Elvis Presley
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Elvis Aaron PresleyTemplate:Efn (January 8, 1935 – August 16, 1977) was an American singer and actor. Referred to as the "King of Rock and Roll", he is regarded as one of the most significant cultural figures of the 20th century. Presley's sexually provocative performance style, combined with a mix of influences across color lines during a transformative era in race relations, brought both great success and initial controversy.
Presley was born in Tupelo, Mississippi; his family relocated to Memphis, Tennessee, when he was 13. He began his music career in 1954 at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on guitar and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley's classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who managed him for the rest of his career. Presley's first RCA Victor single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the US. Within a year, RCA Victor sold ten million Presley singles. With a series of successful television appearances and chart-topping records, Presley became the leading figure of the newly popular rock and roll; though his performing style and promotion of the then-marginalized sound of African Americans<ref name=":00" /> led to him being widely considered a threat to the moral well-being of white American youth.Template:Sfn
In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, he relaunched his recording career two years later with some of his most commercially successful work. Presley held few concerts, and guided by Parker, devoted much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. Some of Presley's most famous films included Jailhouse Rock (1957), Blue Hawaii (1961), and Viva Las Vegas (1964). In 1968, he returned to the stage in the acclaimed NBC television comeback special Elvis, which led to an extended Las Vegas concert residency and several highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. Years of substance abuse and unhealthy eating severely compromised his health, and Presley died in August 1977 at his Graceland estate at the age of 42.
Presley is one of the best-selling music artists in history, having sold an estimated 500 million records worldwide.Template:Refn He was commercially successful in many genres, including pop, country, rock and roll, rockabilly, rhythm and blues, adult contemporary, and gospel. He won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been posthumously inducted into multiple music halls of fame. He holds several records, including the most RIAA-certified gold and platinum albums, the most albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom.
Life and careerEdit
1935–1953: early yearsEdit
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Elvis Aaron Presley was born on January 8, 1935, in Tupelo, Mississippi, to Gladys Love (Template:Née) and Vernon Presley.Template:SfnTemplate:Sfn Elvis' twin Jesse Garon was stillborn 35 minutes earlier.Template:Sfn Presley became close to both parents, especially his mother. The family attended an Assembly of God church, where he found his initial musical inspiration.Template:Sfn Vernon moved from one odd job to the next,Template:SfnTemplate:Sfn and the family often relied on neighbors and government food assistance. In 1938, they lost their home after Vernon was found guilty of altering a check and was jailed for eight months.Template:Sfn
In September 1941, Presley entered first grade at East Tupelo Consolidated, where his teachers regarded him as "average".Template:Sfn His first public performance was a singing contest at the Mississippi–Alabama Fair and Dairy Show on October 3, 1945, when he was 10; he sang "Old Shep" and recalled placing fifth.Template:Sfn A few months later, Presley received his first guitar for his birthday;Template:SfnTemplate:Sfn he received guitar lessons from two uncles and a pastor at the family's church. Presley recalled, "I took the guitar, and I watched people, and I learned to play a little bit. But I would never sing in public. I was very shy about it."Template:Sfn
In September 1946, Presley entered a new school, Milam, for sixth grade. The following year, he began singing and playing his guitar at school. He was often teased as a "trashy" kid who played hillbilly music.Template:Sfn Presley was a devotee of Mississippi Slim's radio show. He was described as "crazy about music" by Slim's younger brother, one of Presley's classmates. Slim showed Presley chord techniques.Template:Sfn When his protégé was 12, Slim scheduled him for two on-air performances. Presley was overcome by stage fright the first time but performed the following week.Template:Sfn
In November 1948, the family moved to Memphis, Tennessee.Template:Sfn Enrolled at L. C. Humes High School, Presley received a C in music in eighth grade. When his music teacher said he had no aptitude for singing, he brought in his guitar and sang a recent hit, "Keep Them Cold Icy Fingers Off Me".Template:Sfn He was usually too shy to perform openly and was occasionally bullied by classmates for being a "mama's boy".Template:Sfn In 1950, Presley began practicing guitar under the tutelage of Lee Denson, a neighbor. They and three other boys, including two future rockabilly pioneers, brothers Dorsey and Johnny Burnette—formed a loose musical collective.Template:Sfn
During his junior year, Presley began to stand out among his classmates, largely because of his appearance: he grew his sideburns and styled his hair. He would head down to Beale Street, the heart of Memphis' thriving blues scene, and admire the wild, flashy clothes at Lansky Brothers. By his senior year, he was wearing those clothes.Template:Sfn He competed in Humes' Annual "Minstrel" Show in 1953, singing and playing "Till I Waltz Again with You", a recent hit for Teresa Brewer. Presley recalled that the performance did much for his reputation:
I wasn't popular in school ... I failed music—only thing I ever failed. And then they entered me in this talent show ... when I came onstage, I heard people kind of rumbling and whispering and so forth, 'cause nobody knew I even sang. It was amazing how popular I became in school after that.Template:Sfn
Presley, who could not read music, played by ear and frequented record stores that provided jukeboxes and listening booths. He knew all of Hank Snow's songs,Template:Sfn and he loved records by other country singers such as Roy Acuff, Ernest Tubb, Ted Daffan, Jimmie Rodgers, Jimmie Davis, and Bob Wills.Template:Sfn The Southern gospel singer Jake Hess, one of his favorite performers, was a significant influence on his ballad-singing style.Template:SfnTemplate:Sfn Presley was a regular audience member at the monthly, all-night singings downtown, where many of the white gospel groups that performed reflected the influence of African American spirituals.Template:Sfn Presley listened to regional radio stations, such as WDIA, that played what were then called "race records": spirituals, blues, and the modern, backbeat-heavy rhythm and blues.Template:Sfn Like some of his peers, he may have attended blues venues only on nights designated for exclusively white audiences.Template:Sfn Many of his future recordings were inspired by local African-American musicians such as Arthur Crudup and Rufus Thomas.Template:SfnTemplate:Sfn B.B. King recalled that he had known Presley before he was popular when they both used to frequent Beale Street.Template:Sfn By the time he graduated high school in June 1953, Presley had singled out music as his future.Template:SfnTemplate:Sfn
1953–1956: first recordingsEdit
Sam Phillips and Sun recordsEdit
In August 1953, Presley checked into Memphis Recording Service, the company run by Sam Phillips before he started Sun Records. He aimed to pay for studio time to record a two-sided acetate disc: "My Happiness" and "That's When Your Heartaches Begin". He later claimed that he intended the record as a birthday gift for his mother, or that he was merely interested in what he "sounded like". Biographer Peter Guralnick argued that Presley chose Sun in the hope of being discovered.Template:Sfn In January 1954, Presley cut a second acetate at Sun—"I'll Never Stand in Your Way" and "It Wouldn't Be the Same Without You"—but again nothing came of it.Template:Sfn Not long after, he failed an audition for a local vocal quartet, the Songfellows,Template:Sfn and another for the band of Eddie Bond.Template:Sfn {{#invoke:Listen|main}} Phillips, meanwhile, was always on the lookout for someone who could bring to a broader audience the sound of the black musicians on whom Sun focused.Template:Sfn In June, he acquired a demo recording by Jimmy Sweeney of a ballad, "Without You", that he thought might suit Presley. The teenaged singer came by the studio but was unable to do it justice. Despite this, Phillips asked Presley to sing other numbers and was sufficiently affected by what he heard to invite two local musicians, guitarist Winfield "Scotty" Moore and upright bass player Bill Black, to work with Presley for a recording session.Template:Sfn The session, held the evening of July 5, proved entirely unfruitful until late in the night. As they were about to abort and go home, Presley launched into a 1946 blues number, Arthur Crudup's "That's All Right". Moore recalled, "All of a sudden, Elvis just started singing this song, jumping around and acting the fool, and then Bill picked up his bass, and he started acting the fool, too, and I started playing with them." Phillips quickly began taping; this was the sound he had been looking for.Template:Sfn Three days later, popular Memphis disc jockey Dewey Phillips played "That's All Right" on his Red, Hot, and Blue show.Template:Sfn Listener interest was such that Phillips played the record repeatedly during the remaining two hours of his show. Interviewing Presley on-air, Phillips asked him what high school he attended to clarify his color for the many callers who had assumed that he was black.Template:Sfn During the next few days, the trio recorded a bluegrass song, Bill Monroe's "Blue Moon of Kentucky", again in a distinctive style and employing a jury-rigged echo effect that Sam Phillips dubbed "slapback". A single was pressed with "That's All Right" on the A-side and "Blue Moon of Kentucky" on the reverse.Template:Sfn
Early live performances and RCA Victor contractEdit
The trio played publicly for the first time at the Bon Air club on July 17, 1954.Template:Sfn Later that month, they appeared at the Overton Park Shell, with Slim Whitman headlining. Here Elvis pioneered "Rubber legs", his signature dance movement.Template:SfnTemplate:Sfn A combination of his strong response to rhythm and nervousness led Presley to shake his legs as he performed: His wide-cut pants emphasized his movements, causing young women in the audience to start screaming.Template:Sfn Moore recalled, "During the instrumental parts, he would back off from the mic and be playing and shaking, and the crowd would just go wild."Template:Sfn
Soon after, Moore and Black left their old band to play with Presley regularly, and disc jockey/promoter Bob Neal became the trio's manager. From August through October, they played frequently at the Eagle's Nest club, a dance venue in Memphis. When Presley played, teenagers rushed from the pool to fill the club, then left again as the house western swing band resumed.Template:Sfn Presley quickly grew more confident on stage. According to Moore, "His movement was a natural thing, but he was also very conscious of what got a reaction. He'd do something one time and then he would expand on it real quick."Template:Sfn Amid these live performances, Presley returned to Sun studio for more recording sessions.Template:Sfn Presley made what would be his only appearance on Nashville's Grand Ole Opry on October 2; Opry manager Jim Denny told Phillips that his singer was "not bad" but did not suit the program.Template:SfnTemplate:Sfn
Louisiana Hayride, radio commercial, and first television performancesEdit
In November 1954, Presley performed on Louisiana Hayride—the OpryTemplate:'s chief, and more adventurous, rival. The show was broadcast to 198 radio stations in 28 states. His nervous first set drew a muted reaction. A more composed and energetic second set inspired an enthusiastic response.Template:Sfn Soon after the show, the Hayride engaged Presley for a year's worth of Saturday-night appearances. Trading in his old guitar for $8, he purchased a Martin instrument for $175 (Template:Inflation) and his trio began playing in new locales, including Houston, Texas, and Texarkana, Arkansas.Template:Sfn Presley made his first television appearance on the KSLA-TV broadcast of Louisiana Hayride. Soon after, he failed an audition for Arthur Godfrey's Talent Scouts on the CBS television network. By early 1955, Presley's regular Hayride appearances, constant touring, and well-received record releases had made him a regional star.Template:SfnTemplate:Sfn
