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Author Topic: Elvis Presley  (Read 77770 times)
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« Reply #325 on: May 12, 2022, 11:22:11 AM »

Baz Luhrmann teases Elvis as a 'three-act pop-cultural opera'



https://ca.movies.yahoo.com/baz-luhrmann-teases-elvis-three-170000561.html



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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #326 on: May 15, 2022, 06:48:46 AM »

There's a new italian trailer that features a lot more new scenes and action plus Maneskin's version of "If I can dream" which will be part of the soundtrack album.


ELVIS di Baz Luhrmann | If I Can Dream - Måneskin

https://youtu.be/CWacVqNQMoM



Eurovision Winners Maneskin to Feature on Baz Luhrmann’s ‘Elvis’ Soundtrack

https://variety.com/2022/film/news/maneskin-elvis-baz-luhrmann-1235267307/



We also have the poster for the movie. Thanks to the FECC board for this picture from Burbank, CA






« Last Edit: May 15, 2022, 06:53:56 AM by Rocker » Logged

a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

- Lester Bangs on The Beach Boys


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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #327 on: May 16, 2022, 01:19:55 PM »

Now in english:



Baz Luhrmann's Elvis - If I Can Dream - Måneskin - Warner Bros. UK & Ireland

https://www.youtube.com/watch?v=7lEeJr5Au1A
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #328 on: May 17, 2022, 12:15:30 PM »

Saw these on the FECC board. Thanks!








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« Reply #329 on: May 19, 2022, 10:42:08 AM »

The Strange Love Story of Colonel Tom Parker and Elvis Presley

As ‘Elvis’ arrives in theaters (starring Tom Hanks as Parker), director Baz Luhrmann tells AARP about one of music’s most intense relationships
by Alanna Nash, AARP, May 18, 2022





One of the top 10 premieres at the May 17-28 Cannes Film Festival is Baz Luhrmann’s much-anticipated Elvis, starring Austin Butler as the singer who ushered in rock and roll, and Tom Hanks, 65, as his manager, Colonel Tom Parker. The Dutch-born Parker (real name: Andreas van Kuijk) never became an American citizen and had no passport to tour Elvis abroad, so he had to find creative ways to reach Presley’s global audience. The film arrives in theaters June 24.

Luhrmann, 59, known for fast-paced, vividly colorful, highly musical films (Moulin Rouge!, The Great Gatsby), tells AARP how he saw the interplay between the pompadoured performer and the manager who marketed the King and then stole his crown.

What drew you, as an Australian, to the Elvis saga?

In the ’70s, when I was growing up in a tiny country town [Herons Creek, New South Wales] not too dissimilar to Tupelo, the Sunday matinee in the small cinema my family ran was always an Elvis movie. Elvis’ famous white jumpsuit was an inspiration for the Latin costumes my grandmother made me for ballroom dancing. I’ve always been fascinated at how Shakespeare took a life and used it as a canvas to explore a larger theme, and Elvis was the perfect canvas on which to explore America in the ’50s, ’60s and ’70s. He really was at the center of the culture.

What is the inherent drama of the Presley-Parker relationship?

My takeaway as the ultimate outsider is that the Presley-Parker relationship is probably the real love story. Not that there isn’t a great and genuine romance between Elvis and Priscilla [his wife], but the love story that soars brilliantly, but gets a little too close to the sun and tumbles, is Elvis and the Colonel. It’s almost a codependent marriage that, while toxic and destructive, cannot be unwound.



Do you paint the Colonel as a villain?

Perhaps the bad guy, he was also a creative genius. He invented so many things, from the incredibly intense use of music merchandise to the satellite concert [Aloha from Hawaii, 1973]. What a brilliant thought, motivated, of course, by keeping Elvis inside America.

Why does Tom Hanks have a much stronger accent than Parker did in real life?

I found it interesting that Parker became obsessed with tape recorders and started taping himself. I spent many hours at Graceland listening to those obscure tapes. His accent changed dramatically depending on what situation he was in. What a gargantuan personality he was — he’d walk into a room and suck all the air out of it, using humor to manipulate and control. You couldn’t back away from the enormity of the character. So I thought it was very important that Hanks present the audience with a strangeness: “What is going on with this guy?”

In the trailer, Parker says to Elvis, “We are the same, you and I. We are two odd, lonely children reaching for eternity.” Were they?

Yes. Both were born with a gift, a prodigious imagination, and an ability to absorb what’s around them and invent. Andreas van Kuijk was definitely lonely and odd, continuously searching. And definitely Elvis as a child was lonely and, according to the way he was treated by the other children, odd. And anyone who knew Elvis knew he was searching and never stopped searching until the end of his life — spiritually, physically and creatively.

How much of the narrative revolves around 1968, with the assassinations of Robert Kennedy and Martin Luther King?

I always say: no issue of race in America, no Elvis. The fact that he grew up in one of the few white houses in a Black community allowed him to be around a young group of African American kids and his great love, spiritual gospel. I tracked down Sam Bell, an African American childhood friend of Elvis. And [Elvis entourage member] Jerry Schilling told me how they’d been filming when King was shot. Elvis just collapsed holding his guitar, rocking back and forth, and he said the very quote that’s in the movie: “Dr. King, he always spoke the truth.”

1968 was also the year of Elvis’ “Comeback Special.” Why was that show so important?

Parker had gone out of his way to disconnect Elvis from Black music, to reinvent him as a wholesome movie star.  In 1968, the Colonel had decided to do a giant farewell to Hollywood, and basically the idea was to turn Elvis into a type of Bing Crosby with a Christmas special. Those who loved Elvis quietly expressed their concern, and in his very internal, discreet, Elvis-y way, he found himself insisting upon the director, Steve Binder, and his associates Bones Howe and the conductor William Goldenberg, to create the show. They launched, under the nose of the Colonel, a great subversive move, and invented the first “Unplugged” session, which brought Elvis back in front of an audience. Most important, Elvis was able to explore his profound and deep love of the music he loved the most.

Your films often end in tragedy. What’s the unraveling of Elvis’ story?

