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Conversations With Robin, Page 3

Conversations between R.E. Prindle And Robin Mark

 

     Well, well, well.   Robert Goulet.  I should have known that filthy bastard would be mixed up in there somewhere.  What amazes me is that Guralnik could write two fat volumes on Elvis and never mention the Mob once.  I think we can begin to integrate Elvis’ Mob conflicts pretty clearly now, although research will have to establish the connections for sure.

     For starters, entertainment is a Mob industry both records and movies; that includes both Jews and Sicilians.  If you haven’t read Gus Russo’s Supermob yet, do so.  The Sidney Korshak role at MCA is crucial.

     Anent shooting out TVs remember that Sinatra had a plane he called Superwop or something to that effect so it is clear he bore a grudge against the Anglo world.   The plane was a small ‘Lear’ if I remember correctly.  Elvis went out and bought a 707.  Big plane, big penis; little plane little penis.  Not exactly true in Frank’s case, but you get the point.  So at least Goulet and Sinatra.  I can understand why Dean Martin tried to distance himself from those creeps.

     Parker must have had the business dealings with the Outfit.  As he ran into gambling problems the only commodity he had to barter was Presley.  Thus he would have had to ‘sell’ Presley to keep both his legs under him.  Elvis’ rapid deterioration could have been because of his realization that he was ‘caught in a trap.  I can’t get out.’  Devastating awareness.  One could only retreat into booze and/or drugs.

     Now, Leiber said that he and Stoller at one time worked for the Mafia.  This wouldn’t be unusual nor should it  be held against them because if you’re in entertainment you’re involved, like it or not.  The question is when were they involved, for how long, and for what purpose.

     We all know Fabian was a Mob creation.  Why not others?  If you haven’t seen and studied The Girl Can’t Help It, do so.  The movie is an alegory of the record business.  Everything you see in the movie is the Outfit in action.  In the fifties every Juke Box in America was stocked by the Outfit.  You didn’t get your record stocked unless you were Mobbed up somewhere along the line.  Someone recently told me that the girls on the Dick Clark Show were prostitutes and Bandstand was used to showcase them for Johns.  Don’t know that it’s true but I wouldn’t be surprised.

     Leiber and Stoller could have been co-opted to write songs for, say, The Coasters.  A Black act with interchangeable personnel.  Kind of an early Back Street Boys.  I don’t know but I’d like to hear Leiber talk about it.  Might prove enlightening.

     So, let us assume that the Colonel was drawn into the Mob scene from the beginning of Presley’s movie career.  That might explain some of his stupid decisions and those dumb movies.  Perhaps Parker didn’t have a free hand but was ‘wise’ enough to figure out that something is better than nothing.

     Then after Vegas Presley was increasingly drawn into orbit until he learned the horrifying truth.  Guralnik seems to have his head up his ass as far as I’m concerned.

     As Presley learned the truth looking forward to forty more years of slavery he found drugs more comfortable than reality.  Possible, it would make things make sense.