In January, Neal signed a formal management contract with Presley and brought him to the attention of Colonel Tom Parker, whom he considered the best promoter in the music business. Having successfully managed the top country star Eddy Arnold, Parker was working with the new number-one country singer, Hank Snow. Parker booked Presley on Snow's February tour.Template:SfnTemplate:Sfn
By August, Sun had released 10 sides credited to "Elvis Presley, Scotty and Bill"; the latest recordings included a drummer. Some of the songs, like "That's All Right", were in what one Memphis journalist described as the "R&B idiom of negro field jazz"; others, like "Blue Moon of Kentucky", were "more in the country field", "but there was a curious blending of the two different musics in both".Template:Sfn This blend of styles made it difficult for Presley's music to find radio airplay. According to Neal, many country-music disc jockeys would not play it because Presley sounded too much like a black artist and none of the R&B stations would touch him because "he sounded too much like a hillbilly."Template:Sfn The blend came to be known as "rockabilly". At the time, Presley was billed as "The King of Western Bop", "The Hillbilly Cat", and "The Memphis Flash".Template:Sfn
Presley renewed Neal's management contract in August 1955, simultaneously appointing Parker as his special adviser.Template:Sfn The group maintained an extensive touring schedule.Template:Sfn Neal recalled, "It was almost frightening, the reaction that came to Elvis from the teenaged boys. So many of them, through some sort of jealousy, would practically hate him. There were occasions in some towns in Texas when we'd have to be sure to have a police guard because somebody'd always try to take a crack at him."Template:Sfn The trio became a quartet when Hayride drummer Fontana joined as a full member. In mid-October, they played a few shows in support of Bill Haley, whose "Rock Around the Clock" track had been a number-one hit the previous year. Haley observed that Presley had a natural feel for rhythm, and advised him to sing fewer ballads.Template:Sfn
At the Country Disc Jockey Convention in early November, Presley was voted the year's most promising male artist.Template:Sfn After three major labels made offers of up to $25,000, Parker and Phillips struck a deal with RCA Victor on November 21 to acquire Presley's Sun contract for an unprecedented $40,000.Template:SfnTemplate:Refn Presley, aged 20, was legally still a minor, so his father signed the contract.Template:Sfn Parker arranged with the owners of Hill & Range Publishing, Jean and Julian Aberbach, to create two entities, Elvis Presley Music and Gladys Music, to handle all the new material recorded by Presley. Songwriters were obliged to forgo one-third of their customary royalties in exchange for having Presley perform their compositions.Template:SfnTemplate:Refn By December, RCA had begun to heavily promote its new singer, and before month's end had reissued many of his Sun recordings.Template:Sfn
1956–1958: commercial breakout and controversyEdit
First national TV appearances and debut albumEdit
On January 10, 1956, Presley made his first recordings for RCA Victor in Nashville.Template:Sfn Extending his by-now customary backup of Moore, Black, Fontana, and Hayride pianist Floyd Cramer—who had been performing at live club dates with Presley—RCA Victor enlisted guitarist Chet Atkins and three background singers, including Gordon Stoker of the popular Jordanaires quartet.Template:Sfn The session produced the moody "Heartbreak Hotel", released as a single on January 27.Template:Sfn Parker brought Presley to national television, booking him on CBS's Stage Show for six appearances over two months. The program, produced in New York City, was hosted on alternate weeks by big band leaders and brothers Tommy and Jimmy Dorsey. After his first appearance on January 28, Presley stayed in town to record at RCA Victor's New York studio. The sessions yielded eight songs, including a cover of Carl Perkins' rockabilly anthem "Blue Suede Shoes". In February, Presley's "I Forgot to Remember to Forget", a Sun recording released the previous August, reached the top of the Billboard country chart.Template:Sfn Neal's contract was terminated and Parker became Presley's manager.Template:Sfn
RCA Victor released Presley's self-titled debut album on March 23. Joined by five previously unreleased Sun recordings, its seven recently recorded tracks included two country songs, a bouncy pop tune, and what would centrally define the evolving sound of rock and roll: "Blue Suede Shoes"—"an improvement over Perkins' in almost every way", according to critic Robert Hilburn—and three R&B numbers that had been part of Presley's stage repertoire, covers of Little Richard, Ray Charles, and The Drifters. As described by Hilburn, these
were the most revealing of all. Unlike many white artists ... who watered down the gritty edges of the original R&B versions of songs in the '50s, Presley reshaped them. He not only injected the tunes with his own vocal character but also made guitar, not piano, the lead instrument in all three cases.Template:Sfn
It became the first rock and roll album to top the Billboard chart, a position it held for ten weeks.Template:Sfn While Presley was not an innovative guitarist like Moore or contemporary African American rockers Bo Diddley and Chuck Berry, cultural historian Gilbert B. Rodman argued that the album's cover image, "of Elvis having the time of his life on stage with a guitar in his hands played a crucial role in positioning the guitar ... as the instrument that best captured the style and spirit of this new music."Template:Sfn
Milton Berle Show and "Hound Dog"Edit
On April 3, Presley made the first of two appearances on NBC's The Milton Berle Show. His performance, on the deck of the USS Hancock in San Diego, California, prompted cheers and screams from an audience of sailors and their dates.Template:Sfn A few days later, Presley and his band were flying to Nashville, Tennessee, for a recording session when an engine died and the plane almost went down over Arkansas.Template:Sfn Twelve weeks after its original release, "Heartbreak Hotel" became Presley's first number-one pop hit. In late April, Presley began a two-week residency at the New Frontier Hotel and Casino on the Las Vegas Strip.Template:Sfn The shows were poorly received by the conservative, middle-aged hotel guests, "like a jug of corn liquor at a champagne party", a Newsweek critic wrote.Template:Sfn Amid his Vegas tenure, Presley, who had acting ambitions, signed a seven-year contract with Paramount Pictures.Template:Sfn He began a tour of the Midwest in mid-May, covering 15 cities in as many days.Template:Sfn He had attended several shows by Freddie Bell and the Bellboys in Vegas and was struck by their cover of "Hound Dog", a hit in 1953 for blues singer Big Mama Thornton by songwriters Jerry Leiber and Mike Stoller. It became his new closing number.Template:Sfn
After a show in La Crosse, Wisconsin, an urgent message on the letterhead of the local Catholic diocese's newspaper was sent to FBI director J. Edgar Hoover. It warned that
Presley is a definite danger to the security of the United States. ... [His] actions and motions were such as to rouse the sexual passions of teenaged youth. ... After the show, more than 1,000 teenagers tried to gang into Presley's room at the auditorium. ... Indications of the harm Presley did just in La Crosse were the two high school girls ... whose abdomen and thigh had Presley's autograph.Template:Sfn
Presley's second Milton Berle Show appearance came on June 5 at NBC's Hollywood studio, amid another hectic tour. Milton Berle persuaded Presley to leave his guitar backstage.Template:Sfn During the performance, Presley abruptly halted an up-tempo rendition of "Hound Dog" and launched into a slow, grinding version accentuated with exaggerated body movements.Template:Sfn His gyrations created a storm of controversy.Template:Sfn Jack Gould of The New York Times wrote,
Mr. Presley has no discernible singing ability. ... His phrasing, if it can be called that, consists of the stereotyped variations that go with a beginner's aria in a bathtub. ... His one specialty is an accented movement of the body ... primarily identified with the repertoire of the blond bombshells of the burlesque runway.Template:Sfn
Ben Gross of the New York Daily News opined that popular music "has reached its lowest depths in the 'grunt and groin' antics of one Elvis Presley. ... Elvis, who rotates his pelvis ... gave an exhibition that was suggestive and vulgar, tinged with the kind of animalism that should be confined to dives and bordellos".Template:Sfn Ed Sullivan, whose variety show was the nation's most popular, declared Presley "unfit for family viewing".Template:Sfn To Presley's displeasure, he soon found himself being referred to as "Elvis the Pelvis", which he called "childish".Template:Sfn
Steve Allen Show and first Sullivan appearanceEdit
The Berle shows drew such high ratings that Presley was booked for a July 1 appearance on NBC's The Steve Allen Show in New York. Allen, who was no fan of rock and roll, introduced a "new Elvis" in a white bowtie and black tails. Presley sang "Hound Dog" for less than a minute to a basset hound wearing a top hat and bowtie. As described by television historian Jake Austen, "Allen thought Presley was talentless and absurd ... [he] set things up so that Presley would show his contrition".Template:Sfn Allen later wrote that he found Presley's "strange, gangly, country-boy charisma, his hard-to-define cuteness, and his charming eccentricity intriguing" and worked him into the "comedy fabric" of his program.Template:Sfn Just before the final rehearsal for the show, Presley told a reporter, "I don't want to do anything to make people dislike me. I think TV is important so I'm going to go along, but I won't be able to give the kind of show I do in a personal appearance."Template:Sfn Presley would refer back to the Allen show as the most ridiculous performance of his career.Template:Sfn Later that night, he appeared on Hy Gardner Calling, a popular local television show. Pressed on whether he had learned anything from the criticism of him, Presley responded, "No, I haven't ... I don't see how any type of music would have any bad influence on people when it's only music. ... how would rock 'n' roll music make anyone rebel against their parents?"Template:Sfn
The next day, Presley recorded "Hound Dog", "Any Way You Want Me" and "Don't Be Cruel". The Jordanaires sang harmony, as they had on The Steve Allen Show; they would work with Presley through the 1960s. A few days later, Presley made an outdoor concert appearance in Memphis, at which he announced, "You know, those people in New York are not gonna change me none. I'm gonna show you what the real Elvis is like tonight."Template:Sfn In August, a judge in Jacksonville, Florida, ordered Presley to tame his act. Throughout the following performance, he largely kept still, except for wiggling his little finger suggestively in mockery of the order.Template:Sfn The single pairing "Don't Be Cruel" with "Hound Dog" ruled the top of the charts for eleven weeks—a mark that would not be surpassed for 36 years.Template:Sfn Recording sessions for Presley's second album took place in Hollywood in early September. Leiber and Stoller, the writers of "Hound Dog", contributed "Love Me".Template:Sfn
Allen's show with Presley had, for the first time, beaten The Ed Sullivan Show in the ratings. Sullivan booked Presley for three appearances for an unprecedented $50,000.Template:Sfn The first, on September 9, 1956, was seen by approximately 60 million viewers—a record 82.6 percent of the television audience.Template:Sfn Actor Charles Laughton hosted the show, filling in while Sullivan was recovering from a car accident.Template:Sfn According to legend, Presley was shot only from the waist up. Watching clips of the Allen and Berle shows, Sullivan had opined that Presley "got some kind of device hanging down below the crotch of his pants—so when he moves his legs back and forth you can see the outline of his cock. ... I think it's a Coke bottle. ... We just can't have this on a Sunday night. This is a family show!"Template:Sfn Sullivan publicly told TV Guide, "As for his gyrations, the whole thing can be controlled with camera shots."Template:Sfn In fact, Presley was shown head-to-toe. Though the camerawork was relatively discreet during his debut, with leg-concealing closeups when he danced, the studio audience reacted with screams.Template:SfnTemplate:Sfn Presley's performance of his forthcoming single, the ballad "Love Me Tender", prompted a record-shattering million advance orders.Template:Sfn More than any other single event, it was this first appearance on The Ed Sullivan Show that made Presley a national celebrity.Template:Sfn
Accompanying Presley's rise to fame, a cultural shift was taking place that he both helped inspire and came to symbolize. The historian Marty Jezer wrote that Presley began the "biggest pop craze" since Glenn Miller and Frank Sinatra and brought rock and roll to mainstream culture:
