Misplaced Pages

Revision as of 23:43, 10 December 2007

Elvis Aaron PresleyTemplate:Fn (January 8, 1935–August 16, 1977), was an American singer, musician and actor. He is a cultural icon, often known as "The King of Rock 'n' Roll", or simply "The King".

Presley began his career as one of the first performers of rockabilly, an uptempo fusion of country and rhythm and blues with a strong back beat. His novel versions of existing songs, mixing "black" and "white" sounds, made him popular—and controversial—as did his uninhibited stage and television performances. He recorded songs in the rock and roll genre, with tracks like "Hound Dog" and "Jailhouse Rock" later embodying the style. Presley had a versatile voice and had unusually wide success encompassing other genres, including gospel, blues, ballads and pop. To date, he is the only performer to have been inducted into four music halls of fame.

In the 1960s, Presley made the majority of his thirty-three movies—mainly poorly reviewed musicals. In 1968, he returned to live music in a television special and thereafter performed across the U.S., notably in Las Vegas. Throughout his career, he set records for concert attendance, television ratings and recordings sales. He is one of the best-selling and most influential artists in the history of popular music. Health problems plagued Presley in later life which, coupled with a punishing tour schedule and addiction to prescription medication, led to his premature death at age 42.

Biography

Early life

Presley's father, Vernon (April 10, 1916–June 26, 1979), had several low-paying jobs, including sharecropper and truck driver. His mother, Gladys Love Smith (April 25, 1912–August 14, 1958) worked as a sewing machine operator. They met in Tupelo, Mississippi, and eloped to Pontotoc County where they married on June 17, 1933.

Presley was born in a two room house, built by his father, in East Tupelo. He was the second of identical twins—his brother was stillborn and given the name Jesse Garon. He grew up as an only child and "was, everyone agreed, unusually close to his mother." The family lived just above the poverty line and attended the Assembly of God church.Template:Fn Vernon has been described as "a malingerer, always averse to work and responsibility." In 1938, he was jailed for an eight dollar check forgery. During his absence, his wife, described as "voluble, lively, full of spunk", lost the family home. Priscilla Presley recalls her as "a surreptitious drinker and alcoholic."

Presley was bullied at school; classmates threw "things at him—rotten fruit and stuff—because he was different... quiet and he stuttered and he was a mama's boy."

At age ten, he made his first public performance in a singing contest at the Mississippi-Alabama Fair and Dairy Show. Dressed as a cowboy, the young Presley had to stand on a chair to reach the microphone and sang Red Foley's "Old Shep." He won second prize.

In 1946, Presley got his first guitar. In November 1948, the family moved to Memphis, Tennessee, allegedly because Vernon—in addition to needing work—had to escape the law for transporting bootleg liquor. In 1949, they lived at Lauderdale Courts, a public housing development in one of Memphis' poorer sections. Presley practiced playing guitar in the laundry room and also played in a five-piece band with other tenants. Another resident, Johnny Burnette, recalled, "Wherever Elvis went he'd have his guitar slung across his back... e'd go in to one of the cafes or bars... Then some folks would say: 'Let's hear you sing, boy.'" Presley attended L. C. Humes High School, but fellow students apparently viewed the young singer's performing unfavorably: One recalled that he was "a sad, shy, not especially attractive boy" whose guitar playing was not likely to win any prizes. Many of the other children made fun of him as a 'trashy' kind of boy playing 'trashy' hillbilly music."

Presley occasionally worked evenings to boost the family income. He began to grow his sideburns and dress in the wild, flashy clothes of Lansky Brothers on Beale Street. He stood out, especially in the conservative Deep South of the 1950s, and was mocked and bullied for it. Despite his unpopularity, he was a contestant in his school's 1952 "Annual Minstrel Show" and won by receiving the most applause and thus an encore (he sang "Cold Cold Icy Fingers" and "Till I Waltz Again With You").

After graduation, Presley was still rather shy, a "kid who had spent scarcely a night away from home". His third job was driving a truck for the Crown Electric Company. He began wearing his hair longer with a "ducktail"—the style of truck drivers at that time.