Elvis is no saint, but he was a deeply spiritual, creative person. Towards the end of his life, he didn’t know that the Colonel was plotting to keep him in Las Vegas partially for the Colonel’s gambling addiction. The Colonel represented the monetization, commercialization, the branding of Elvis. The sell — the marketing, the making of money — became dominant over the new, the authentic. And that always begets tragedy. That actually motivated me to commit to doing this film.



Did the Colonel see Elvis as an extension of himself?

Elvis really does embody the spirit of American pop culture. But you mention Colonel Tom Parker and no one knows who he is. And that’s perhaps the Colonel’s greatest pain. People would ask him, “What percentage do you get from Elvis’ money?” And he’d reply, “You mean how much does he get from mine?” I guess from the Colonel’s point of view, the question would be, “How much do you think Tom Parker is responsible for Elvis’ success?” You can’t answer that question. But there’s no doubt that those two odd, lonely children reaching for eternity, needing to come together in the ’50s, ended up, for the good, the bad and the ugly, changing popular culture and leaving an imprint on history that is indelible.

Alanna Nash is the author of four books about Elvis, including The Colonel: The Extraordinary Story of Colonel Tom Parker and Elvis Presley (Simon & Schuster), updated in 2022 with a new afterword.





Source: https://www.aarp.org/entertainment/movies-for-grownups/info-2022/baz-luhrmann-elvis-movie-interview.html
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #330 on: May 20, 2022, 10:05:49 AM »

Baz Luhrmann’s "ELVIS" ("Masterpiece" 15 second trailer)

https://youtu.be/PTBAU8PLJL0



Elvis' granddaughter, Riley Keough, who has her own movie at Cannes, was interviewed and also talked about the Elvis movie:


https://youtu.be/Pazgq_6gy7Q?t=1902


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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #331 on: May 20, 2022, 10:32:02 AM »

Baz Luhrmann’s "ELVIS" ("Unchained Melody" 15 second trailer)

https://www.youtube.com/watch?v=x2VGQqSv9kk
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« Reply #332 on: May 21, 2022, 04:30:57 PM »

It’s too bad he doesn’t really look like Elvis-Kurt Russell physically looked more like him than Butler’ in my opinion
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« Reply #333 on: May 22, 2022, 01:16:48 PM »

It’s too bad he doesn’t really look like Elvis-Kurt Russell physically looked more like him than Butler’ in my opinion


Well, I've never seen an actor taking that role who looks somewhat like Elvis, including Kurt Russell who imo was just ridiculous in that Elvis-movie. But though Butler seems too young to play the older Elvis (who in '70 was in great shape after years of Karate), I think his performances of the young Elvis looks very fine. He's an actor after all, and I expect him to play the role convincingly so that the looks of the individual will be no problem.


Someone on the FECC posted this article by the New York Times:


Baz Luhrmann Is Ready for Rhinestones, Cadillacs, Dr. Feelgood and a Svengali
In other words, yes, the director has made a movie about Elvis.

By Maureen Dowd, May 21 2022

    Baz Luhrmann dreams big.

    In a streaming world where, as Norma Desmond predicted, the movies get smaller, the Australian director keeps going bigger.

    After his 2013 film, “Gatsby,” Mr. Luhrmann is taking on another American icon in “Elvis,” another kaleidoscopic epic with a sizzling soundtrack.

    Tom Hanks had only met Mr. Luhrmann in passing when the director called to ask him to play Col. Tom Parker, Elvis Presley’s infamous manager.

    Mr. Hanks was game: “I could only think of, ‘Oh my God, Elvis in your hands, well, that would be a nuclear explosion. That would just be bigger than big could be.’”

    Mr. Luhrmann did not want to make a mere biopic. He wanted to make a wildly ambitious movie about race and sex and class and music in America through three decades, the 1950s, ’60s and 70s.
    There are three Elvises, the rock ’n’ roll punk, the movie star in the Hollywood bubble, and the drug-addled, divorced Elvis in Vegas who feels “caught in a trap,” as the line from “Suspicious Minds” goes,
    and shows the fatigue of being stuck as the campy character busting out of the tight white jumpsuit. “I’m just so tired of playing Elvis Presley,” he said, the year before he died.

    Mr. Luhrmann wanted to restore humanity to Elvis, who became, he said, “like a Halloween costume or wallpaper. He’s so there, he’s not there anymore.”

    The director’s name evokes the phantasmagoric, or an italicized adventure — not the sort of movie where a sad widow goes on a solo road trip in an old van into the desert and we watch her go to the
    bathroom in a bucket. Nothing Baz-y about that. His world is full of glamorous characters who reach for the stars and look, often unhappily, for love.

    “Yes, well, I am a romance addict,” Mr. Luhrmann said, sitting in his romantic Gilded Age house in Manhattan’s Stuyvesant Square, decorated in jewel-toned Victorian-Moroccan splendor by Catherine
    Martin, his wife and Oscar-winning creative partner. (She also designed the luxe green wallpaper.)

    “I’m old enough to know,” the director continued, “I need to be in a heightened romantic state to make a film.”

    Baz, as everyone calls him, may be from the down-under Oz but his inspiration is the Judy Garland Oz. We conducted our interview with a photo of a crying Garland looking down at us.

    Over a delectable lunch on elegant china, he told me that he related to “Elvis’s need to metaphorically go down the yellow brick road, constantly searching, absorbing, taking on influences, cross-fertilizing
    them and making a prism through which he expresses himself in his own way.”

    The director is a genre unto himself. You can tell from one frame of his movies that they’re his. He only chooses subjects he’s madly in love with, then fearlessly dives in, just as he did with Shakespeare,
    setting the story of Romeo and Juliet in Verona Beach, a fictionalized Miami of sorts, with Leonardo DiCaprio, Claire Danes, pink hair, tabloid TV and a hot-dog stand. The dazzle-drenched romance of the
    Moulin Rouge nightclub in La Belle Époque Paris? Mais oui! What’s more thrilling than Ewan McGregor lusting after a languishing Nicole Kidman as she swings through the air and they sing Madonna and
    Beatles songs? With “Australia,” Mr. Luhrmann aimed for nothing less than making his country’s version of “Gone With the Wind.”

    “He’s like a walking opera,” Mr. McGregor said. “He lives in a larger way.”