As Presley set the artistic pace, other artists followed. ... Presley, more than anyone else, gave the young a belief in themselves as a distinct and somehow unified generation—the first in America ever to feel the power of an integrated youth culture.Template:Sfn
Crazed crowds and film debutEdit
The audience response at Presley's live shows became increasingly fevered. Moore recalled, "He'd start out, 'You ain't nothin' but a Hound Dog,' and they'd just go to pieces. They'd always react the same way. There'd be a riot every time."Template:Sfn At the two concerts he performed in September at the Mississippi–Alabama Fair and Dairy Show, fifty National Guardsmen were added to the police detail to prevent a ruckus.Template:Sfn Elvis, Presley's second RCA Victor album, was released in October and quickly rose to number one. The album includes "Old Shep", which he sang at the talent show in 1945, and which now marked the first time he played piano on an RCA Victor session. According to Guralnick, "the halting chords and the somewhat stumbling rhythm" showed "the unmistakable emotion and the equally unmistakable valuing of emotion over technique."Template:Sfn Assessing the musical and cultural impact of Presley's recordings from "That's All Right" through Elvis, rock critic Dave Marsh wrote that "these records, more than any others, contain the seeds of what rock & roll was, has been and most likely what it may foreseeably become."Template:Sfn
{{#invoke:Listen|main}} Presley returned to The Ed Sullivan Show, hosted this time by its namesake, on October 28. After the performance, crowds in Nashville and St. Louis burned him in effigy.Template:Sfn His first motion picture, Love Me Tender, was released on November 21. Though he was not top-billed, the film's original title—The Reno Brothers—was changed to capitalize on his latest number-one record: "Love Me Tender" had hit the top of the charts earlier that month. To further take advantage of Presley's popularity, four musical numbers were added to what was originally a straight acting role. The film was panned by critics but did very well at the box office.Template:Sfn Presley received top billing on every subsequent film he made.Template:Sfn
On December 4, Presley dropped into Sun Records, where Carl Perkins and Jerry Lee Lewis were recording, and had an impromptu jam session along with Johnny Cash. Though Phillips no longer had the right to release any Presley material, he made sure that the session was captured on tape. The results, none officially released for twenty-five years, became known as the "Million Dollar Quartet" recordings.Template:Sfn The year ended with a front-page story in The Wall Street Journal reporting that Presley merchandise had brought in $22 million on top of his record sales,Template:Sfn and BillboardTemplate:'s declaration that he had placed more songs in the top 100 than any other artist since records were first charted.Template:Sfn In his first full year at RCA Victor, then the record industry's largest company, Presley had accounted for over fifty percent of the label's singles sales.Template:Sfn
Leiber and Stoller collaboration and draft noticeEdit
Presley made his third and final Ed Sullivan Show appearance on January 6, 1957—on this occasion indeed shot only down to the waist. Some commentators have claimed that Parker orchestrated an appearance of censorship to generate publicity.Template:SfnTemplate:Sfn In any event, as critic Greil Marcus describes, Presley "did not tie himself down. Leaving behind the bland clothes he had worn on the first two shows, he stepped out in the outlandish costume of a pasha, if not a harem girl. From the make-up over his eyes, the hair falling in his face, the overwhelmingly sexual cast of his mouth, he was playing Rudolph Valentino in The Sheik, with all stops out."Template:Sfn To close, displaying his range and defying Sullivan's wishes, Presley sang a gentle black spiritual, "Peace in the Valley". At the end of the show, Sullivan declared Presley "a real decent, fine boy".Template:Sfn Two days later, the Memphis draft board announced that Presley would be classified 1-A and would probably be drafted sometime that year.Template:Sfn
Each of the three Presley singles released in the first half of 1957 went to number one: "Too Much", "All Shook Up", and "(Let Me Be Your) Teddy Bear". Already an international star, he was attracting fans even where his music was not officially released: The New York Times reported that pressings of his music on discarded X-ray plates were commanding high prices in Leningrad.Template:Sfn Presley purchased his 18-room mansion, Graceland, on March 19, 1957.Template:Sfn Before the purchase, Elvis recorded Loving You—the soundtrack to his second film, which was released in July. It was his third straight number-one album. The title track was written by Leiber and Stoller, who were then retained to write four of the six songs recorded at the sessions for Jailhouse Rock, Presley's next film. The songwriting team effectively produced the Jailhouse sessions and developed a close working relationship with Presley, who came to regard them as his "good-luck charm".Template:Sfn "He was fast," said Leiber. "Any demo you gave him he knew by heart in ten minutes."Template:Sfn The title track became another number-one hit, as was the Jailhouse Rock EP.Template:Sfn
Presley undertook three brief tours during the year, continuing to generate a crazed audience response.Template:Sfn A Detroit newspaper suggested that "the trouble with going to see Elvis Presley is that you're liable to get killed".Template:Sfn Villanova students pelted the singer with eggs in Philadelphia,Template:Sfn and in Vancouver the crowd rioted after the show ended, destroying the stage.Template:Sfn Frank Sinatra, who had inspired the swooning and screaming of teenage girls in the 1940s, decried rock and roll as "brutal, ugly, degenerate, vicious. ... It fosters almost totally negative and destructive reactions in young people. It smells phoney and false. It is sung, played and written, for the most part, by cretinous goons. ... This rancid-smelling aphrodisiac I deplore."Template:Sfn Asked for a response, Presley said:
I admire the man. He has a right to say what he wants to say. He is a great success and a fine actor, but I think he shouldn't have said it. ... This is a trend, just the same as he faced when he started years ago.Template:Sfn
Leiber and Stoller were again in the studio for the recording of Elvis' Christmas Album. Toward the end of the session, they wrote a song on the spot at Presley's request: "Santa Claus Is Back in Town", an innuendo-laden blues.Template:Sfn The holiday release stretched Presley's string of number-one albums to four and became the best-selling Christmas album ever in the United States,Template:SfnTemplate:Sfn with eventual sales of over 20 million worldwide.Template:Sfn After the session, Moore and Black—drawing only modest weekly salaries, sharing in none of Presley's massive financial success—resigned, though they were brought back on a per diem basis a few weeks later.Template:Sfn
On December 20, Presley received his draft notice, though he was granted a deferment to finish the forthcoming film King Creole. A couple of weeks into the new year, "Don't", another Leiber and Stoller tune, became Presley's tenth number-one seller. Recording sessions for the King Creole soundtrack were held in Hollywood in mid-January 1958. Leiber and Stoller provided three songs, but it would be the last time Presley and the duo worked closely together.Template:Sfn As Stoller later recalled, Presley's manager and entourage sought to wall him off.Template:Sfn A brief soundtrack session on February 11 marked the final occasion on which Black was to perform with Presley.Template:Sfn
1958–1960: military service and mother's deathEdit
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On March 24, 1958, Presley was drafted into the United States Army at Fort Chaffee in Arkansas. His arrival was a major media event. Hundreds of people descended on Presley as he stepped from the bus; photographers accompanied him into the installation.Template:Sfn Presley announced that he was looking forward to his military service, saying that he did not want to be treated any differently from anyone else.Template:Sfn
Between March 28 and September 17, 1958, Presley completed basic and advanced training at Fort Hood, Texas, where he was temporarily assigned to Company A, 2d Medium Tank Battalion, 37th Armor. During the two weeks' leave between his basic and advanced training in early June, he recorded five songs in Nashville.Template:Sfn In early August, Presley's mother was diagnosed with hepatitis, and her condition rapidly worsened. Presley was granted emergency leave to visit her and arrived in Memphis on August 12. Two days later, she died of heart failure at age 46. Presley was devastated and never the same;Template:SfnTemplate:Sfn their relationship had remained extremely close—even into his adulthood, they would use baby talk with each other and Presley would address her with pet names.Template:Sfn
On October 1, 1958, Presley was assigned to the 1st Medium Tank Battalion, 32d Armor, 3d Armored Division, at Ray Barracks, West Germany, where he served as an armor intelligence specialist.Template:Sfn On November 27, he was promoted to private first class and on June 1, 1959, to specialist four. While on maneuvers, Presley was introduced to amphetamines and became "practically evangelical about their benefits", not only for energy but for "strength" and weight loss.Template:Sfn Karate became a lifelong interest: he studied with Jürgen Seydel,Template:SfnTemplate:Sfn and later included it in his live performances.Template:SfnTemplate:SfnTemplate:Sfn Fellow soldiers have attested to Presley's wish to be seen as an able, ordinary soldier despite his fame, and to his generosity. He donated his Army pay to charity, purchased television sets for the base, and bought an extra set of fatigues for everyone in his outfit.Template:Sfn Presley was promoted to sergeant on February 11, 1960.Template:Sfn
While in Bad Nauheim, Presley, aged 24, met 14-year-old Priscilla Beaulieu.Template:Sfn They married after a seven-and-a-half-year courtship. In her autobiography, Priscilla said that Presley was concerned that his 24 months in the military would ruin his career. In Special Services, he would have been able to perform and remain in touch with the public, but Parker had convinced him that to gain popular respect, he should serve as a regular soldier.Template:Sfn Media reports echoed Presley's concerns about his career, but RCA Victor producer Steve Sholes and Freddy Bienstock of Hill and Range had carefully prepared: armed with a substantial amount of unreleased material, they kept up a regular stream of successful releases.Template:Sfn Between his induction and discharge, Presley had ten top-40 hits, including "Wear My Ring Around Your Neck", the bestselling "Hard Headed Woman", and "One Night" in 1958, and "(Now and Then There's) A Fool Such as I" and the number-one "A Big Hunk o' Love" in 1959.Template:Sfn RCA Victor also generated four albums compiling previously issued material during this period, most successfully Elvis' Golden Records (1958), which hit number three on the LP chart.Template:Sfn
1960–1968: focus on filmsEdit
Elvis Is BackEdit
{{#invoke:Listen|main}} Presley returned to the U.S. on March 2, 1960, and was honorably discharged three days later.Template:Sfn The train that carried him from New Jersey to Tennessee was mobbed all the way, and Presley was called upon to appear at scheduled stops to please his fans.Template:Sfn On the night of March 20, he entered RCA's Nashville studio to cut tracks for a new album along with a single, "Stuck on You", which was rushed into release and swiftly became a number-one hit.Template:Sfn Another Nashville session two weeks later yielded a pair of bestselling singles, the ballads "It's Now or Never" and "Are You Lonesome Tonight?", along with the rest of Elvis Is Back! The album features several songs described by Greil Marcus as full of Chicago blues "menace, driven by Presley's own super-miked acoustic guitar, brilliant playing by Scotty Moore, and demonic sax work from Boots Randolph. Elvis' singing wasn't sexy, it was pornographic."Template:Sfn The record "conjured up the vision of a performer who could be all things", according to music historian John Robertson: "a flirtatious teenage idol with a heart of gold; a tempestuous, dangerous lover; a gutbucket blues singer; a sophisticated nightclub entertainer; [a] raucous rocker".Template:Sfn Released only days after recording was complete, it reached number two on the album chart.Template:SfnTemplate:Sfn
Presley returned to television on May 12 as a guest on The Frank Sinatra Timex Special. Also known as Welcome Home Elvis, the show had been taped in late March, the only time all year Presley performed in front of an audience. Parker secured an unheard-of $125,000 for eight minutes of singing. The broadcast drew an enormous viewership.Template:Sfn