Musical influences

Initial influences came through his family's attendance at the Assembly of God, a Pentecostal Holiness church. Rolling Stone wrote: "Gospel pervaded Elvis' character and was a defining and enduring influence all of his days." During breaks at recording sessions or after concerts, Presley often joined in private with others for informal gospel music sessions.

The young Presley frequently listened to local radio; his first musical hero was family friend Mississippi Slim, a hillbilly singer with a radio show on Tupelo’s WELO. Presley performed occasionally on Slim’s Saturday morning show, Singin’ and Pickin’ Hillbilly. "He was crazy about music... That’s all he talked about," recalls his sixth grade friend, James Ausborn, Slim’s younger brother. Before he was a teenager, music was already Presley’s "consuming passion". J. R. Snow, son of 1940s country superstar Hank Snow, recalls that even as a young man Presley knew all of Hank Snow’s songs, "even the most obscure".

In Memphis, Presley went to record stores that had jukeboxes and listening booths, playing old records and new releases for hours. He was an audience member at the all-night black and white "gospel sings" downtown. Memphis Symphony Orchestra concerts at Overton Park were another Presley favorite, along with the Metropolitan Opera. His small record collection included Mario Lanza and Dean Martin. Presley later said, "I just loved music. Music period."

Memphis had a strong tradition of blues music and Presley went to blues as well as hillbilly venues. Many of his future recordings were inspired by local African American composers and recording artists, including Arthur Crudup, Rufus Thomas and B.B. King. King says that he "knew Elvis before he was popular. He used to come around and be around us a lot ... on Beale Street."

Presley "was an untrained musician who played entirely by ear. 'I don't read music,' he confessed, 'but I know what I like.' ... Because he was not a songwriter, Presley rarely had material prepared for recording sessions..." When he, as a young singer, "ventured into the recording studio he was heavily influenced by the songs he had heard on the jukebox and radio."

First recordings at Sun Studios

On July 18, 1953, Presley went to Sun Records' Memphis Recording Service to record "My Happiness" with "That's When Your Heartaches Begin", supposedly a present for his mother. On January 4, 1954, he cut a second acetate. Sun Records boss Sam Phillips was on the lookout for someone who could deliver a blend of black blues and boogie-woogie music; he thought it would be very popular among white people. Assistant Marion Keisker called Presley on June 26, 1954. After an inauspicious session, Phillips invited local musicians Winfield "Scotty" Moore and Bill Black to audition Presley. Though not overly impressed, a studio session was planned.

During a recording break, Presley began "acting the fool" first with Arthur Crudup's "That's All Right (Mama)". Phillips got them all to restart and began taping. This was the sound he had been looking for. The group recorded other songs, including Bill Monroe's "Blue Moon of Kentucky". "That's All Right" was aired on July 8, 1954, by DJ Dewey Phillips.Template:Fn After its release, both sides of "That's All Right"/"Blue Moon of Kentucky" began to chart across the South.

First public performances

Moore and Black began playing regularly with Presley. They gave a few performances in July 1954 to promote the Sun single at the Bon Air, a rowdy music club where the band was not well-received. On July 30 the trio, billed as The Blue Moon Boys, made their first appearance at the Overton Park Shell, with Slim Whitman headlining. A nervous Presley's legs were said to have shaken uncontrollably during this show: his wide-legged pants emphasized his leg movements, apparently causing females in the audience to go "crazy".Template:Fn Presley consciously incorporated similar movements into future shows.