    Does Mr. Luhrmann ever feel insecure when he’s creating these surreal extravaganzas?

    “My more consistent challenge is not insecurity but fear,” he said. “Fear is for me and everyone surrounding me, the enemy of play, and play is what we do professionally for a living. After all, it’s called a
    screenplay, and actors are players. So, I spend a lot of my time creating environments that keep fear away. It’s kind of my job to suck up the fear at 5 in the morning before I get to the set and take on
    everybody else’s fear.”

    There are stressful moments, as with “Moulin Rouge!”, when Mr. Luhrmann and Ms. Martin found a fax someone accidentally left in the machine with an urgent plea to the studio to come and take over
    because “Baz is out of control.” But if it isn’t impossibly difficult to birth, it isn’t Baz-y.

    C.M., as Ms. Martin is known, brings her husband’s enchanted worlds to life with opulent sets and costumes. She admitted that the scale of Mr. Luhrmann’s dreams, wanting to find “the best of the best of 
    the best,” can leave her feeling like Harrison Ford running to escape the boulder in “Raiders of the Lost Ark.”

    During the first week in May, Mr. Luhrmann was racing to finish mixing and editing on “Elvis” for its premiere at Cannes this weekend, a month before its wide release on June 24. He was flying from
    Australia, where the movie was made, to New York to Los Angeles and back to New York before going to France. And he was also helping to direct the Met Gala and walking the red carpet wearing a
    Prada “Elvis decorative aesthetic” outfit, as he put it, accompanied by Priscilla Presley, uncannily on the arm of the film’s Elvis, the 30-year-old Austin Butler.

    Mr. Luhrmann, who calls himself a “research nut,” wrote the screenplay with three other writers. He goes into total immersion on his films, surrounding himself with excavations from the world he is
    creating, from drapes to wardrobe to photos.

    During “Gatsby,” he said, laughing, “I think we went a bit far with the speakeasy part of it.” He and Ms. Martin also flew to England so they could steam into New York on an ocean liner, like Scott and Zelda
    Fitzgerald.

    ‘He Makes Coffee Nervous’

    On the afternoon of our interview, Mr. Luhrmann, whippet-thin at 59, was wearing flared black Celine jeans and Acne Western boots, a Prada sweater in a blue that Elvis favored, a double diamond ring, a
    copy of Elvis’s “E.P.” ring, a string of pearls and a gold “TCB” necklace with a diamond lightning bolt, a riff on the jewelry worn by Elvis and the Memphis Mafia that signified “Taking Care of Business” fast.
    And he showed off a replica of the bejeweled belt with gold chains that Elvis wore onstage in the ’70s.

    “Elvis was fluid before fluid was invented,” the director said. “He was always incredibly masculine, but he was experimenting with makeup and hair color in high school, and he liked to mix lace crop tops
    tied at the waist and pink bolero jackets with pleated box trousers and pink socks.”

    It isn’t only movies that bring out the Bazmataz. When the director made a three-minute ad for Chanel No. 5 with Nicole Kidman in 2004, it cost $33 million, making it the most expensive ad in history, a
    record it still holds.

    Even when the cameras are not rolling, he has Tom Ford syndrome: He can’t stop arranging the world to be as swank as he wants it to be.

    When he rented a house opposite Anna Wintour, the editor of Vogue, in Greenwich Village, and they shared a garden, he redesigned her Halloween party.

    “We used to throw a few skeletons out there and hope for the best,” Ms. Wintour said. “Baz and C.M. moved in and just turned it into this incredible Halloween fantasy.”

    “We’re English, we do silly games like murder games and disco night, and the level of detail and amazing costumes they brought to it,” Ms. Wintour continued. “He’ll take an idea and just lift it into a whole
    other stratosphere.”

    In 2018, when Mr. Luhrmann was a guest at the wedding of Bee Shaffer, Ms. Wintour’s daughter, at the family home in Long Island, he took it on himself to play wedding planner.

    “He rehearsed my daughter over and over again for her wedding. She said she was probably the bride that slept the best before her wedding because she was so exhausted,” Ms. Wintour said. “He’s
    talking about the entrances and exits, sightlines, and all from the kindness of his heart.”

    Mr. Luhrmann offered his philosophy: “I believe, as Leonardo da Vinci did, that parties are an art form. Weddings R Us.”

    Even when he was in Australia, he helped Ms. Wintour with the Met Gala, calling “to talk about a particular shade of red for the red carpets or whether a blue stripe was right.”

    He is “meticulous to the extreme,” as Mr. Hanks agreed, “with a degree of enthusiasm and energy that is otherworldly. He makes coffee nervous.”

    Mr. Luhrmann is so detail-oriented that he even conjures back stories for his extras. All the hundreds of extras at the lavish Roaring Twenties parties at Gatsby’s mansion, and the throngs screaming at
    Elvis’s appearances, had back stories provided by him and C.M.

    Mr. Luhrmann was able to reproduce Elvis’s bedroom, which is intact at Graceland; it has always been off-limits to Graceland visitors, and is now home to a cobweb and spider. The movie shows a fish
    tank, an electric organ, a white Fender guitar stuck in the shag carpet, and two televisions embedded in the ceiling.

    The director’s way of piling embellishment on embellishment can be discombobulating for those who expect more structure (and of course, to the suits checking the bottom line).

    “Sometimes it’s infectious, other times, it’s exhausting, but what it always is, is freewheeling,” Mr. Hanks said. “You think, well, are we just not throwing everything in but the kitchen sink, trying everything
    that enters our heads, and the answer is yes. But he’s a bit of a Pied Piper: ‘Follow me,’ and you do.”

    From a young age, Mr. Luhrmann seemed destined to become Puck, with a bucket full of fairy dust.

    He was a bedazzled ballroom dancer when he was little; his mother was a ballroom dance teacher and dress shop owner; at 10, he won a contest dancing the jive to a new single he had bought, Elvis’s
    “Burning Love.” And he baked in “Cinema Paradiso” fantasy when his father ran the local movie theater, in addition to a pig farm and gas station.

    Elvis’s father went to jail for altering a check when he was young, and he and his mother barely scraped by. Mr. Luhrmann also had family heartaches: His parents divorced when he was 15 and his mother
    moved to Sydney, taking his sister and leaving Baz and his two brothers with his father. “Dad rallied around,” he said. “We became his world.”