G.I. Blues, the soundtrack to Presley's first film since his return, was a number-one album in October. His first LP of sacred material, His Hand in Mine, followed two months later; it reached number 13 on the U.S. pop chart and number 3 in the United Kingdom, remarkable figures for a gospel album. In February 1961, Presley performed two shows in Memphis, for a benefit for 24 local charities. During a luncheon preceding the event, RCA Victor presented him with a plaque certifying worldwide sales of over 75 million records.Template:Sfn A twelve-hour Nashville session in mid-March yielded nearly all of Presley's next studio album, Something for Everybody.Template:Sfn According to John Robertson, it exemplifies the Nashville sound, the restrained, cosmopolitan style that defined country music in the 1960s. Presaging much of what was to come from Presley over the next half-decade, the album is largely "a pleasant, unthreatening pastiche of the music that had once been Elvis' birthright".Template:Sfn It was his sixth number-one LP. Another benefit concert, for a Pearl Harbor memorial, was staged on March 25 in Hawaii. It was Presley's last public performance for seven years.Template:Sfn
Lost in HollywoodEdit
Parker had by now pushed Presley into a heavy filmmaking schedule, focused on formulaic, modestly budgeted musical comedies. Presley initially insisted on pursuing higher roles, but when two films in a more dramatic vein—Flaming Star (1960) and Wild in the Country (1961)—were less commercially successful, he reverted to the formula. Among the twenty-seven films he made during the 1960s, there were a few further exceptions.Template:Sfn His films were almost universally panned; critic Andrew Caine dismissed them as a "pantheon of bad taste".Template:Sfn Nonetheless, they were virtually all profitable. Hal Wallis, who produced nine, declared, "A Presley picture is the only sure thing in Hollywood."Template:Sfn
Of Presley's films in the 1960s, 15 were accompanied by soundtrack albums and another five by soundtrack EPs. The films' rapid production and release schedules—Presley frequently starred in three a year—affected his music. According to Jerry Leiber, the soundtrack formula was already evident before Presley left for the Army: "three ballads, one medium-tempo [number], one up-tempo, and one break blues boogie".Template:Sfn As the decade wore on, the quality of the soundtrack songs grew "progressively worse".Template:Sfn Julie Parrish, who appeared in Paradise, Hawaiian Style (1966), says that Presley disliked many of the songs.Template:Sfn The Jordanaires' Gordon Stoker describes how he would retreat from the studio microphone: "The material was so bad that he felt like he couldn't sing it."Template:Sfn Most of the film albums featured a song or two from respected writers such as the team of Doc Pomus and Mort Shuman. But by and large, according to biographer Jerry Hopkins, the numbers seemed to be "written on order by men who never really understood Elvis or rock and roll".Template:Sfn
In the first half of the decade, three of Presley's soundtrack albums were ranked number one on the pop charts, and a few of his most popular songs came from his films, such as "Can't Help Falling in Love" (1961) and "Return to Sender" (1962). However, the commercial returns steadily diminished. From 1964 to 1968, Presley had only one top-ten hit: "Crying in the Chapel" (1965), a gospel number recorded in 1960. As for non-film albums, between the June 1962 release of Pot Luck and the November 1968 release of the soundtrack to the television special that signaled his comeback, only one LP of new material by Presley was issued: the gospel album How Great Thou Art (1967). It won him his first Grammy Award, for Best Sacred Performance. As Marsh described, Presley was "arguably the greatest white gospel singer of his time [and] really the last rock & roll artist to make gospel as vital a component of his musical personality as his secular songs".Template:Sfn
Shortly before Christmas 1966, more than seven years since they first met, Presley proposed to Priscilla Beaulieu. They were married on May 1, 1967, in a brief ceremony in their suite at the Aladdin Hotel in Las Vegas.Template:Sfn The flow of formulaic films and assembly-line soundtracks continued. It was not until October 1967, when the Clambake soundtrack LP registered record low sales for a new Presley album, that RCA Victor executives recognized a problem. "By then, of course, the damage had been done", as historians Connie Kirchberg and Marc Hendrickx put it. "Elvis was viewed as a joke by serious music lovers and a has-been to all but his most loyal fans."Template:Sfn
1968–1973: comebackEdit
Elvis: the '68 Comeback SpecialEdit
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Presley's only child, Lisa Marie, was born on February 1, 1968, during a period when he had grown deeply unhappy with his career.Template:Sfn Of the eight Presley singles released between January 1967 and May 1968, only two charted in the top 40, none higher than number 28.Template:Sfn His forthcoming soundtrack album, Speedway, would rank at number 82. Parker had already shifted his plans to television: he maneuvered a deal with NBC that committed the network to finance a theatrical feature and broadcast a Christmas special.Template:Sfn
Recorded in late June in Burbank, California, the special, simply called Elvis, aired on December 3, 1968. Later known as the '68 Comeback Special, the show featured lavishly staged studio productions as well as songs performed with a band in front of a small audience—Presley's first live performances since 1961. The live segments saw Presley dressed in tight black leather, singing and playing guitar in an uninhibited style reminiscent of his early rock and roll days. Director and co-producer Steve Binder worked hard to produce a show that was far from the hour of Christmas songs Parker had originally planned.Template:Sfn The show, NBC's highest-rated that season, captured 42 percent of the total viewing audience.Template:Sfn Jon Landau of Eye magazine remarked:
There is something magical about watching a man who has lost himself find his way back home. He sang with the kind of power people no longer expect of rock 'n' roll singers. He moved his body with a lack of pretension and effort that must have made Jim Morrison green with envy.Template:Sfn
Marsh calls the performance one of "emotional grandeur and historical resonance".Template:Sfn
By January 1969, the single "If I Can Dream", written for the special, reached number 12. The soundtrack album rose into the top ten. According to friend Jerry Schilling, the special reminded Presley of what "he had not been able to do for years, being able to choose the people; being able to choose what songs and not being told what had to be on the soundtrack. ... He was out of prison, man."Template:Sfn Binder said of Presley's reaction, "I played Elvis the 60-minute show, and he told me in the screening room, 'Steve, it's the greatest thing I've ever done in my life. I give you my word I will never sing a song I don't believe in.Template:'"Template:Sfn
From Elvis in Memphis and the InternationalEdit
{{#invoke:Listen|main}} Buoyed by the experience of the Comeback Special, Presley engaged in a prolific series of recording sessions at American Sound Studio, which led to the acclaimed From Elvis in Memphis. Released in June 1969, it was his first secular, non-soundtrack album from a dedicated period in the studio in eight years. As described by Marsh, it is "a masterpiece in which Presley immediately catches up with pop music trends that had seemed to pass him by during the movie years. He sings country songs, soul songs and rockers with real conviction, a stunning achievement."Template:Sfn The album featured the hit single "In the Ghetto", issued in April, which reached number three on the pop chart—Presley's first non-gospel top ten hit since "Bossa Nova Baby" in 1963. Further hit singles were culled from the American Sound sessions: "Suspicious Minds", "Don't Cry Daddy", and "Kentucky Rain".Template:Sfn
Presley was keen to resume regular live performing. Following the success of the Comeback Special, offers came in from around the world. The London Palladium offered Parker Template:US$ (Template:Inflation) for a one-week engagement. He responded, "That's fine for me, now how much can you get for Elvis?"Template:Sfn In May, the brand-new International Hotel in Las Vegas, boasting the largest showroom in the city, booked Presley for fifty-seven shows over four weeks, beginning July 31. Moore, Fontana, and the Jordanaires declined to participate, afraid of losing the lucrative session work they had in Nashville. Presley assembled new, top-notch accompaniment, led by guitarist James Burton and including two gospel groups, The Imperials and Sweet Inspirations.Template:Sfn Costume designer Bill Belew, responsible for the intense leather styling of the Comeback Special, created a new stage look for Presley, inspired by his passion for karate.Template:Sfn Nonetheless, Presley was nervous: his only previous Las Vegas engagement, in 1956, had been dismal. Parker oversaw a major promotional push, and International Hotel owner Kirk Kerkorian arranged to send his own plane to New York to fly in rock journalists for the debut performance.Template:Sfn
Presley took to the stage without introduction. The audience of 2,200, including many celebrities, gave him a standing ovation before he sang a note and another after his performance. A third followed his encore, "Can't Help Falling in Love" (which would be his closing number for much of his remaining life).Template:Sfn At a press conference after the show, when a journalist referred to him as "The King", Presley gestured toward Fats Domino, who was taking in the scene. "No," Presley said, "that's the real king of rock and roll."Template:Sfn The next day, Parker's negotiations with the hotel resulted in a five-year contract for Presley to play each February and August, at an annual salary of $1 million.Template:Sfn Newsweek commented, "There are several unbelievable things about Elvis, but the most incredible is his staying power in a world where meteoric careers fade like shooting stars."Template:Sfn Rolling Stone called Presley "supernatural, his own resurrection".Template:Sfn In November, Presley's final non-concert film, Change of Habit, opened. The double album From Memphis to Vegas/From Vegas to Memphis came out the same month; the first LP consisted of live performances from the International, the second of more cuts from the American Sound sessions. "Suspicious Minds" reached the top of the charts—Presley's first U.S. pop number-one in over seven years, and his last.Template:Sfn
Cassandra Peterson, later television's Elvira, met Presley during this period in Las Vegas. She recalled of their encounter, "He was so anti-drug when I met him. I mentioned to him that I smoked marijuana, and he was just appalled."Template:Sfn Presley also rarely drank—several of his family members had been alcoholics, a fate he intended to avoid.Template:Sfn
Back on tour and meeting NixonEdit
Presley returned to the International early in 1970 for the first of the year's two-month-long engagements, performing two shows a night. Recordings from these shows were issued on the album On Stage.Template:Sfn In late February, Presley performed six attendance-record–breaking shows at the Houston Astrodome.Template:Sfn In April, the single "The Wonder of You" was issued—a number one hit in the UK, it topped the U.S. adult contemporary chart as well. Metro-Goldwyn-Mayer (MGM) filmed rehearsal and concert footage at the International during August for the documentary Elvis: That's the Way It Is. Presley was performing in a jumpsuit, which would become a trademark of his live act. During this engagement, he was threatened with murder unless Template:US$ (Template:Inflation) was paid. Presley had been the target of many threats since the 1950s, often without his knowledge.Template:Sfn The FBI took the threat seriously and security was increased for the next two shows. Presley went onstage with a Derringer in his right boot and a .45 caliber pistol in his waistband, but the concerts succeeded without any incidents.Template:SfnTemplate:Sfn
That's the Way It Is, produced to accompany the documentary and featuring both studio and live recordings, marked a stylistic shift. As music historian John Robertson noted,
The authority of Presley's singing helped disguise the fact that the album stepped decisively away from the American-roots inspiration of the Memphis sessions towards a more middle-of-the-road sound. With country put on the back burner, and soul and R&B left in Memphis, what was left was very classy, very clean white pop—perfect for the Las Vegas crowd, but a definite retrograde step for Elvis.Template:Sfn