DJ and promoter Bob Neal became the trio's manager (replacing Scotty Moore). Moore and Black left their band, the Starlite Wranglers and, from August through October 1954, appeared with Presley at The Eagle's Nest. Presley debuted at the Grand Ole Opry in Nashville on October 2; Hank Snow introduced Presley on stage. He performed "Blue Moon of Kentucky" but received only a polite response. Afterwards, the singer was allegedly told: "Boy, you’d better keep driving that truck."Template:FnTemplate:FnTemplate:Fn

Country music promoter and manager Tillman Franks booked Presley for the Louisiana Hayride on October 16. Before Franks saw Presley, he referred to him as "that new black singer with the funny name". During Presley's first set, the reaction was muted; for the second, Franks advised Presley to "Let it all go!" As house drummer D.J. Fontana (who had worked in strip clubs) complemented Presley's movements with accented beats and Bill Black engaged in his usual stage antics, the crowd was more responsive.Template:Fn According to one source, "Audiences had never before heard music... seen anyone who performed like Presley either. The shy, polite, mumbling boy gained self-confidence with every appearance... People watching the show were astounded and shocked, both by the ferocity of his performance, and the crowd’s reaction to it... Roy Orbison saw Presley for the first time in Odessa, Texas: 'His energy was incredible, his instinct was just amazing... I just didn’t know what to make of it. There was just no reference point in the culture to compare it.'" Sam Phillips said Presley "put every ounce of emotion ... into every song, almost as if he was incapable of holding back."

Breakthrough year: 1956

Presley's sound proved hard to categorize; he was billed or labeled in the media as "The King of Western Bop", "The Hillbilly Cat" and "The Memphis Flash".

On August 15, 1955, "Colonel" Tom Parker became Presley's manager. By August 1955, Sun Studios had released ten sides credited to "Elvis Presley, Scotty and Bill", all typical of the developing Presley style. Several major record labels had shown interest in signing Presley. On November 21, 1955, Parker and Phillips negotiated a deal with RCA Victor Records to acquire Presley's Sun contract for an unprecedented $35,000.

To increase the singer's exposure, Parker finally brought Presley to television (In March 1955, Presley had failed an audition for Arthur Godfrey's Talent Scouts). He booked six Dorsey Brothers' Stage Show appearances (CBS), beginning January 28, 1956, when Presley was introduced by Cleveland DJ Bill Randle. Parker also obtained a lucrative two-show deal with Milton Berle (NBC).

On January 27, Presley's first RCA single, "Heartbreak Hotel," was released. By April it hit number one in the U.S., and sold one million copies. On March 23, RCA released Elvis Presley, his first album. Like the Sun recordings, the majority of the tracks were country songs.

From April 23, he had two weeks at the New Frontier Hotel, Las Vegas—billed this time as "the Atomic Powered Singer". His shows were badly received, by critics and the conservative guests. Presley saw Freddie Bell and the Bellboys live in Vegas, and liked their version of Leiber and Stoller's "Hound Dog". By May 16, he had added the song to his own act.

A few days after an April 3 appearance for The Milton Berle Show in San Diego, a near-fatal flight taking Presley's band to Nashville for a recording session left all three badly shaken. After more hectic touring, Presley returned to The Milton Berle Show on June 5 and performed "Hound Dog" (without his guitar). Singing it uptempo, he then began a slower version. His exaggerated, straight-legged shuffle around the microphone stand stirred the audience—as did his vigorous leg shaking and hip thrusts in time to the beat. Presley's "gyrations" created a storm of controversy—even eclipsing the 'communist threat' headlines prevalent at the time. The press described his performance as "vulgar" and "obscene". Presley was obliged to explain himself on the local New York City TV show Hy Gardner Calling: "Rock and roll music, if you like it, and you feel it, you can't help but move to it. That's what happens to me. I have to move around. I can't stand still. I've tried it, and I can't do it."

The Berle shows drew such huge ratings that Steve Allen (NBC), not a fan of rock and roll, booked him for one appearance in New York. Allen wanted "to do a show the whole family can watch" and introduced a "new Elvis" in white bow tie and black tails. Presley sang "Hound Dog" for less than a minute to a Basset Hound in a top hat. According to one author, "Allen thought Presley was talentless and absurd... set things up so that Presley would show his contrition..." The day after (July 2), the single "Hound Dog" was recorded and Scotty Moore said they were "all angry about their treatment the previous night". (Presley often referred to the Allen show as the most ridiculous performance of his career.) A few days later, Presley made a "triumphant" outdoor 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."