    Living in the seven-house town of Herons Creek in New South Wales, what else could a boy do but watch “Lawrence of Arabia” on a black-and-white TV and run off as a teenager to become an artist in
    the big city of Sydney? (A time to reunite with his mother.)

    As filming for “Elvis” got underway on the Gold Coast in Queensland, Australia, Mr. Hanks said that he and Mr. Butler nervously huddled. Mr. Butler did not consider himself a singer, except for strumming his
    guitar and singing for his late mother and girlfriends.

    “I said to him, ‘Hey, are you as petrified as I am?’” Mr. Hanks, 65, recalled. “We had two actors going, actually, ‘I don’t know how we’re going to pull this off.’”

    As Mr. Butler recounted, his screen idol then warned him, “Not many people know what Colonel Parker sounds like, but everybody knows what Elvis sounds like and you’re going to have people attacking
    you from every which way.”

    Mr. Butler chuckled at the memory. “So I go, ‘Oh, thanks, Tom.’ And then I gave him a big hug.”

    Mr. Butler was an actor on teen shows on Nickelodeon and the Disney Channel. His first big movie role was playing Tex Watson, a Manson family member, in Quentin Tarantino’s “Once Upon a Time in
    Hollywood.”

    He confessed that his initial attempts to sing like Elvis made him feel like a kid wearing his father’s suit. But, he said, “When I felt nerves, I didn’t go, ‘I shouldn’t be feeling this.’ I thought, ‘This is what Elvis   
    felt.’”

    The tall, lanky Butler (who divided his time at the Met Gala between Priscilla Presley and his girlfriend, the model Kaia Gerber) borrowed his director’s immersion technique; he stayed in Australia during a
    six-month Covid-19 shutdown from filming and walked on the beach and listened to tapes of Elvis.

    “Before Austin got the role, when I met him for a workshop in this building three and a half years ago, he had this Southern accent,” the director said. “It wasn’t until four weeks later, someone said, ‘He’s
     actually from Anaheim.’”

    When he was deciding whom to cast — runners-up included Harry Styles, Ansel Elgort and Miles Teller — Mr. Luhrmann got a call from Denzel Washington, who had acted with Mr. Butler in 2018 in “The
    Iceman Cometh” on Broadway.

    “‘You need to know I have never seen a work ethic like that young actor has,’” Mr. Luhrmann recalled Mr. Washington telling him. “‘He does not stop.’”

    Mr. Luhrmann has a record label, House of Iona, at RCA, where Elvis had his contract, so he had access to hundreds of recordings of the young Elvis but they weren’t usable because of their format.

    “I thought, ‘Do I get an impersonator and then mime it?’” he recalled. He asked Mr. Butler to try some songs.

    “Day 1, he can almost sing like Elvis,” Mr. Luhrmann said. He ended up using Austin’s voice, also a throaty baritone, for the young Elvis songs, blending for a few, and Elvis’s voice for the later iconic
     moments.

    Before she saw the movie, Priscilla Presley, 76, said she was nervous because she’d only met with the director a couple of times and “Baz can be, you know, he kind of goes off beat a bit.” But after she
    saw a screening recently with Jerry Schilling, a member of the Memphis Mafia, she wrote Mr. Luhrmann an email that every breath and every eye movement was perfect, and included a message for Mr.
    Butler: “If my husband was here today, he would look you in the eye and say, ‘Hot damn, you are me.’”

    The Carny Who Made the Star

    Mr. Luhrmann became obsessed with the partnership of Colonel Parker and Elvis, easily the most fascinating Svengali-star relationship in entertainment history. (If you don’t count Marlene Dietrich and
    Josef von Sternberg, who ran around declaring, “I am Marlene.”)

    “I believe the word ‘sociopath’ will come into the dialogue when the issue of the colonel comes up,” Mr. Luhrmann said. “Sociopaths can be incredibly entertaining and amazingly enigmatic.”

    Was Colonel Parker — a native of Holland, using a fake name and honorary military title and pretending to be a good old boy from West Virginia — a captivating snake-oil salesman? Or was he something
    much darker: a leech, a thief, maybe even a murderer on the lam?

    Was Elvis strapped for money — mortgaging Graceland to make his payroll — and increasingly bored and dependent on drugs because the colonel, in this country illegally with no passport, squelched 
    lucrative foreign tours?

    Did the old carny barker play out a shattering real-life version of “Nightmare Alley,” his favorite movie, where he turned the most successful solo recording artist of all time into the geek? Did the carny and
    animal trainer, whose favorite routine was a chicken hopping to music on a hidden hot plate, turn Elvis into his own dancing chicken?

    Colonel Parker called himself “the Snowman” because he loved snowing, or fooling, people. In the carnival, he had painted sparrows yellow and sold them as canaries. As a joke, he formed the
    Snowmen’s League, a fanciful private club that cost nothing to join but $100,000 to leave, according to Mr. Luhrmann; even L.B.J. was a member.

    “When the ‘sell’ becomes more powerful than the creative, then tragedy ensues,” said Mr. Luhrmann, who recreates a house of mirrors in the movie. It’s telling that Colonel Parker manufactured both “I
    love Elvis” buttons and “I hate Elvis” buttons, wanting a stake in both sides of the market. “After all, what’s hate worth if it’s free?” Mr. Luhrmann said sardonically.

    Some people thought the colonel used his carny mentalist skills to hypnotize Elvis, to control him and make the at-times-insecure star feel like a sex god.

    After Mr. Hanks and his wife, Rita Wilson, became what the actor called “the celebrity canaries in the coal mine” by getting Covid in March 2020, filming was delayed for six months. During the hiatus,
    Priscilla Presley ran into Ms. Wilson in Los Angeles and suggested a dinner. Ms. Presley and Mr. Schilling went to the home of Mr. Hanks and Ms. Wilson, and they had a confab about the colonel.

    Despite the famous legal battle between Elvis’s heirs and Colonel Parker — he was sued for massive fraud and mismanaging Elvis’s business interests; the parties settled out of court — Priscilla spoke
    highly of the manager, saying she wished he were still alive. That led to Mr. Luhrmann and Mr. Hanks reworking the colonel into “less of a one-dimensional bad guy,” as the director put it.