After the end of his International engagement on September 7, Presley embarked on a week-long concert tour, largely of the South, his first since 1958. Another week-long tour, of the West Coast, followed in November.Template:Sfn
On December 21, 1970, Presley engineered a meeting with U.S. President Richard Nixon at the White House, where he explained how he believed he could reach out to the hippies to help combat the drug culture he and the president abhorred. He asked Nixon for a Bureau of Narcotics and Dangerous Drugs badge, to signify official sanction of his efforts. Nixon, who apparently found the encounter awkward, expressed a belief that Presley could send a positive message to young people and that it was, therefore, important that he "retain his credibility".Template:Sfn Presley told Nixon that the Beatles, whose songs he regularly performed in concert during the era,Template:Sfn exemplified what he saw as a trend of anti-Americanism.Template:Sfn Presley and his friends previously had a four-hour get-together with the Beatles at his home in Bel Air, California, in August 1965. Paul McCartney later said that he "felt a bit betrayed. ... The great joke was that we were taking [illegal] drugs, and look what happened to him", a reference to Presley's early death linked to prescription drug abuse.Template:Sfn
The U.S. Junior Chamber of Commerce named Presley one of its annual Ten Most Outstanding Young Men of the Nation on January 16, 1971.Template:Sfn Not long after, the City of Memphis named the stretch of Highway 51 South on which Graceland is located "Elvis Presley Boulevard". The same year, Presley became the first rock and roll singer to be awarded the Grammy Lifetime Achievement Award (then known as the Bing Crosby Award).Template:SfnTemplate:Sfn Three new, non-film Presley studio albums were released in 1971. Best received by critics was Elvis Country, a concept record that focused on genre standards.Template:Sfn The biggest seller was Elvis Sings The Wonderful World of Christmas. According to Greil Marcus,
In the midst of ten painfully genteel Christmas songs, every one sung with appalling sincerity and humility, one could find Elvis tom-catting his way through six blazing minutes of "Merry Christmas Baby", a raunchy old Charles Brown blues.Template:Nbsp[...] If [Presley's] sin was his lifelessness, it was his sinfulness that brought him to life.Template:Sfn
Marriage breakdown and Aloha from HawaiiEdit
MGM filmed Presley in April 1972 for Elvis on Tour, which went on to win the Golden Globe Award for Best Documentary Film for that year's Golden Globe Awards. His gospel album He Touched Me, released that month, would earn him his second Grammy Award for Best Inspirational Performance. A fourteen-date tour commenced with an unprecedented four consecutive sold-out shows at New York's Madison Square Garden.Template:Sfn The evening concert on July 10 was issued in LP form a week later. Elvis: As Recorded at Madison Square Garden became one of Presley's biggest-selling albums. After the tour, the single "Burning Love" was released—Presley's last top ten hit on the U.S. pop chart. "The most exciting single Elvis has made since 'All Shook UpTemplate:'", wrote rock critic Robert Christgau.Template:Sfn
Presley and his wife had become increasingly distant, barely cohabiting. In 1971, an affair he had with Joyce Bova resulted—unbeknownst to him—in her pregnancy and an abortion.Template:Sfn He often raised the possibility of Joyce moving into Graceland.Template:Sfn The Presleys separated on February 23, 1972, after Priscilla disclosed her relationship with Mike Stone, a karate instructor Presley had recommended to her. Priscilla related that when she told him, Presley "forcefully made love to" her, declaring, "This is how a real man makes love to his woman".Template:Sfn She later stated in an interview that she regretted her choice of words in describing the incident, and said it had been an overstatement.Template:Sfn Five months later, Presley's new girlfriend, Linda Thompson, a songwriter and one-time Memphis beauty queen, moved in with him.Template:Sfn Presley and his wife filed for divorce on August 18.Template:Sfn According to Joe Moscheo of the Imperials, the failure of Presley's marriage "was a blow from which he never recovered".Template:Sfn At a rare press conference that June, a reporter had asked Presley whether he was satisfied with his image. Presley replied, "Well, the image is one thing and the human being another ... it's very hard to live up to an image."Template:Sfn
In January 1973, Presley performed two benefit concerts for the Kui Lee Cancer Fund in connection with a groundbreaking television special, Aloha from Hawaii, which would be the first concert by a solo artist to be aired globally. The first show served as a practice run and backup should technical problems affect the live broadcast two days later. On January 14, Aloha from Hawaii aired live via satellite to prime-time audiences in Japan, South Korea, Thailand, the Philippines, Australia, and New Zealand, as well as to U.S. servicemen based across Southeast Asia. In Japan, where it capped a nationwide Elvis Presley Week, it smashed viewing records. The next night, it was simulcast to twenty-eight European countries, and in April an extended version aired in the U.S., receiving a fifty-seven percent share of the TV audience.Template:Sfn Over time, Parker's claim that it was seen by one billion or more peopleTemplate:Sfn would be broadly accepted,Template:SfnTemplate:SfnTemplate:Sfn but that figure appeared to have been sheer invention.Template:Sfn<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Presley's stage costume became the most recognized example of the elaborate concert garb with which his latter-day persona became closely associated. As described by Bobbie Ann Mason, "At the end of the show, when he spreads out his American Eagle cape, with the full stretched wings of the eagle studded on the back, he becomes a god figure."Template:Sfn The accompanying double album, released in February, went to number one and eventually sold over 5 million copies in the U.S.Template:Sfn It was Presley's last U.S. number-one pop album during his lifetime.Template:Sfn
At a midnight show that same month, four men rushed onto the stage in an apparent attack. Security personnel came to Presley's defense, and he ejected one invader from the stage himself. Following the show, Presley became obsessed with the idea that the men had been sent by Mike Stone to kill him. Though they were shown to have been only overexuberant fans, Presley raged, "There's too much pain in me ... Stone [must] die." His outbursts continued with such intensity that a physician was unable to calm him, despite administering large doses of medication. After another two full days of raging, Red West, his friend and bodyguard, felt compelled to get a price for a contract killing and was relieved when Presley decided, "Aw hell, let's just leave it for now. Maybe it's a bit heavy."Template:Sfn
1973–1977: health deterioration and deathEdit
Medical crises and last studio sessionsEdit
Presley's divorce was finalized on October 9, 1973.Template:Sfn He and Priscilla would remain close friends until his death, even holding hands while leaving the courtroom where they finalized their divorce. Priscilla recalled that they lived life together "like we were never divorced. Elvis and I still hugged each other, still had love. We would say, 'Mommy said this' and 'Daddy said that.' That helped Lisa to feel stable. There was never any arguing or bitterness."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> By this time, his health was in serious decline. Twice during the year he overdosed on barbiturates, spending three days in a coma in his hotel suite after the first incident. In late 1973, he was hospitalized from the effects of a pethidine addiction. According to his primary care physician, George C. Nichopoulos, Presley "felt that by getting drugs from a doctor, he wasn't the common everyday junkie getting something off the street".Template:Sfn Since his comeback, he had staged more live shows with each passing year, and 1973 saw 168 concerts, his busiest schedule ever.Template:Sfn Despite his failing health, he undertook another intensive touring schedule in 1974.Template:Sfn
Presley's condition declined precipitously that September. Keyboardist Tony Brown remembered his arrival at a University of Maryland concert: "He fell out of the limousine, to his knees. People jumped to help, and he pushed them away like, 'Don't help me.' He walked on stage and held onto the mic for the first thirty minutes like it was a post. Everybody's looking at each other like, 'Is the tour gonna happen'?"Template:Sfn Guitarist John Wilkinson recalled:
He was all gut. He was slurring. He was so fucked up. ... It was obvious he was drugged. It was obvious there was something terribly wrong with his body. It was so bad the words to the songs were barely intelligible. ... I remember crying. He could barely get through the introductions.Template:Sfn
On July 13, 1976, Vernon Presley—who had become deeply involved in his son's financial affairs—had fired "Memphis Mafia" bodyguards Red West (Presley's friend since the 1950s), Sonny West, and David Hebler, citing the need to "cut back on expenses".Template:SfnTemplate:SfnTemplate:Sfn Presley was in Palm Springs at the time, and some suggest the singer was too cowardly to face the three himself. Another associate of Presley's, John O'Grady, argued that the bodyguards were dropped because their rough treatment of fans had prompted too many lawsuits.Template:Sfn Presley's stepbrother David Stanley has claimed that the bodyguards were fired because they were becoming more outspoken about Presley's drug dependency.Template:Sfn
RCA began to grow anxious as his interest in the recording studio waned. After a session in December 1973 that produced eighteen songs, enough for almost two albums, Presley made no official studio recordings in 1974.Template:Sfn Parker delivered RCA another concert record, Elvis Recorded Live on Stage in Memphis.Template:Sfn Recorded on March 20, it included a version of "How Great Thou Art" that won Presley his third and final Grammy Award for Best Inspirational Performance.Template:SfnTemplate:Sfn All three of his competitive Grammy winsTemplate:Sndout of fourteen total nominationsTemplate:Sndwere for gospel recordings.Template:Sfn Presley returned to the recording studio in March 1975, but Parker's attempts to arrange another session toward the end of the year were unsuccessful.Template:Sfn In 1976, RCA sent a mobile recording unit to Graceland that made possible two full-scale recording sessions,Template:Sfn but the recording process had become a struggle for him.Template:Sfn
Final months and deathEdit
Template:See also {{#invoke:Listen|main}} After Presley's relationship with Linda Thompson ended,Template:Sfn he began dating Ginger Alden in November 1976; he proposed marriage to Alden two months later.Template:Sfn
Journalist Tony Scherman wrote that, by early 1977, "Presley had become a grotesque caricature of his sleek, energetic former self. Grossly overweight, his mind dulled by the pharmacopoeia he daily ingested, he was barely able to pull himself through his abbreviated concerts."Template:Sfn According to Andy Greene of Rolling Stone, Presley's final performances were mostly "sad, sloppy affairs where a bloated, drugged Presley struggled to remember his lyrics and get through the night without collapsing ... Most everything from the final three years of his life is sad and hard to watch."Template:Sfn In Alexandria, Louisiana, he was on stage for less than an hour and "was impossible to understand".Template:Sfn On March 31, he canceled a performance in Baton Rouge, unable to get out of his hotel bed; four shows had to be canceled and rescheduled.Template:Sfn
Despite the accelerating deterioration of his health, Presley fulfilled most of his touring commitments. According to Guralnick, fans "were becoming increasingly voluble about their disappointment, but it all seemed to go right past Presley, whose world was now confined almost entirely to his room and his spiritualism books".Template:Sfn Presley's cousin, Billy Smith, recalled how he would sit in his room and chat for hours, sometimes recounting favorite Monty Python sketches and his past escapades, but more often gripped by paranoid obsessions.Template:Sfn
"Way Down", Presley's last single issued during his lifetime, was released on June 6, 1977. That month, CBS taped two concerts for a television special, Elvis in Concert, to be broadcast in October. In the first, shot in Omaha on June 19, Presley's voice, Guralnick writes, "is almost unrecognizable, a small, childlike instrument in which he talks more than sings most of the songs, casts about uncertainly for the melody in others, and is virtually unable to articulate or project".Template:Sfn Two days later, in Rapid City, South Dakota, "he looked healthier, seemed to have lost a little weight, and sounded better, too", though, by the conclusion of the performance, his face was "framed in a helmet of blue-black hair from which sweat sheets down over pale, swollen cheeks".Template:Sfn Presley's final concert was held in Indianapolis at Market Square Arena, on June 26, 1977.Template:Sfn