Country vocalists The Jordanaires accompanied Presley on The Steve Allen Show and their first recording session together produced "Any Way You Want Me", "Don't Be Cruel" and "Hound Dog". The Jordanaires would work with the singer through the 1960s.

Though Presley had been unhappy, Allen's show had, for the first time, beaten The Ed Sullivan Show in the ratings, causing a critical Sullivan (CBS) to book Presley for three appearances for an unprecedented $50,000.

Presley's first Ed Sullivan appearance (September 9, 1956) was seen by some 55–60 million viewers. "Compared to moments on the Dorsey shows and on the Berle show, it was ice cream." On the third Sullivan show, Presley sang only slow paced ballads and a gospel song. The fact that Presley was only shown from the waist up and "stepped out in the outlandish costume of a pasha, if not a harem girl" during this last broadcast has led to claims that Sullivan had "censored" or even "buried" the singer, or that Colonel Parker had orchestrated the episode to generate publicity. In spite of any misgivings about the controversial nature of his performing style, Sullivan declared at the end of the third appearance that Presley was "a real decent, fine boy" and that they had never had "a pleasanter experience" on the show.

Controversial king

When "That's All Right" was played, many listeners were sure Presley must be black, and most white disc-jockeys wouldn't play his Sun singles. However, black disc-jockeys didn't want anything to do with a record made by a white man. To some, Presley had undoubtedly "stolen" or at least "derived his style from the Negro rhythm-and-blues performers of the late 1940s." Some black entertainers, notably Jackie Wilson, countered, "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:Fn

By the spring of 1956, Presley was becoming popular nationwide and teenagers flocked to his concerts. Scotty 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." Bob Neal wrote: "It was almost frightening, the reaction... from teenage boys. So many of them, through some sort of jealousy, would practically hate him." In Lubbock, Texas, a teenage gang fire-bombed Presley's car. Some performers became resentful (or resigned to the fact) that Presley going on stage before them would "kill" their own act; he thus rose quickly to top billing. At the two concerts he performed at the 1956 Mississippi-Alabama Fair and Dairy Show, one hundred National Guardsmen were on hand to prevent crowd trouble.

To many adults, the singer was "the first rock symbol of teenage rebellion. ... they 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." In 1956, a critic for the New York Daily News wrote that popular music "has reached its lowest depths in the 'grunt and groin' antics of one Elvis Presley" and the Jesuits denounced him in its weekly magazine, America. Even Frank Sinatra opined: "His kind of music is deplorable, a rancid smelling aphrodisiac. It fosters almost totally negative and destructive reactions in young people."

Presley was even seen as a "definite danger to the security of the United States." His actions and motions were called "a strip-tease with clothes on" or "sexual self-gratification on stage." They were compared with "masturbation or riding a microphone." Some saw the singer as a sexual pervert, and psychologists feared that teenaged girls and boys could easily be "aroused to sexual indulgence and perversion by certain types of motions and hysteria—the type that was exhibited at the Presley show." In August 1956, a Florida judge called Presley a "savage" and threatened to arrest him if he shook his body while performing in Jacksonville. The judge declared that Presley's music was undermining the youth of America. Throughout the performance (which was filmed by police), he kept still as ordered, except for wiggling a finger in mockery at the ruling.Template:Fn (Presley recalls this incident during the '68 Comeback Special.)

In 1957, Presley was alleged to have said: "The only thing Negro people can do for me is to buy my records and shine my shoes." The singer always denied saying, or ever wanting to say, such a racist remark. Jet magazine, run by and for African Americans, subsequently investigated the story and found no basis to the claim. However, the Jet journalist did find plenty of testimony that Presley judged people "regardless of race, color or creed".

His parents moved home in Memphis, but the singer lived there briefly. With increased concerns over privacy and security, Graceland was bought in 1957, a mansion with several acres of land. This was Presley's primary residence until his death.

Presley's record sales grew quickly throughout the late 1950s, with hits like "All Shook Up", "(Let me Be Your) Teddy Bear" and "Too Much".