    “I was anticipating hearing horror stories about this venal, cheap crook,” Mr. Hanks said. “Just the opposite. Both Priscilla and Jerry said he was a lovely man.” As to the outrageous deal that gave Colonel
    Parker half of Elvis’s income, Priscilla told Mr. Hanks that Elvis didn’t care about the 50 percent and was glad that the colonel was handling the business side.

    “There was an acumen and brilliance to Colonel Tom Parker that is belied by the fact that he was a cheap carny,” said Mr. Hanks, who had to log five hours a day in makeup getting mountainous, mottled
    and saggy.

    “Look, Elvis was Picasso,” the actor said. “He was a one-of-a-kind, once-in-a-lifetime artist. The colonel understood that. Colonel Tom Parker would have been nothing without Elvis, and Elvis would not
    have been Elvis without Colonel Tom Parker.”

    As Elvis spiraled into drug addiction, the colonel spiraled into a gambling addiction. He needed Elvis to slave away in Vegas and on grueling road tours so the colonel could pay his gambling debts — or
    gamble free.

    In one chilling scene in the movie, based on fact, Elvis is in a drug haze with people dunking his face in ice water backstage at Vegas when the colonel comes up and tells a Dr. Feelgood to get the singer
    onstage, no matter what they have to do.

    “He did not want the word to get out that the greatest entertainer in the world could not get up onstage,” Mr. Hanks said. “He didn’t want to give back the money or deal with the legal ramifications. It
    ends up being, is that looking out for the legacy of his client or is that slowly poisoning the guy?”

    Elvis died in 1977, at 42, after a heart attack. His health had been worn down by the grind of his career — and almost certainly by the 19,000 pills that Dr. George Nichopoulos, his Memphis Dr. Feelgood,
    prescribed to him, according to “The Colonel,” by Alanna Nash. (Not counting what he got from other star-struck doctors.)

    Colonel Parker did not miss a beat. He refused to be a pallbearer, wore a Hawaiian shirt to the funeral and said to Elvis’s father, Vernon, that they needed to start printing a lot more records. “Elvis didn’t
    die, the body did,” the colonel famously said, adding that it would be just like when Elvis was away in the Army in Germany.

    Mr. Hanks defended the colonel. “He was absolutely right,” the actor said. “Why miss out on that opportunity? Everybody went back and bought Elvis Presley records all over again.”

    Although he sees the colonel’s “self-serving Machiavellian aspect,” Mr. Hanks does not think the colonel is to blame for Elvis destroying himself with drugs.

    “Elvis came back from the Army absolutely adoring amphetamines because you could buy them over the counter in Germany,” Mr. Hanks said. “That’s how he got through tank maneuvers.”

    He sees Colonel Parker not as a con man but more as Falstaff, who taught Prince Hal invaluable populist skills, like how to “drink with any tinker in his own language,” but then got pushed aside when the
    prince became a king.

    “Elvis was not kept in a Ball jar by Colonel Tom Parker,” Mr. Hanks said. “Colonel Parker would come in, he would take care of the money, he would say, ‘Here’s what the shows and bookings are going to
     be.’ If Elvis didn’t say, ‘Yes, help get me off these drugs’ then that wasn’t going to happen.” And, Mr. Hanks said, “If Elvis didn’t want to do all those bad movies, he could have said, ‘No, I’m not going to 
     do it.’”

    Mr. Hanks and I talked about how much we would have loved to see the version of “A Star Is Born” that Barbra Streisand originally envisioned, with Elvis as her fading, alcoholic husband, before the
    colonel nixed it.

    “That would have been the greatest stunt casting on the planet Earth,” Mr. Hanks said.

    Searching for the Truth About Elvis and Race

    When Mr. Luhrmann reached out to Lisa Marie Presley and her actress daughter Riley Keough early on, he said, Ms. Keough told him that she was concerned that her grandfather had been maligned on
    race.

    After Chuck D of Public Enemy made the hit song “Fight the Power” in 1989, calling Elvis “a straight-out racist,” a generation of kids believed it. Then in 2020, the rapper did an interview where he said he
    had no specific evidence of racism; he simply made Elvis “the fall guy” because Elvis was crowned the King for a style that Black singers had originated.

    Mr. Luhrmann set up an office in the back of Graceland and, visiting over three years, did prodigious research with his team, following Elvis from his birth in a shotgun shack in Tupelo, Miss., to a period
    when his father went to jail and he and his mother ended up in one of the few white-designated houses in the Black community there. The director interviewed Sam Bell, a childhood friend of E.P., as they
    called him, about their trips to juke joints and Pentecostal tents, where the famous possessed twitching of Elvis the Pelvis began.

    “Conservatives, this organization of governors, freaked out because they saw that movement as aligned to African American movement,” Mr. Luhrmann said. “That’s why they were so terrified of its
    effect on young people. It was jumping the race line, basically.” In the film, Mr. Luhrmann uses real headlines about Elvis, like “A White Boy With Black Hips.”

    “Many in the Black community loved him,” Mr. Luhrmann said. “They thought he was brave for performing their music. He didn’t sit down connivingly and go, ‘I’m going to take Black music and make
     money out of it.’

    “He was a spiritual guy. He loved gospel music. It was his safe place. He was about bringing people together, not pulling them apart. Did he do dumb things when he was trapped? Did he get high on drugs
     and go down to see Nixon and shake his hand and say, ‘I want to become a federal drug agent’? Yes. But at his core he was empathetic and profoundly vulnerable.”

    A story circulated at the start of Elvis’s career that he had made a racist crack, either in Boston or on Edward R. Murrow’s show, but those who looked into it said that Elvis had never appeared in Boston
    or on Mr. Murrow’s program.

    In 1957, Elvis told a reporter from Jet,“I never said anything like that and people who know me know that I wouldn’t have said it.” He reiterated his debt to Black musicians for rock ’n’ roll and gospel,
    saying: “Let’s face it, I can’t sing like Fats Domino can.”