The book Elvis: What Happened?, co-written by the three bodyguards fired a year prior, was published on August 1.Template:Sfn It was the first exposé to detail Presley's years of drug misuse. He was devastated by the book and tried unsuccessfully to halt its release by offering money to the publishers.Template:Citation needed By this point, he suffered from multiple ailments: glaucoma, high blood pressure, liver damage, and an enlarged colon, each aggravated—and possibly caused—by drug abuse.Template:Sfn His last appearance in public occurred during the early morning hours of August 8, 1977, when he rented the entire Libertyland amusement park in Memphis for himself and about ten others.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
On August 16, 1977, Presley was scheduled on an evening flight out of Memphis to Portland, Maine, to begin another tour. That afternoon his fiancée Ginger Alden discovered him unresponsive on the bathroom floor of his Graceland mansion.Template:Sfn Attempts to revive him failed, and he was pronounced dead at Baptist Memorial Hospital at 3:30 pm;Template:Sfn he was 42.Template:Sfn
President Jimmy Carter issued a statement that credited Presley with having "permanently changed the face of American popular culture".Template:Sfn Thousands of people gathered outside Graceland to view the open casket. One of Presley's cousins, Billy Mann, accepted Template:US$ (Template:Inflation) to secretly photograph the body; the picture appeared on the cover of the National EnquirerTemplate:'s biggest-selling issue ever.Template:Sfn Alden struck a $105,000 (Template:Inflation) deal with the Enquirer for her story, but settled for less when she broke her exclusivity agreement.Template:Sfn Presley left her nothing in his will.Template:Sfn
Presley's funeral was held at Graceland on August 18. Outside the gates, a car crashed into a group of fans, killing two young women and critically injuring a third.Template:Sfn About 80,000 people lined the processional route to Forest Hill Cemetery, where Presley was buried next to his mother.Template:Sfn Within a few weeks, "Way Down" topped the country and UK singles chart.Template:SfnTemplate:Sfn Following an attempt to steal Presley's body in late August, the remains of both Presley and his mother were exhumed and reburied in Graceland's Meditation Garden on October 2.Template:Sfn
Cause of deathEdit
While an autopsy, undertaken the same day Presley died, was still in progress, Memphis medical examiner Jerry Francisco announced that the immediate cause of death was cardiac arrest and declared that "drugs played no role in Presley's death".Template:Sfn In fact, "drug use was heavily implicated" in Presley's death, writes Guralnick. The pathologists conducting the autopsy thought it possible, for instance, that he had suffered "anaphylactic shock brought on by the codeine pills he had gotten from his dentist, to which he was known to have had a mild allergy". Lab reports filed two months later strongly suggested that polypharmacy was the primary cause of death; one reported "fourteen drugs in Elvis' system, ten in significant quantity".Template:Sfn In 1979, forensic pathologist Cyril Wecht reviewed the reports and concluded that a combination of depressants had resulted in Presley's accidental death.Template:Sfn Forensic historian and pathologist Michael Baden viewed the situation as complicated: "Elvis had an enlarged heart for a long time. That, together with his drug habit, caused his death. But he was difficult to diagnose; it was a judgment call."Template:Sfn
The competence and ethics of two of the centrally involved medical professionals were seriously questioned. Francisco had offered a cause of death before the autopsy was complete; claimed the underlying ailment was cardiac arrhythmia, a condition that can be determined only in a living person; and denied drugs played any part in Presley's death before the toxicology results were known.Template:Sfn Allegations of a cover-up were widespread.Template:Sfn While a 1981 trial of Presley's main physician, George C. Nichopoulos, exonerated him of criminal liability, the facts were startling: "In the first eight months of 1977 alone, he had [prescribed] more than 10,000 doses of sedatives, amphetamines, and narcotics: all in Elvis' name." Nichopoulos' license was suspended for three months. It was permanently revoked in the 1990s after the Tennessee Medical Board brought new charges of over-prescription.Template:Sfn
In 1994, the Presley autopsy report was reopened. Joseph Davis, who had conducted thousands of autopsies as Miami-Dade County, Florida coroner,Template:Sfn declared at its completion, "There is nothing in any of the data that supports a death from drugs. In fact, everything points to a sudden, violent heart attack."Template:Sfn More recent research has revealed that Francisco did not speak for the entire pathology team. Other staff "could say nothing with confidence until they got the results back from the laboratories, if then."Template:Sfn One of the examiners, E. Eric Muirhead,
could not believe his ears. Francisco had not only presumed to speak for the hospital's team of pathologists, he had announced a conclusion that they had not reached. ... Early on, a meticulous dissection of the body ... confirmed [that] Elvis was chronically ill with diabetes, glaucoma, and constipation. As they proceeded, the doctors saw evidence that his body had been wracked over a span of years by a large and constant stream of drugs. They had also studied his hospital records, which included two admissions for drug detoxification and methadone treatments.Template:Sfn
1977–present: posthumous developmentsEdit
Between 1977 and 1981, six of Presley's posthumously released singles were top-ten country hits.Template:Sfn Graceland was opened to the public in 1982. Attracting over half a million visitors annually, it became the second-most-visited home in the United States, after the White House.Template:Sfn The residence was declared a National Historic Landmark in 2006.Template:Sfn
Presley has been inducted into five music halls of fame: the Rock and Roll Hall of Fame (1986), the Country Music Hall of Fame (1998), the Gospel Music Hall of Fame (2001), the Rockabilly Hall of Fame (2007), and the Memphis Music Hall of Fame (2012). In 1984, he received the W. C. Handy Award from the Blues Foundation and the Academy of Country Music's first Golden Hat Award. In 1987, he received the American Music Awards' Award of Merit.Template:Sfn
A Junkie XL remix of Presley's "A Little Less Conversation" (credited as "Elvis Vs JXL") was used in a Nike advertising campaign during the 2002 FIFA World Cup. It topped the charts in over twenty countries and was included in a compilation of Presley's number-one hits, ELV1S, which was also an international success. The album returned Presley to the top of the Billboard chart for the first time in almost three decades.Template:Sfn
In 2003, a remix of "Rubberneckin'", a 1969 recording, topped the U.S. sales chart, as did a 50th-anniversary re-release of "That's All Right" the following year.Template:Sfn The latter was an outright hit in Britain, debuting at number three on the pop chart; it also made the top ten in Canada.Template:Sfn In 2005, another three reissued singles, "Jailhouse Rock", "One Night"/"I Got Stung", and "It's Now or Never", went to number one in the UK. They were part of a campaign that saw the re-release of all eighteen of Presley's previous chart-topping UK singles. The first, "All Shook Up", came with a collectors' box that made it ineligible to chart again; each of the other seventeen reissues hit the British top five.Template:Sfn
In 2005, Forbes magazine named Presley the top-earning deceased celebrity for the fifth straight year, with a gross income of $45 million.Template:Sfn He was placed second in 2006,Template:Sfn returned to the top spot the next two years,Template:SfnTemplate:Sfn and ranked fourth in 2009.Template:Sfn The following year, he was ranked second, with his highest annual income ever—$60 million—spurred by the celebration of his 75th birthday and the launch of Cirque du Soleil's Viva Elvis show in Las Vegas.Template:Sfn In November 2010, Viva Elvis: The Album was released, setting his voice to newly recorded instrumental tracks.Template:SfnTemplate:Sfn As of mid-2011, there were an estimated 15,000 licensed Presley products,Template:Sfn and he was again the second-highest-earning deceased celebrity.Template:Sfn Six years later, he ranked fourth with earnings of $35 million, up $8 million from 2016 due in part to the opening of a new entertainment complex, Elvis Presley's Memphis, and hotel, The Guest House at Graceland.Template:Sfn
In 2018, RCA/Legacy released Elvis Presley – Where No One Stands Alone, a new album focused on Presley's love of gospel music. Produced by Joel Weinshanker, Lisa Marie Presley and Andy Childs, the album introduced newly recorded instrumentation along with vocals from singers who had performed in the past with Elvis. It included a reimagined duet with Lisa Marie, on the album's title track.Template:Sfn
In 2022, Baz Luhrmann's film Elvis, a biographical film about Presley's life, was released. Presley is portrayed by Austin Butler and Parker by Tom Hanks. As of August 2022, the film had grossed $261.8 million worldwide on a $85 million budget, becoming the second-highest-grossing music biopic of all-time behind Bohemian Rhapsody (2018), and the fifth-highest-grossing Australian-produced film. For his portrayal of Presley, Butler won the Golden Globe and was nominated for the Oscar for Best Actor.Template:Sfn In January 2023, Presley's 1962 Lockheed 1329 JetStar sold at an auction for $260,000.Template:Sfn
ArtistryEdit
InfluencesEdit
Presley's earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, "he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them."Template:Sfn In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley's future stage act:
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The Statesmen were an electric combination ... featuring some of the most thrillingly emotive singing and daringly unconventional showmanship in the entertainment world ... dressed in suits that might have come out of the window of Lansky's. ... Bass singer Jim Wetherington, known universally as the Big Chief, maintained a steady bottom, ceaselessly jiggling first his left leg, then his right, with the material of the pants leg ballooning out and shimmering. "He went about as far as you could go in gospel music," said Jake Hess. "The women would jump up, just like they do for the pop shows." Preachers frequently objected to the lewd movements ... but audiences reacted with screams and swoons.Template:Sfn{{#if:|{{#if:|}}
— {{#if:|, in }}Template:Comma separated entries}}
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As a teenager, Presley's musical interests were wide-ranging, and he was deeply informed about both white and African-American musical idioms. Though he never had any formal training, he had a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings aged 19 in 1954. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues,Template:Sfn and, as Stoller put it, "He certainly knew a lot more than we did about country music and gospel music."Template:Sfn At a press conference the following year, he proudly declared, "I know practically every religious song that's ever been written."Template:Sfn
MusicianshipEdit
Presley played guitar, bass, and piano; he received his first guitar when he was 11 years old. He could not read or write music and had no formal lessons, and played everything by ear.Template:Sfn Presley often played an instrument on his recordings and produced his own music. Presley played rhythm acoustic guitar on most of his Sun recordings and his 1950s RCA Victor albums. Presley played piano on songs such as "Old Shep" and "First in Line" from his 1956 album Elvis.Template:Sfn He is credited with playing piano on later albums such as From Elvis in Memphis and "Moody Blue", and on "Unchained Melody", which was one of the last songs that he recorded.Template:Sfn Presley played lead guitar on one of his successful singles called "Are You Lonesome Tonight".Template:Sfn At one point during the '68 Comeback Special, Elvis took over on lead electric guitar, the first time he had ever been seen with the instrument in public, playing it on songs such as "Baby What You Want Me to Do" and "One Night".Template:Sfn The album Elvis is Back! features Presley playing a lot of acoustic guitar on songs such as "I Will Be Home Again" and "Like a Baby".Template:Sfn
Musical styles and genresEdit