Military service and mother's death

On December 20, 1957, Presley received his draft notice. Hal Wallis and Paramount Pictures had already spent $350,000 on the film King Creole, and did not want to suspend or cancel the project. The Memphis Draft Board granted Presley a deferment to finish it. On March 24, 1958, he was inducted and completed basic training at Fort Hood, Texas, before being posted to Friedberg, Germany with the 3rd Armored Division.

Presley had chosen not to join 'Special Services', which would have allowed him to avoid certain duties and maintain his public profile. He continued to receive massive media coverage, with much speculation echoing Presley's own concerns about his enforced absence damaging his career. However, early in 1958, RCA producer Steve Sholes and Hill and Range "song searcher" Freddy Bienstock had both pushed for recording sessions and strong song material, the aim being to release regular hit singles during Presley's two-year hiatus. The hit singles—and six albums—duly followed during that period.

In Germany, " sergeant had introduced to amphetamines when they were on maneuvers at Grafenwöhr... it seemed like half the guys in the company were taking them." Friends around Presley also began taking them, "if only to keep up with Elvis, who was practically evangelical about their benefits."

The army also introduced Presley to karate—something which he studied seriously, even including it in his later live performances.Template:Fn

As Presley's fame grew, his mother continued to drink excessively and began to gain weight. She had wanted her son to succeed, "but... hysteria of the crowd frightened her." Doctors had diagnosed hepatitis and her condition worsened. Presley was granted emergency leave to visit her in August 1958, but shortly afterwards his mother died, aged forty-six. Presley was distraught, "grieving almost constantly" for days.

Presley returned to the U.S. on March 2, 1960, and was honorably discharged with the rank of sergeant on March 5. Recording sessions in March and April yielded some of his best-selling songs—including "It's Now or Never". Although some tracks were uptempo, none could be described as "rock and roll". Most found their way on to an album—Elvis is Back!—described by one critic as "a triumph on every level... It was as if Elvis had... broken down the barriers of genre and prejudice to express everything he heard in all the kinds of music he loved". The album was also notable because of Homer Boots Randolph's acclaimed saxophone solo during the blues standard "Reconsider Baby".

Hollywood years

In 1956, Presley launched his career as a film actor, beginning with the musical western, Love Me Tender. It was panned by the critics but did well at the box office. The original title—The Reno Brothers—was changed because of the advanced sales of the song "Love Me Tender". The majority of Presley's films were musical comedies made to "sell records and produce high revenues." He also appeared in more dramatic films, like Jailhouse Rock and King Creole. To maintain box office success, he even "shifted into beefcake formula comedy mode for a few years." He also made one non-musical western, Charro!.

In the Army, Presley said on many occasions that "more than anything, he wanted to be taken seriously as a dramatic actor." His manager, with an eye on long-term earnings, negotiated a multi-picture seven-year contract with Hal Wallis.

The singer withdrew from performing, except for The Frank Sinatra Timex Show: Welcome Home Elvis (1960) and three charity concerts (two in Memphis and one in Pearl Harbor, 1961). Although Presley was praised by directors, like Michael Curtiz, as polite and hardworking (and as having an exceptional memory), "he was definitely not the most talented actor around." The Presley vehicles and the AIP beach movies (mainly made for an early sixties teenage audience) were generally criticized as a "pantheon of bad taste." The scripts of his movies "were all the same, the songs progressively worse." Sight and Sound wrote that in his movies "Elvis Presley, aggressively bisexual in appeal, knowingly erotic, acting like a crucified houri and singing with a kind of machine-made surrealism." Others noted that the songs seemed to be "written on order by men who never really understood Elvis or rock and roll." For Blue Hawaii, "fourteen songs were cut in just three days." Julie Parrish, who appeared in Paradise, Hawaiian Style, says that Presley hated such songs and that he "couldn't stop laughing while he was recording" one of them. Critics would later claim that "No major star suffered through more bad movies than Elvis Presley."