    Mr. Luhrmann believes the story about a racist remark was made up by anti-Elvis conservatives who wanted to bring him down. He engaged Nelson George, a Black music historian who had been critical
    of Elvis, to seek the truth.

    “He didn’t say that,” Mr. George said. “He was timid at times when the moment required boldness. But he wasn’t ill willed toward Black people.”

    The director learned that Elvis was friends with many Black artists. He said that James Brown dedicated a song to his “Brother, Elvis,” and was present at Elvis’s funeral, and that in the period when Elvis
    first got successful, he had a friendship with B.B. King and was often the only white face at Club Handy, a nightclub on Beale Street in Memphis where many Black artists performed.

    But the movie makes it clear that this was one more area where Elvis was cowed by the colonel, who did not want his star involved in the civil rights movement, feeling it was bad for business. It was
    drummed into the singer that, when he was asked about politics or religion, he should deflect, saying, “I’m just an entertainer.”

    The director believes that the colonel ushered Elvis into the Army, thinking, “We’ll send him away until this rock ’n’ roll thing cools down. He’s too much in with this Black culture.” The colonel stifled Elvis’s
    desire to go for prestigious movies like “West Side Story” and pushed him to make white-bread girls-in-paradise pop musicals that got worse and worse.

    As Peter Guralnick, an Elvis biographer, wrote in The New York Times, Elvis was seen “as something of a hero in the Black community in those early years.” The African American newspapers in Memphis
    hailed him as a “race man,” Mr. Guralnick said, “not just for his music but also for his indifference to the usual social distinctions,” going to the Memphis Fairgrounds on a night designated for Black visitors.

    Mr. Luhrmann is bracing for an intense reaction on everything from his take on Elvis and race to his portrayal of the star’s romance with the 14-year-old Priscilla.

    “But this is not someone hanging around schoolyards, like some famous people we know, serially picking up 14-year-olds,” he said. “They do fall in love and have a child, and they did consummate the
    marriage only when they were married. That is true.”

    So, I wonder, is Elvis ever leaving the building?

    “Elvis is still in our lives and he will continue to be,” the director replied as he sped off to his next big adventure.

    ---------------------------------------------------------------------------------------

    In a Q & A at the end of the article, Luhrmann reveals more details:

    Q: You now realize that it was a tragic mistake not to include Ann-Margret, Ed Sullivan and fried peanut butter-and-banana sandwiches in your Elvis movie.

    A: Everything you can imagine, we wrote it at some point. But that would have been a four-hour version. I always wanted Nicole [Kidman] to play Ann-Margret, actually, not in this movie, but she’s so
        Ann-Margret in so many ways.





https://www.nytimes.com/2022/05/21/style/baz-luhrmann-elvis.html


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« Reply #334 on: May 22, 2022, 08:27:32 PM »

It’s too bad he doesn’t really look like Elvis-Kurt Russell physically looked more like him than Butler’ in my opinion

Ian I agree 100%. I think that will be the major flaw this movie has - everything else could be perfect but he just doesn’t resemble Elvis enough.
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« Reply #335 on: May 23, 2022, 09:52:08 AM »

New trailer!!

Baz Luhrmann's ELVIS | Official Trailer 2

https://www.youtube.com/watch?v=Gp2BNHwbwvI


And this:

Eminem has a new song coming out featuring CeeLo Green called “The King And I” and it’s featured in the Elvis original motion picture soundtrack.

Eminem & CeeLo Green - The King And I [Elvis teaser]

https://www.youtube.com/watch?v=w3t5Hv0GqFs
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« Reply #336 on: May 24, 2022, 10:13:33 AM »

‘Elvis’ Movie Soundtrack Includes Eminem, Stevie Nicks, Jack White & More
The songs each artist has recorded has yet to be revealed.


https://www.billboard.com/culture/tv-film/elvis-soundtrack-eminem-stevie-nicks-jack-white-1235074506/
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« Reply #337 on: May 25, 2022, 01:26:10 PM »

Some first reviews:


Cannes review: Electrifying Elvis delivers the icon like never before

https://news.yahoo.com/cannes-review-electrifying-elvis-delivers-193000704.html



Elvis review: Baz Luhrmann’s sweaty, seductive biopic makes the King cool again

https://www.independent.co.uk/arts-entertainment/films/reviews/elvis-review-movie-austin-butler-b2087479.html
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« Reply #338 on: May 26, 2022, 11:36:35 AM »

Baz Luhrmann's ELVIS | First Listen of "Can't Help Falling In Love" by Kacey Musgraves

https://www.youtube.com/watch?v=GHrjwOQD8FU




ELVIS - PRESS CONFERENCE - EV - CANNES 2022


https://www.youtube.com/watch?v=ZaDsi10QY0E
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« Reply #339 on: May 27, 2022, 08:58:38 AM »

Baz Luhrmann's Elvis Is an Exhilarating, Maddening Spectacle—But One Made With Love


Baz Luhrmann’s movies—even the great ones, like his 1996 Shakespeare-via-Tiger Beat romance Romeo + Juliet, or The Great Gatsby, from 2013, a fringed shimmy of decadence and loneliness—are loathed by many for what they see as the director’s garishness, his adoration of spectacle, his penchant for headache-inducing, mincemeat-and-glitter editing. But in 2022, in a culture where long-form series storytelling reigns supreme, Luhrmann’s devotion to two-and-a-half-hour bursts of excess is pleasingly old-fashioned, like a confetti blast from a cannon at a county fair. It’s true that his movies don’t always work, or rarely work all the way though, and that’s certainly the case with Elvis, his sequined jumpsuit of a biopic playing out of competition at the 75th Cannes Film Festival. At times it’s barely a movie—the first hour or so is exceptionally fragmented and frenetic, as if Luhrmann were time-traveling through a holographic rendering of Elvis Presley’s life, dipping and darting through the significant events with little time to touch down. But through all the arty overindulgences, one truth shines through: Luhrmann loves Elvis so much it hurts. And in a world where there’s always, supposedly, a constant stream of new things to love, or at least to binge-watch, love of Elvis—our American pauper king with a cloth-of-gold voice—feels like a truly pure thing.

