Chapter 33 - For what it is

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Tour in August of 1956
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"You're seeing too much of this girl from Biloxi. She's not good for you, son. You can't be linked to any one girl. Not if you want to make it in this business. Believe me, son, I know what I'm talking about. Don't get any ideas about marriage either. And for God's sake, don't get her pregnant. You do, and you're through, son, that's for sure." — The Colonel.

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"He don't even want you riding in the same car as me, June. That's why I asked you to ride with Buddy."

"I wish I'd known all that. I wouldn't have let Buddy stop. Pull over, Elvis. I'll be glad to ride with Buddy."

"C'mon baby, don't be mad. I'm just trying to tell you what he said. He thinks it would be bad for me if my fans thought I had a steady girlfriend."

"And what do you think, Elvis, or does that matter? Does he tell you when you can go take a shit?"

Quotes found from the book 'Elvis in the Twilight of Memory,' written by June Juanico Taranto, 1997.

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1957.
Continuation from the last chapter.

Elvis POV

It sure was genius. Because what was hate worth if we didn't profit from it?

«So, you go on as normal, my boy. Go look at that plot of land you wanted; I'll promote your pins for a few weeks. We rail in the snow they throw at us, and then... we switch to our next phase.» The Colonel spoke with hands folded at the back of his rounded figure—speaking as if high as a kite on himself and snow. Meaning money—needed money as my career was at the bridge of getting flipped.

With a grin on my face, I shook my head with my hair following its movement. «You sure have your tricks up your sleeve, Parker.»

«A showman always does.» He said with a perky kick to his posture—tilting his body up, nearly going for a en point ballet stand, and down. Still holding onto his own frame. The Colonel's ways of earning money went back to the circus, and you could say he knew how to make the most of it. From the beginning, the Colonel had his plans all drawn out—and it seemed he already had them since he saw me at one of my Louisiana Hayride performances. In January of 1955.

By the 6th of February, though, we'd met and turned down his want to work with me. He had certain plans that didn't involve Sam Phillips' record studio—Sun Records. It was too little of a studio for the Colonel's vision. But, time goes by, and they all saw how the studio held me back. RCA was next. RCA Studios were the place to be signed—it meant going national and international. A tearful and joyous goodbye was said, parting as friends with immense gratitude for each other. So, from November of 1955, my contract was sold to the hefty sum of 35,000 dollars. The Colonel wouldn't join me as my sole manager until March of last year, though. He hooked me up with the TV appearances, and the rest is history. It all went crazy.

Chuckling, I stood up from the couch and pulled up my pants slightly to adjust the waistband—making myself presentable.

My Mama had stayed quiet for some time now as she stood up to go look at the numbers herself—carrying herself with grace and the notion of a restrained mind. «I ain't gonna stop you boys, but I sure know I don't like this,» She said with concern, looking back at me lovingly. «Are you sure about this?»

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