Presley movies were nevertheless popular, and he "became a film genre of his own." Elvis on celluloid was the only chance to see him in the absence of live appearances, especially outside of the U.S. (the only time he toured outside of the U.S. was in Canada in 1957). His Blue Hawaii even "boosted the new state's tourism. Some of his most enduring and popular songs came from those movies," like "Can't Help Falling in Love," "Return to Sender" and "Viva Las Vegas." His 1960s films and soundtracks grossed some $280 million.

In 1964, Richard Burton and Peter O'Toole had starred in Hal Wallis' Becket. Wallis admitted to the press that the financing of such quality productions was only possible by making a series of profitable B-movies starring Presley. He branded Wallis "a double-dealing sonofabitch" (and he thought little better of Tom Parker), realizing there had never been any intention to let him develop into a serious actor.

Presley was one of the highest paid actors during the 1960s, but times were changing. " Elvis Presley film was becoming passé. Young people were tuning in, dropping out and doing acid. Musical acts like Jefferson Airplane, Grateful Dead, The Doors, Janis Joplin and many others were dominating the airwaves. Elvis Presley was not considered cool as he once was." Priscilla Presley recalls: "He blamed his fading popularity on his humdrum movies" and "... loathed their stock plots and short shooting schedules." She also notes: "He could have demanded better, more substantial scripts, but he didn't."

Presley's final movie role was in Change of Habit (1969). His last two films were concert documentaries in the early 1970s, though Presley was keen to consider dramatic movie roles.Template:Fn

As well as the formulaic movie songs of the 1960s, Presley did make noteworthy studio recordings, including "Suspicion," "(You're The) Devil in Disguise" and "It Hurts Me." In 1966 he recorded a cover of Bob Dylan's "Tomorrow is a Long Time" (which RCA relegated to a bonus track on the soundtrack album for Spinout). He also produced two gospel albums: His Hand in Mine (1960) and How Great Thou Art (1966). In 1967, he recorded some well-received singles in collaboration with songwriter/guitar player Jerry Reed, including Reed's "Guitar Man." However, "during the Beatles era (1963-70), only six Elvis singles reached number ten or better. 'Suspicious Minds' was the lone number one."

Sex symbol

Presley's sexual attraction and photogenic looks have been acknowledged: Steve Binder recalled from the '68 Comeback Special: "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."

Ann-Margret (Presley's co-star in Viva Las Vegas) refers to Presley as her "soulmate" but has revealed little else. A publicity campaign about Presley and Margret's romance was launched during the filming of Viva Las Vegas, which helped to increase Margret's popularity.Template:Fn Indeed, Presley dated many female co-stars for publicity purposes. Lori Williams dated him for a while in 1964. She says their "courtship was not some bizarre story. It was very sweet and Elvis was the perfect gentleman."

Wife and daughter

Main articles: Priscilla Presley and Lisa Marie Presley

Priscilla Beaulieu Presley had stayed with Presley during the 1960s (they had first met in Germany, when she was only fourteen). They married on May 1, 1967, in Las Vegas. A daughter, Lisa Marie, was born nine months later. Even Priscilla has claimed that the singer was not overly active sexually during their five-year marriage.

Influence of Colonel Parker and others

Main articles: Colonel Tom Parker, Memphis Mafia

By 1967, Colonel Tom Parker had negotiated a contract that gave him 50% of Presley's earnings. Much has been written about the suspect nature of Parker's business practices. His dubious origins and gambling addictions in particular—and the subsequent need to keep Presley 'commercial'—may well have adversely affected the course of Presley's career.Template:Fn It has been claimed that Presley's original band was fired because Parker wanted to isolate the singer from anyone who might offer him a better management deal.

Marty Lacker, one of a coterie of Presley's trusted friends known as the "Memphis Mafia", regarded Colonel Parker as a "hustler and scam artist" who abused Presley's trust, but Lacker acknowledged that Parker was a master promoter. Priscilla Presley noted that "Elvis detested the business side of his career. He would sign a contract without even reading it."