Presley was a central figure in the development of rockabilly, according to music historians. "Rockabilly crystallized into a recognizable style in 1954 with Elvis Presley's first release, on the Sun label," writes Craig Morrison.Template:Sfn Paul Friedlander described rockabilly as "essentially ... an Elvis Presley construction", with the defining elements as "the raw, emotive, and slurred vocal style and emphasis on rhythmic feeling [of] the blues with the string band and strummed rhythm guitar [of] country".Template:Sfn In "That's All Right", the Presley trio's first record, Scotty Moore's guitar solo, "a combination of Merle Travis–style country finger-picking, double-stop slides from acoustic boogie, and blues-based bent-note, single-string work, is a microcosm of this fusion".Template:Sfn While Katherine Charlton calls Presley "rockabilly's originator",Template:Sfn Carl Perkins, another pioneer of rock'n'roll, said that "[Sam] Phillips, Elvis, and I didn't create rockabilly".Template:Sfn According to Michael Campbell, the first major rockabilly song was recorded by Bill Haley.Template:Sfn In Moore's view, "It had been there for quite a while, really. Carl Perkins was doing basically the same sort of thing up around Jackson, and I know for a fact Jerry Lee Lewis had been playing that kind of music ever since he was ten years old."Template:Sfn
At RCA Victor, Presley's rock and roll sound grew distinct from rockabilly with group chorus vocals, more heavily amplified electric guitars,Template:Sfn and a tougher, more intense manner.Template:Sfn While he was known for taking songs from various sources and giving them a rockabilly/rock and roll treatment, he also recorded songs in other genres from early in his career, from the pop standard "Blue Moon" at Sun Records to the country ballad "How's the World Treating You?" on his second RCA Victor LP to the blues of "Santa Claus Is Back in Town". In 1957, his first gospel record was released, the four-song EP Peace in the Valley. Certified as a million-seller, it became the top-selling gospel EP in recording history.Template:Sfn
{{#invoke:Listen|main}} After his return from military service in 1960, Presley continued to perform rock and roll, but the characteristic style was substantially toned down. His first post-Army single, the number-one hit "Stuck on You", is typical of this shift. RCA Victor publicity referred to its "mild rock beat"; discographer Ernst Jorgensen calls it "upbeat pop".Template:Sfn The number five "She's Not You" (1962) "integrates the Jordanaires so completely, it's practically doo-wop".Template:Sfn The modern blues/R&B sound captured with success on Elvis Is Back! was essentially abandoned for six years until such 1966–67 recordings as "Down in the Alley" and "Hi-Heel Sneakers".Template:Sfn Presley's output during most of the 1960s emphasized pop music, often in the form of ballads such as "Are You Lonesome Tonight?", a number-one in 1960. "It's Now or Never", which also topped the chart that year, was a classically influenced variation of pop based on the Neapolitan song "{{#invoke:Lang|lang}}" and concluding with a "full-voiced operatic cadence".Template:Sfn These were both dramatic numbers, but most of what Presley recorded for his many film soundtracks was in a much lighter vein.Template:Sfn
While Presley performed several of his classic ballads for the '68 Comeback Special, the sound of the show was dominated by aggressive rock and roll. He recorded few new straight rock and roll songs thereafter; as he explained, they had become "hard to find".Template:Sfn A significant exception was "Burning Love", his last major hit on the pop charts. Like his work of the 1950s, Presley's subsequent recordings reworked pop and country songs, but in markedly different permutations. His stylistic range now began to embrace a more contemporary rock sound as well as soul and funk. Much of Elvis in Memphis, as well as "Suspicious Minds", cut at the same sessions, reflected this new rock and soul fusion. In the mid-1970s, many of his singles found a home on country radio, the field where he first became a star.Template:Sfn
Vocal style and rangeEdit
The developmental arc of Presley's singing voice, as described by critic Dave Marsh, goes from "high and thrilled in the early days, [to] lower and perplexed in the final months."Template:Sfn Marsh credits Presley with the introduction of the "vocal stutter" on 1955's "Baby Let's Play House".Template:Sfn When on "Don't Be Cruel", Presley "slides into a 'mmmmm' that marks the transition between the first two verses," he shows "how masterful his relaxed style really is."Template:Sfn Marsh describes the vocal performance on "Can't Help Falling in Love" as one of "gentle insistence and delicacy of phrasing", with the line Template:"'Shall I stay' pronounced as if the words are fragile as crystal".Template:Sfn
Jorgensen calls the 1966 recording of "How Great Thou Art" "an extraordinary fulfillment of his vocal ambitions", as Presley "crafted for himself an ad-hoc arrangement in which he took every part of the four-part vocal, from [the] bass intro to the soaring heights of the song's operatic climax", becoming "a kind of one-man quartet".Template:Sfn Guralnick finds "Stand by Me" from the same gospel sessions "a beautifully articulated, almost nakedly yearning performance", but, by contrast, feels that Presley reaches beyond his powers on "Where No One Stands Alone", resorting "to a kind of inelegant bellowing to push out a sound" that Jake Hess of the Statesmen Quartet had in his command. Hess himself thought that while others might have voices the equal of Presley's, "he had that certain something that everyone searches for all during their lifetime."Template:Sfn Guralnick attempts to pinpoint that something: "The warmth of his voice, his controlled use of both vibrato technique and natural falsetto range, the subtlety and deeply felt conviction of his singing were all qualities recognizably belonging to his talent but just as recognizably not to be achieved without sustained dedication and effort."Template:Sfn
Marsh praises his 1968 reading of "U.S. Male", "bearing down on the hard guy lyrics, not sending them up or overplaying them but tossing them around with that astonishingly tough yet gentle assurance that he brought to his Sun records."Template:Sfn The performance on "In the Ghetto" is, according to Jorgensen, "devoid of any of his characteristic vocal tricks or mannerisms", instead relying on the exceptional "clarity and sensitivity of his voice".Template:Sfn Guralnick describes the song's delivery as of "almost translucent eloquence ... so quietly confident in its simplicity".Template:Sfn On "Suspicious Minds", Guralnick hears essentially the same "remarkable mixture of tenderness and poise", but supplemented with "an expressive quality somewhere between stoicism (at suspected infidelity) and anguish (over impending loss)".Template:Sfn
Music critic Henry Pleasants observes that "Presley has been described variously as a baritone and a tenor. An extraordinary compass ... and a very wide range of vocal color have something to do with this divergence of opinion."Template:Sfn He identifies Presley as a high baritone, calculating his range as two octaves and a third, "from the baritone low G to the tenor high B, with an upward extension in falsetto to at least a D-flat. Presley's best octave is in the middle, D-flat to D-flat, granting an extra full step up or down."Template:Sfn In Pleasants' view, his voice was "variable and unpredictable" at the bottom, "often brilliant" at the top, with the capacity for "full-voiced high Gs and As that an opera baritone might envy".Template:Sfn Scholar Lindsay Waters, who figures Presley's range as two-and-a-quarter octaves, emphasizes that "his voice had an emotional range from tender whispers to sighs down to shouts, grunts, grumbles, and sheer gruffness that could move the listener from calmness and surrender, to fear. His voice can not be measured in octaves, but in decibels; even that misses the problem of how to measure delicate whispers that are hardly audible at all."Template:Sfn Presley was always "able to duplicate the open, hoarse, ecstatic, screaming, shouting, wailing, reckless sound of the black rhythm-and-blues and gospel singers", writes Pleasants, and also demonstrated a remarkable ability to assimilate many other vocal styles.Template:Sfn
Public imageEdit
Relationship with the African-American communityEdit
When Dewey Phillips first aired "That's All Right" on Memphis' WHBQ, many listeners who contacted the station to ask for it again assumed that its singer was black.Template:Sfn From the beginning of his national fame, Presley expressed respect for African-American performers and their music, and disregard for the segregation and racial prejudice then prevalent in the South. Interviewed in 1956, he recalled how in his childhood he would listen to blues musician Arthur Crudup—the originator of "That's All Right"—"bang his box the way I do now, and I said if I ever got to the place where I could feel all old Arthur felt, I'd be a music man like nobody ever saw."Template:Sfn The Memphis World, an African-American newspaper, reported that Presley "cracked Memphis' segregation laws" by attending the local amusement park on what was designated as its "colored night".Template:Sfn Such statements and actions led Presley to be generally hailed in the black community during his early stardom.Template:Sfn In contrast, many white adults "did not like him, and condemned him as depraved. Anti-negro prejudice doubtless figured in adult antagonism. Regardless of whether parents were aware of the Negro sexual origins of the phrase 'rock 'n' roll', Presley impressed them as the visual and aural embodiment of sex."<ref name=":00" />
Despite the largely positive view of Presley held by African Americans, a rumor spread in mid-1957 that he had announced, "The only thing Negroes can do for me is buy my records and shine my shoes." A journalist with the national African American weekly Jet, Louie Robinson, pursued the story. On the set of Jailhouse Rock, Presley granted Robinson an interview, though he was no longer dealing with the mainstream press. He denied making such a statement:
I never said anything like that, and people who know me know that I wouldn't have said it. ... A lot of people seem to think I started this business. But rock 'n' roll was here a long time before I came along. Nobody can sing that kind of music like colored people. Let's face it: I can't sing like Fats Domino can. I know that.Template:Sfn
Robinson found no evidence that the remark had ever been made, and elicited testimony from many individuals indicating that Presley was anything but racist.Template:SfnTemplate:Sfn Blues singer Ivory Joe Hunter, who had heard the rumor before he visited Graceland, reported of Presley, "He showed me every courtesy, and I think he's one of the greatest."Template:Sfn Though the rumored remark was discredited, it was still being used against Presley decades later.Template:Sfn
The persistence of such attitudes was fueled by resentment over the fact that Presley, whose musical and visual performance idiom owed much to African-American sources, achieved the cultural acknowledgement and commercial success largely denied his black peers.Template:Sfn Into the twenty-first century, the notion that Presley had "stolen" black music still found adherents.<ref>Template:Cite news</ref>Template:SfnTemplate:Sfn Notable among African-American entertainers expressly rejecting this view was Jackie Wilson, who argued, "A lot of people have accused Elvis of stealing the black man's music, when in fact, almost every black solo entertainer copied his stage mannerisms from Elvis."Template:Sfn Moreover, Presley acknowledged his debt to African-American musicians throughout his career. Addressing his '68 Comeback Special audience, he said, "Rock 'n' roll music is basically gospel or rhythm and blues, or it sprang from that. People have been adding to it, adding instruments to it, experimenting with it, but it all boils down to [that]."Template:Sfn Nine years earlier, he had said, "Rock 'n' roll has been around for many years. It used to be called rhythm and blues."Template:Sfn
Sex symbolEdit
Presley's physical attractiveness and sexual appeal were widely acknowledged. "He was once beautiful, astonishingly beautiful", according to critic Mark Feeney.Template:Sfn Television director Steve Binder reported, "I'm straight as an arrow and I got to tell you, you stop, whether you're male or female, to look at him. He was that good looking. And if you never knew he was a superstar, it wouldn't make any difference; if he'd walked in the room, you'd know somebody special was in your presence."Template:Sfn His performance style was equally responsible for Presley's eroticized image. Critic George Melly described him as "the master of the sexual simile, treating his guitar as both phallus and girl".Template:Sfn In his Presley obituary, Lester Bangs credited him with bringing "overt blatant vulgar sexual frenzy to the popular arts in America".Template:Sfn Ed Sullivan's declaration that he perceived a soda bottle in Presley's trousers was echoed by rumors involving a similarly positioned toilet roll tube or lead bar.Template:Sfn
