the piano for Elvis' character. After an incident of pitching songs and movie ideas directly to Elvis and not going through the usual chain of command with Elvis' manager, Colonel Tom Parker, they had a falling out with Parker and essentially ended their collaboration with Elvis. Fast-forward to 1960, they did write a couple of songs that were in the running for inclusion in Elvis' first post-army movie, G.I. Blues, but, ultimately they were not used. Although the direct collaboration ended, Elvis did choose several additional Leiber and Stoller tunes to record over the years.

'We were completely unconscious of what it might imply. We were just doing numbers', says Leiber. Stoller says those numbers were unfamiliar to white audiences because he and Leiber had written 'almost exclusively for black performers, so we wrote in a black idiom. People started thinking it was entirely new, but the base we started from was the blues and boogie woogie'.

Stoller says they didn't specifically tailor songs to that early Elvis persona but began by supplying songs they had already written, like Love Me, a ballad they had already recorded. 'Then we were asked to write for a movie, Loving You, with Elvis and Lizabeth Scott'. The next project, Jailhouse Rock, included four songs Leiber and Stoller wrote while held captive in a New York hotel.

They had been living in Los Angeles, and Stoller says they rented a New York hotel suite with a piano in the living area. 'We were given a script for the movie and kind of tossed it in the corner. We were having a ball in New York, going to jazz clubs, cabaret, going to the theater and hanging out. Finally, Jean Aberbach who ran Elvis Presley Music knocked on the door and said, 'Well boys, where are my songs?' I think Jerry said, 'Oh, Jean, you're going to get them'. Jean then pushed a big overstuffed chair in front of the door and said, 'I'm not leaving until I get my songs'.

They wrote four songs in five hours, including Jailhouse Rock, the movie's title song and Treat Me Nice, both major hits.

After that, Elvis 'wanted us in the studio with him whenever we recorded', says Stoller. It was part of Elvis' 'perfectionist' tendencies in the early stages of his career, says Jerry Schilling, a member of Elvis' Memphis Mafia. Leiber says Elvis 'was like an Olympic champion. He could do 40 to 50 takes. I never saw him happier than when he was on a microphone, performing'.

Both songwriters say that studio time was their primary contact with Elvis, who was kept at arm's length from them by Colonel Parker. Stoller says Elvis once asked, 'Mike, could you write me a real pretty ballad?' Over the weekend, they wrote the song Don't for him and handed it to him only to be berated by Parker.

'He was upset that I handed a song directly to Elvis. They didn't want anybody to have direct access to Elvis. It was like Elvis was kept kind of in a glass box and away from contact except for the Memphis Mafia. They were like paid companions'.

Like almost everyone else, they also had little contact with Parker himself. 'The longest I ever spent with him was a dinner at the Beverly Hills Hotel around 1956, after Hound Dog', says Stoller.

The breaking point for them came when Leiber was recovering from a bout with pneumonia about two years later, and Parker ordered them to California to write songs for a new movie project. Leiber explained that he had just been released from the hospital and was unable to travel. 'Parker said, 'You'd better get your ass out here'. He then sent a packet with a contract for them to sign. Leiber says he pulled the contract from the packet and found only a dark line across the middle of a blank page for his signature.

'I called and said, 'I think you made a mistake. There's no contract in here'. He said, 'Don't worry about that, boy. Just sign your name, and I'll fill it in later'."

"Jerry Leiber: I called and asked to speak to (Colonel) Tom. He got on the phone and said (Leiber imitates Parker) 'How you doin' boy?' I said, 'I'm OK. I had a real close call there. I had walking pneumonia and I just got out of the hospital.' He said he wanted me to pack right away and catch a plane. I told him I wasn't in any shape to catch a plane because I'd just gotten out of the hospital. He said, 'If they let you out, that means you're all right'. I told him I needed a day or two to get myself together, but he said the schedule was very tight and he needed me to come out right away.

Then he said, 'Did you see the contract yet?' I said, contract?' He said, 'I'm sure it's there by now. It's a contract covering the forthcoming movie and soundtrack album. You better take a look, sign it and send it back. So I hung up, took the contract out of one of the manila envelopes, and saw nothing but a blank page. Nothing was written on it except two lines at the bottom where Mike and I were supposed to sign our names.