Luhrmann and his co-writers Sam Bromell and Craig Pearce use the story of Elvis’ supremely crooked manager, Colonel Tom Parker (Tom Hanks, lurking beneath prosthetic jowls), to frame the larger, more glorious and more tragic story of Elvis. Though he was born in Tupelo, Mississippi—his identical twin, Jesse Garon, died at birth—Elvis grew up poor in Memphis, adoring and being adored by his mother, Gladys (Helen Thomson). Luhrmann shows us Elvis as a preadolescent, splitting his time between a juke joint and a revival tent down the road. (Too young to get into the former, he could only peer through a crack in the wall, entranced by the Black blues guys performing inside.) These are the twin poles of young Elvis’ life, the foundation for all that came after, and Luhrmann connects them in one extremely stylized shot: in Elvis world, gospel and blues are literally connected by one dirt road. This junior version of Elvis goes back and forth freely, drinking deeply from one well before moving to the other, and back again.

His rise happens quickly, and before you know it, he’s become the Elvis we know, or the one we think we know: he’s played by Austin Butler, who goes beyond merely replicating Elvis’ signature moves (though he’s terrific at that); he seems to be striving to conjure some phantasmal fingerprint. For long stretches of the movie, Butler’s Elvis doesn’t really have many lines: we see him, in his pre-fame years, jumping out of the truck he drives for a living and walking down a Memphis street, swinging a guitar in one hand a lunchbox in the other. Did the real-life Elvis actually do this? Doubtful. But isn’t it exactly what you want to see in a movie?

Before long, our movie Elvis has landed a slot performing on the Louisiana Hayride, and Sam Phillips over at Sun Studios—who specializes in “race records,” music made by Black performers—takes a chance on him at the behest of his assistant, Marion Keisker, who hears something in the kid. Elvis cuts a record. Then he’s jiggling onstage in a loose pink suit, its supple fabric hiding more than it reveals, but even so, the world gets a hint at the secrets contained therein. The girls, and most of the boys, too, go nuts.

Butler conjures the guilelessness of Elvis’ face, his soft yet chiseled cheekbones, the look in his eyes that says, “I’m up for anything—are you?” He and Luhrmann hop through the major events of Presley’s life, sometimes going for long stretches without taking a breath. Elvis is exhausting, a mess; it’s also exhilarating, a crazy blur you can’t look away from. (Catherine Martin’s costume and production design is, as always, exemplary—period-perfect but also brushed with imaginative flourishes.) We see Elvis shopping at his beloved Lansky Brothers, lured in because one of his favorite musicians, B.B. King (Kelvin Harrison Jr.) shops there. We see him succumbing to the dangerous manipulations of Colonel Parker, and later kicking against them, most notably as he mounts his 1968 comeback special. (He was supposed to put on a garish Christmas sweater and sing “Santa Claus Is Coming to Town,” not become the stuff of legend in a black leather suit that, you just know, would be hot to the touch if only you could get close enough to it.)

But as we know, Elvis loses that fight. Colonel Parker sends a quack known as Dr. Nick to pump him full of drugs, to keep him on his feet even as he’s going out of his mind. The tragedy escalates. Does Luhrmann show us the real Elvis, or is he just re-embroidering the Elvis who already lives in our imagination? The answer seems to be that Luhrmann sees equal value in fact and myth. Though Elvis more or less follows the facts as we know them, there are moments of invention that are piercing. When Elvis’ long-suffering wife Priscilla (played by Olivia DeJonge) finally leaves him, he chases after her, rushing down the staircase at Graceland in pants and a purple robe, a drugged-out mess. She can’t take it anymore; she’s got to leave, and she’s taking little Lisa Marie with her. Elvis stands there in bare feet, begging her not to go. And when he realizes he can’t stop her, he says, more in defeat than in hopefulness, “When you’re 40 and I’m 50, we’ll be back together—you’ll see.” Even if Elvis never really uttered that line, its map of romantic longing had long been written in his voice. In Elvis, when Butler sings, it’s Elvis’ voice that streams out, in lustrous ribbons of recklessness, of ardor, of hope for the future. That voice is a repository of every joy and misery that life could possibly hold.

When the trailer for Elvis was released, a few months back, the responses on social media, and among people I know, ranged from “That looks unhinged! I’m dying to see it!” to “I can’t even look at that thing,” to “What accent, exactly, is Tom Hanks trying to achieve?” (The movie, incidentally, explains the unidentifiable diction of this man without a country, and probably without a soul.) In the movie’s last moments, Luhrmann recreates one of the saddest Elvis remnants, a live performance of “Unchained Melody” from June of 1977, just two months before his death. Butler, his face puffed out with prosthetics, sits at a grand piano littered with Coca Cola cups and a discarded terrycloth towel or two. The song, a swallow’s swoop of longing, begins pouring out of Elvis’s wrecked body—but as we watch, Luhrmann pulls a mystical switch, and footage of the real Elvis replaces the magnificent Butler-as-Elvis doppelgänger we’ve been watching. For a few confusing moments, the real Elvis is no longer a ghost—he has returned to us, an actor playing himself, and we see that as good as that Butler kid was, there’s no comparison to the real thing.

But the feeling of relief is fleeting. Elvis, now gone for more than 40 years, is a ghost, no matter how passionately Luhrmann and Butler have tried to reconstitute his ectoplasm. The only consolation is that when a person is no longer a person, he is at last free to become a dream. In the final moments of Elvis, Luhrmann returns his beloved subject to that world, like a fisherman freeing his catch. “Lonely rivers flow/to the sea, to the sea,” the song tells us, as the true Elvis swims back to his home of safety—he’s better off as a dream, maybe, safe from everyone who might hurt or use him. But for a few hours there, he seemed to walk among us once again, a sighting that no one would believe if we tried to tell them. But we saw him. We really did. And then he slipped away, having had enough of our claim over him, if never enough of our love.