While Presley was marketed as an icon of heterosexuality, some critics have argued that his image was ambiguous. In 1959, Sight and SoundTemplate:'s Peter John Dyer described his onscreen persona as "aggressively bisexual in appeal".Template:Sfn Brett Farmer places the "orgasmic gyrations" of the title dance sequence in Jailhouse Rock within a lineage of cinematic musical numbers that offer a "spectacular eroticization, if not homoeroticization, of the male image".Template:Sfn In the analysis of Yvonne Tasker, "Elvis was an ambivalent figure who articulated a peculiar feminised, objectifying version of white working-class masculinity as aggressive sexual display."Template:Sfn
Reinforcing Presley's image as a sex symbol were the reports of his dalliances with Hollywood stars and starlets, from Natalie Wood in the 1950s to Connie Stevens and Ann-Margret in the 1960s to Candice Bergen and Cybill Shepherd in the 1970s. June Juanico of Memphis, one of Presley's early girlfriends, later blamed Parker for encouraging him to choose his dating partners with publicity in mind.Template:Sfn Presley never grew comfortable with the Hollywood scene, and most of these relationships were insubstantial.Template:Sfn
LegacyEdit
Template:Quote box Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture.Template:Sfn As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude.Template:Sfn With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture.Template:Sfn
In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music."Template:Sfn Al Green reaffirmed that by stating, "He broke the ice for all of us."Template:Sfn
President Jimmy Carter remarked on Presley's legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture."Template:Sfn Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: within a year of his first appearance on American network television, he was regarded as one of the most famous people in the world.Template:Sfn
Presley's name, image, and voice are recognized around the world.Template:Sfn He has inspired a legion of impersonators.Template:Sfn In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans.Template:Refn American composer and conductor Leonard Bernstein said, "Elvis Presley is the greatest cultural force in the twentieth century. He introduced the beat to everything and he changed everything—music, language, clothes."Template:Sfn John Lennon said that "Nothing really affected me until Elvis."Template:Sfn Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".Template:Sfn
For much of his adult life, Presley, with his rise from poverty to riches and fame, had seemed to epitomize the American Dream.Template:SfnTemplate:Sfn In his final years, and following the revelations about his circumstances after his death, he became a symbol of excess and gluttony.Template:SfnTemplate:Sfn Increasing attention was paid to his appetite for the rich, heavy Southern cooking of his upbringing, foods such as chicken-fried steak and biscuits and gravy.Template:SfnTemplate:Sfn In particular, his love of fried peanut butter, banana, and (sometimes) bacon sandwiches,Template:SfnTemplate:Sfn now known as "Elvis sandwiches",Template:Sfn came to symbolize this characteristic.Template:Sfn
Since 1977, a false and discredited conspiracy theory has circulated claiming that Presley may have faked his own death. Numerous people have incorrectly claimed to have seen him alive after August 16, 1977. These "Elvis sightings" and the conspiracy theory in general have persisted both as an ironic, humorous meme and for some a genuinely-believed theory, though the latter demographic declined in numbers significantly after the early 1990s.Template:SfnTemplate:SfnTemplate:Sfn An unusually large number of fans have domestic shrines devoted to Presley and journey to sites with which he is connected, however faintly.Template:Sfn On the anniversary of his death, thousands of people gather outside Graceland for a candlelight ritual.Template:Sfn "With Elvis, it is not just his music that has survived death", writes Ted Harrison. "He himself has been raised, like a medieval saint, to a figure of cultic status. It is as if he has been canonized by acclamation."Template:Sfn
On the 25th anniversary of Presley's death, The New York Times asserted:
All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely.Template:Sfn
He was ranked third on Rolling Stone's list of greatest artists. Bono wrote in appreciation:
In Elvis, you have the blueprint for rock & roll. The highness — the gospel highs. The mud — the Delta mud, the blues. Sexual liberation. Controversy. Changing the way people feel about the world. It's all there with Elvis.Template:Sfn
Not only Presley's achievements but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:
Elvis Presley is a supreme figure in American life, one whose presence, no matter how banal or predictable, brooks no real comparisons. ... The cultural range of his music has expanded to the point where it includes not only the hits of the day, but also patriotic recitals, pure country gospel, and really dirty blues. ... Elvis has emerged as a great artist, a great rocker, a great purveyor of schlock, a great heart throb, a great bore, a great symbol of potency, a great ham, a great nice person, and, yes, a great American.Template:Sfn
AchievementsEdit
Template:See also Presley is one of the best-selling music artists in history, with estimated sales of over 500 million records worldwide.Template:Refn Presley's rankings for top ten and number-one hits vary depending on how the double-sided "Hound Dog/Don't Be Cruel" and "Don't/I Beg of You" singles, which precede the inception of BillboardTemplate:'s unified Hot 100 chart, are analyzed.Template:Refn According to Whitburn's analysis, Presley holds the record with 38, tying with Madonna;Template:Sfn per BillboardTemplate:'s current assessment, he ranks second with 36.Template:Sfn Whitburn and Billboard concur that the Beatles hold the record for most number-one hits with 20, and that Mariah Carey is second with 19.Template:Sfn Whitburn has Presley with 18:Template:Sfn Billboard has him third with 17.Template:Sfn According to Billboard, Presley has 79 cumulative weeks at number one: alone at 80, according to Whitburn and the Rock and Roll Hall of Fame,Template:SfnTemplate:Sfn with only Mariah Carey having more with 91 weeks.Template:Sfn He holds the records for most number-one singles on the UK chart with 21 and singles reaching the top ten with 76.Template:SfnTemplate:Sfn
As an album artist, Presley is credited by Billboard with the record for the most albums charting in the Billboard 200: 129, far ahead of second-place Frank Sinatra's 82. He also holds the record for most cumulative weeks at number one on the Billboard 200 for a male solo artists: 67 weeksTemplate:Sfn In 2015 and 2016, two albums setting Presley's vocals against music by the Royal Philharmonic Orchestra, If I Can Dream and The Wonder of You, both reached number one in the UK. This gave him a new record for number-one UK albums by a solo artist with 13, and extended his record for longest span between number-one albums by anybody—Presley had first topped the British chart in 1956 with his self-titled debut.Template:Sfn
Template:As of, the Recording Industry Association of America (RIAA) credits Presley with 146.5 million certified album sales in the US, third all time behind the Beatles and Garth Brooks.Template:Sfn He holds the records for most gold albums (101, nearly double second-place Barbra Streisand's 51),Template:Sfn and most platinum albums (57).Template:Sfn His 25 multi-platinum albums is second behind the Beatles' 26.Template:Sfn Template:Sfn He has the 9th-most gold singles (54, tied with Justin Bieber),Template:Sfn and the 16th-most platinum singles (27).Template:Sfn
In 2012, the spider Paradonea presleyi was named in his honor.Template:Sfn In 2018, President Donald Trump awarded Presley the Presidential Medal of Freedom posthumously.Template:Sfn There is a street named after Presley in San Antonio, Texas.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
DiscographyEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}}
A vast number of recordings have been issued under Presley's name. The number of his original master recordings has been variously calculated as 665Template:Sfn and 711.Template:Sfn Template:Col-begin Template:Col-2 Studio albums
- Elvis Presley (1956)
- Elvis (1956)
- Elvis' Christmas Album (1957)
- Elvis Is Back! (1960)
- His Hand in Mine (1960)
- Something for Everybody (1961)
- Pot Luck (1962)
- Elvis for Everyone! (1965)
- How Great Thou Art (1967)
- From Elvis in Memphis (1969)
- From Memphis to Vegas / From Vegas to Memphis (1969)
- That's the Way It Is (1970)
- Elvis Country (I'm 10,000 Years Old) (1971)
- Love Letters from Elvis (1971)
- Elvis Sings The Wonderful World of Christmas (1971)
- Elvis Now (1972)
- He Touched Me (1972)
- Elvis (1973) (The "Fool" Album)
- Raised on Rock / For Ol' Times Sake (1973)
- Good Times (1974)
- Promised Land (1975)
- Today (1975)
- From Elvis Presley Boulevard, Memphis, Tennessee (1976)
- Moody Blue (1977)
Template:Col-2 Soundtrack albums (original material)
- Loving You (1957)
- King Creole (1958)
- G.I. Blues (1960)
- Blue Hawaii (1961)
- Girls! Girls! Girls! (1962)
- It Happened at the World's Fair (1963)
- Fun in Acapulco (1963)
- Kissin' Cousins (1964)
- Roustabout (1964)
- Girl Happy (1965)
- Harum Scarum (1965)
- Frankie and Johnny (1966)
- Paradise, Hawaiian Style (1966)
- Spinout (1966)
- Double Trouble (1967)
- Clambake (1967)
- Speedway (1968)
FilmographyEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}}
- Films starred
- Love Me Tender (1956)
- Loving You (1957)
- Jailhouse Rock (1957)
- King Creole (1958)
- G.I. Blues (1960)
- Flaming Star (1960)
- Wild in the Country (1961)
- Blue Hawaii (1961)
- Follow That Dream (1962)
- Kid Galahad (1962)
- Girls! Girls! Girls! (1962)
- It Happened at the World's Fair (1963)
- Fun in Acapulco (1963)
- Kissin' Cousins (1964)
- Viva Las Vegas (1964)
- Roustabout (1964)
- Girl Happy (1965)
- Tickle Me (1965)
- Harum Scarum (1965)
- Frankie and Johnny (1966)
- Paradise, Hawaiian Style (1966)
- Spinout (1966)
- Easy Come, Easy Go (1967)
- Double Trouble (1967)
- Clambake (1967)
- Stay Away, Joe (1968)
- Speedway (1968)
- Live a Little, Love a Little (1968)
- Charro! (1969)
- The Trouble with Girls (1969)
- Change of Habit (1969)
- Elvis: That's the Way It Is (1970)
- Elvis on Tour (1972)
- TV concert specials
- Elvis (1968)
- Aloha from Hawaii via Satellite (1973)
- Elvis in Concert (1977)
See alsoEdit
- Elvis Presley Enterprises
- List of artists by number of UK Albums Chart number ones
- List of artists by number of UK Singles Chart number ones
- List of bestselling music artists
- Personal relationships of Elvis Presley
- Elvis Evolution
Explanatory notesEdit
ReferencesEdit
CitationsEdit
General sourcesEdit
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Further readingEdit
- Allen, Lew (2007). Elvis and the Birth of Rock. Genesis. Template:ISBN.
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- Cantor, Louis (2005). Dewey and Elvis: The Life and Times of a Rock 'n' Roll Deejay. University of Illinois Press. Template:ISBN.
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- Dickerson, James L. (2001). Colonel Tom Parker: The Curious Life of Elvis Presley's Eccentric Manager. Cooper Square Press. Template:ISBN.
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- Goldman, Albert (1981). Elvis. McGraw-Hill. Template:ISBN.
- Goldman, Albert (1990). Elvis: The Last 24 Hours. St. Martin's. Template:ISBN.
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- Klein, George (2010). Elvis: My Best Man: Radio Days, Rock 'n' Roll Nights, and My Lifelong Friendship with Elvis Presley. Virgin Books. Template:ISBN
- Marcus, Greil (1991). Dead Elvis: A Chronicle of a Cultural Obsession. Doubleday. Template:ISBN.
- Marcus, Greil (2000). Double Trouble: Bill Clinton and Elvis Presley in a Land of No Alternative. Picador. Template:ISBN.
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- Nash, Alanna (2010). Baby, Let's Play House: Elvis Presley and the Women Who Loved Him. It Books. Template:ISBN.
- Roy, Samuel (1985). Elvis: Prophet of Power. Branden, Template:ISBN.
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- Red West, Sonny West, and Dave Hebler as told to Steve Dunleavy (1977). Elvis: What Happened? Bantam Books. Template:ISBN.
External linksEdit
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- Elvis Presley at Curlie
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- Elvis The Music official record label site
- Elvis Presley Interviews on officially sanctioned Elvis Australia site
- "The All American Boy: Enter Elvis and the Rock-a-billies" episode of 1968 Pop Chronicles radio series
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