I thought they had made a ridiculous blunder. I called Parker's secretary and said, 'There's been a mistake', she said, 'Let me get Tom.' Colonel Parker got on the phone and I told him, 'There's a piece of paper here with two places for signatures, but the contract is missing'. He said, 'There's no mistake - just sign it'. Then he said, 'Don't worry. We'll fill it in later'.

I got off the phone with Parker and immediately called Mike. I told him, 'Breaking up with the Presley outfit is like throwing away a license to print money. After all this work, I really hate to do it, but I am really offended' (When I was on the phone with Parker, I almost told him that I wasn't one of his 'okie dokies'). I told Mike I didn't want to work with this jerk anymore.

I asked Mike, 'How do you feel about this?' Now Mike is a very measured and modest with very good manners. He paused for a moment, and then he said, Jer ....tell him to f**k himself!'

So I called Colonel Parker back and said, 'Tom, I thought about what you told me'. He said, 'Good! What time are you gonna get here?' I said, 'Tom, I spoke to Mike about the contract, and he told me to tell you to go f**k yourself'.

I hung up, and I never spoke to him again."

"Like many others, [Leiber] wondered about Parker's hold on Elvis. 'I think he (Elvis) had a very weak father and didn't get a sense of what a father was like. Parker came along, and his attitude was, 'Do this, do that, and I'll take care of everything'. Parker became his surrogate family'."

"Leiber: Of course, the Colonel wasn't really a colonel. He was Thomas A. Parker, whose former job as a carnival barker defined his personality. He had a definite shtick ('Pick a number from one to ten'). He told dozens of canned jokes. I can't remember any of them except that they weren't funny. But it didn't matter that we didn't laugh, because the Colonel wasn't really conscious of us. Of course, he knew we were the songwriters of 'Hound Dog' and the new songs for Jailhouse Rock. He knew more hit songs for Elvis meant more money for him. Beyond that, though, he was more interested in putting on his own show than getting to know us.

He had his long cigar and his confected Southern accent. He was a nonstop talker whose ego was always on parade. He told us in great detail all he had done for Elvis - and all he intended to do.

'Elvis' he said, 'is going to be bigger than the president, bigger than the pope'.

Naturally we agreed.

Stoller: The Colonel had the kind of energy that sucked all the air out of the room, even the dining room at the Beverly Hills Hotel. I had little interest in the man. Elvis was the guy we were eager to meet.

The session was due to start later that week.

Leiber: My heterosexual credits have long been established, so I can comfortably say that the first thing that hit me when I walked into the recording studio and found myself standing next to Elvis Presley was his physical beauty. Far more than his pictures, his actual presence was riveting.

He had a shy smile and quiet manner that were disarming."

"Stoller: It's important to remember that on the day we met Elvis, he was twenty-two and we were twenty-four. We were contemporaries. Remember, too, that Jerry and I shared the uppity view that he and I were among the few white guys who knew about the blues.

In the first five minutes of conversation with Elvis, we learned we were dead wrong.

Elvis knew the blues. He was a Ray Charles fanatic and even knew that Ray had sung our song 'The Snow Is Falling'. In fact, he knew virtually all of our songs. There wasn't any R&B he didn't know. He could quote from Arthur 'Big Boy' Crudup, B.B. King, and Big Bill Broonzy.

Leiber: When it came to the blues, Elvis knew his stuff. He may not have been conversant about politics or world history, but his blues knowledge was almost encyclopedic. Mike and I were blown away. In fact, the conversation got so enthusiastic that Mike and Elvis sat down at the piano and started playing four-handed blues. He definitely felt our passion for the real roots material and shared that passion with all his heart.

Just like that, we fell in love with the guy."

"'Whenever I record' he said, 'I want you guys in the studio. You're the guys who make the magic'."

"When Elvis returned (after a studio break), his head was down and his demeanor totally changed.

'I'm really sorry, Mike', he said, 'but you're gonna have to leave. The Colonel came in and he doesn't want anyone here but me and the guys'. 'Okay' I said, not wanting to make any more trouble. And with that, I left. The next day at the shoot I mentioned the incident to one of Elvis' Memphis buddies. 'Don't take it personally, Mike,' he said, 'It's just that the Colonel doesn't want Elvis to develop a friendship with anyone but us'."

[cassmouse]

I think I might want to write a 40 page essay comparing the representation of female characters in the Scott Pilgrim graphic novels vs the film