"There's nothing definite yet. Of course, any time you have a book, there's going to be book signings and stuff. We'll do bookstores that handle both audio and video. And some of the stores want to have the CDs available at the same time. So that part looks real good"
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Nothing kills the rock-and-roll mystique faster than a guy calmly talking inventory. Scotty Moore, Elvis Presley’s essential guitarist and one of the quiet architects of modern pop, is speaking in the least glamorous register imaginable: logistics. Book signings. Stores that “handle both audio and video.” CDs “available at the same time.” It’s the language of a working musician watching his legacy get packaged, cross-promoted, and routed through retail channels.
That’s the point, though. Moore isn’t selling rebellion; he’s selling continuity. The offhand “and stuff” does a lot of work: a shrug that signals both experience and mild fatigue, as if he’s seen enough hype cycles to know every cultural artifact ends up on a folding table under fluorescent lights. Yet there’s pride hiding in the pragmatism. “That part looks real good” isn’t artistic exultation; it’s the satisfaction of a plan coming together, of the story being told in multiple formats at once.
The subtext is generational whiplash. Moore came up in a world of sweaty rooms and live takes; now the afterlife of that world depends on coordinated media: book, audio, video, CD, event. His intent isn’t to mythologize the past but to make it legible - and purchasable - in the present. In a culture that turns musicians into brands, Moore sounds like the rare figure who understands the machinery without confusing it for the music.
That’s the point, though. Moore isn’t selling rebellion; he’s selling continuity. The offhand “and stuff” does a lot of work: a shrug that signals both experience and mild fatigue, as if he’s seen enough hype cycles to know every cultural artifact ends up on a folding table under fluorescent lights. Yet there’s pride hiding in the pragmatism. “That part looks real good” isn’t artistic exultation; it’s the satisfaction of a plan coming together, of the story being told in multiple formats at once.
The subtext is generational whiplash. Moore came up in a world of sweaty rooms and live takes; now the afterlife of that world depends on coordinated media: book, audio, video, CD, event. His intent isn’t to mythologize the past but to make it legible - and purchasable - in the present. In a culture that turns musicians into brands, Moore sounds like the rare figure who understands the machinery without confusing it for the music.
Quote Details
| Topic | Book |
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