Source: https://time.com/6181818/elvis-movie-review/
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« Reply #340 on: May 28, 2022, 02:03:37 AM »

Who’ll Get Elvis Most Wrong — Filmmakers or Critics? Crowning the King on a Throne of Lies (Column)

Post-Cannes 'Elvis' reviews are coming in, and there's already enough misinformation to go around for everybody, writes Variety's executive VP of content (and Presley aficionado) Steven Gaydos..


https://variety.com/2022/music/opinion/elvis-film-reviews-inaccuracies-1235280146/



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« Reply #341 on: May 29, 2022, 08:09:38 AM »

From CBS:


How Austin Butler became "Elvis"


https://youtu.be/NLnUR4wBO7c

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« Reply #342 on: May 30, 2022, 08:55:18 AM »

The reviews are interesting and they point out, I think, correctly that ultimately it is hard to get at the interior Elvis-hard to know what he was thinking. That book Listening to Elvis talks about that, for example, even though we know Elvis allegedly hated recording many of his movie songs in the 1964-68 period especially-the session tapes seldom reveal that frustration (at most Elvis occasionally makes a joke about the turkey of a song he has to sing) so his inner frustration was buried-so that is hard to show in a film
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« Reply #343 on: May 30, 2022, 09:00:45 AM »

There are a lot of what if’s in his career-like what if he kept touring and recording non soundtracks in the mid 60s would he have held his own against the British Invasion or what if he had done A Star Is Born-would he have risen to the occasion or was he really too down and out in 1976 to really get his life back together?
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« Reply #344 on: June 01, 2022, 07:49:28 AM »

Olivia DeJonge on Priscilla Presley: 'She's a Gorgeous, Gorgeous Woman'

https://www.youtube.com/watch?v=1q9EQzp4IFg


Austin Butler on 'Elvis': "The Film is Like a Love Letter"

https://www.youtube.com/watch?v=gwc4HnT9LI8
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« Reply #345 on: June 02, 2022, 10:47:18 AM »

Elvis Movie Behind The Scenes | Baz Luhrmann's ELVIS Movie 2022 Austin Butler

https://www.youtube.com/watch?v=5CKdWOUU4DM


Looks incredible
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« Reply #346 on: June 03, 2022, 12:04:51 PM »

Swae Lee & Diplo feat. Austin Butler - "Tupelo Shuffle" (from "ELVIS" Original Soundtrack)

https://www.youtube.com/watch?v=LmEBm9XOE4s
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

- Lester Bangs on The Beach Boys


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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

- Jack Rieley
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« Reply #347 on: June 07, 2022, 10:24:36 AM »

Including some "new" footage:


Tom Hanks on making the movie Elvis | 7.30

https://www.youtube.com/watch?v=1tz6hC3DXn4



ELVIS Austin Butler & Tom Hanks interview 2022

https://www.youtube.com/watch?v=6KVjMW4B16U
« Last Edit: June 07, 2022, 01:00:11 PM by Rocker » Logged

a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

- Lester Bangs on The Beach Boys


PRO SHOT BEACH BOYS CONCERTS - LIST


To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

- Jack Rieley
Rocker
Smiley Smile Associate
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« Reply #348 on: June 10, 2022, 01:04:32 AM »

Austin Butler - Trouble (From The Original Motion Picture Soundtrack ELVIS)


https://www.youtube.com/watch?v=BNxeFPSL098


I Got A Feelin' In My Body (From The Original Motion Picture Soundtrack ELVIS)

https://www.youtube.com/watch?v=gG4XZX1uYLI&t=50s



Cotton Candy Land (From The Original Motion Picture Soundtrack ELVIS)


https://www.youtube.com/shorts/fl12Vna_U_M





Edit:


Elvis - Hysteria Clip - Warner Bros. UK

https://www.youtube.com/watch?v=U1An0jvOiQ8



« Last Edit: June 10, 2022, 03:48:05 AM by Rocker » Logged

a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

- Lester Bangs on The Beach Boys


PRO SHOT BEACH BOYS CONCERTS - LIST


To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

- Jack Rieley
Rocker
Smiley Smile Associate
*
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Gender: Male
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« Reply #349 on: June 10, 2022, 05:10:57 AM »

Official Tracklisting
1. Suspicious Minds (Vocal Intro) – Elvis Presley
2. Also Sprach Zarathustra/An American Trilogy – Elvis Presley
3. Vegas – Doja Cat
4. The King and I – Eminem & CeeLo Green
5. Tupelo Shuffle – Swae Lee & Diplo
6. I Got A Feelin’ In My Body – Elvis Presley & Stuart Price
7. Craw-Fever – Elvis Presley
8. Don’t Fly Away (PNAU Remix) – Elvis Presley & PNAU
9. Can’t Help Falling in Love – Kacey Musgraves
10. Product of the Ghetto – Nardo Wick
11. If I Can Dream – Maneskin
12. Cotton Candy Land – Stevie Nicks & Chris Isaak
13. Baby, Let’s Play House – Austin Butler
14. I’m Coming Home (Film Mix) – Elvis Presley
15. Hound Dog – Shonka Dukureh
16. Tutti Frutti – Les Greene
17. Strange Things Are Happening Every Day – Yola
18. Hound Dog – Austin Butler
19. Let It All Hang Out – Denzel Curry
20. Trouble – Austin Butler
21. I Got A Feelin’ In My Body – Lenesha Randolph
22. Edge of Reality (Tame Impala Remix) – Elvis Presley & Tame Impala
23. Summer Kisses / In My Body – Elvis Presley
24. ’68 Comeback Special (Medley) – Elvis Presley
25. Sometimes I Feel Like A Motherless Child – Jazmine Sullivan
26. If I Can Dream (Stereo Mix) – Elvis Presley
27. Any Day Now – Elvis Presley
28. Power of My Love – Elvis Presley & Jack White
29. Vegas Rehearsal / That’s All Right – Austin Butler & Elvis Presley
30. Suspicious Minds – Elvis Presley
31. Polk Salad Annie (Film Mix) – Elvis Presley
32. Burning Love (Film Mix) – Elvis Presley
33. It’s Only Love – Elvis Presley
34. Suspicious Minds – Paravi
35. In the Ghetto (World Turns Remix) – Elvis Presley & Nardo Wick
36. Unchained Melody (Live at Ann Arbor, MI) – Elvis Presley




https://soundtracktracklist.com/release/elvis-soundtrack/
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

- Lester Bangs on The Beach Boys


PRO SHOT BEACH BOYS CONCERTS - LIST


To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

- Jack Rieley
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