Presley's father distrusted the members of the "Memphis Mafia"; he thought they collectively exercised an unhealthy influence over his son. "t was no wonder" that as the singer "slid into addiction and torpor, no one raised the alarm: to them, Elvis was the bank, and it had to remain open." Musician Tony Brown noted the urgent need to reverse Presley's declining health as the singer toured in the mid-1970s. "But we all knew it was hopeless because Elvis was surrounded by that little circle of people... all those so-called friends and... bodyguards."

Larry Geller became Presley's hairdresser in 1964. Unlike Presley's generally down-to-earth buddies, Geller was interested in 'spiritual studies'. From their first conversation, Geller recalls how Presley revealed his secret thoughts and anxieties, how "there's got to be a reason... why I was chosen to be Elvis Presley.'" He then poured out his heart in "an almost painful rush of words and emotions," telling Geller about his mother and the hollowness of his Hollywood life, things he could not share with anyone around him. Thereafter, Presley voraciously read books Geller supplied, on religion and mysticism. Perhaps most tellingly, he revealed to Geller: "I swear to God, no one knows how lonely I get and how empty I really feel." Presley would be preoccupied by such matters for much of his life, taking trunkloads of books with him on tour.

In 1969, record producer Chips Moman of American Studios, Memphis, was particularly critical of the song choices and staff of Hill and Range, Presley's main music publisher. Moman could only get the best out of Presley when he got the "aggravating" publishing personnel out of the studio. RCA executive Joan Deary was later full of praise for the superior results of Moman's work but despite this, no producer was to override Hill and Range's control again.

1968 comeback

By mid-1968, Presley's recording career was floundering; he had become deeply unhappy with his career. In the summer, he made a Christmas telecast on NBC. Later dubbed the '68 Comeback Special, and airing on December 3, 1968, the show featured lavishly staged productions, but also saw Elvis clad in black leather, performing live in an uninhibited style reminiscent of his rock and roll days. Rolling Stone called it "a performance of emotional grandeur and historical resonance." Its success was helped by director and co-producer, Steve Binder, who worked hard to reassure the nervous singerTemplate:Fn and to produce a show that was not just an hour of Christmas songs, as Col. Parker had originally planned.Template:Fn

Buoyed by the experience, Presley engaged in the prolific series of recording sessions at American Studios, which lead to the acclaimed From Elvis in Memphis (Chips Moman was its uncredited producer). It was followed by From Memphis To Vegas/From Vegas To Memphis, a double-album.

The same sessions lead to the hit singles "In the Ghetto", "Suspicious Minds", "Kentucky Rain" and "Don't Cry Daddy".

Return to live performances

In 1969, Presley made record-breaking appearances in Las Vegas.Template:Fn He then toured across the U.S. up to his death, with many of the 1,145 concerts setting venue attendance records. He also had hit singles in many countries. Presley's song repertoire was criticized, indicating he was still distant from trends within contemporary music.

On December 21, 1970, Presley met with President Richard Nixon at the White House (Presley arrived with a gift—a handgun. It was accepted but not presented for security reasons). Presley was somewhat bizarrely wanting to express his patriotism, his contempt for the hippie drug culture and his wish to be appointed a "Federal Agent at Large". He also wished to obtain a Bureau of Narcotics and Dangerous Drugs badge to add to similar items he had begun collecting. He offered to "infiltrate hippie groups" and claimed that The Beatles had "made their money, then gone back to England where they fomented anti-American feeling." Nixon was uncertain and bemused by their encounter, and twice expressed concern that Presley needed to "retain his credibility."

MGM filmed him in Las Vegas for a 1970 documentary: Elvis: That’s The Way It Is. As he toured, more gold record awards followed. MGM filmed other shows for Elvis On Tour, which won a Golden Globe for Best Documentary, 1972. A fourteen-date tour started with an unprecedented four consecutive sold-out shows at Madison Square Garden, New York. After the tour, Presley released the 1972 single "Burning Love"—his last top ten hit in the U.S. charts.

In 1973, Presley had two January shows in Hawaii. The second was broadcast live, globally. The "Aloha from Hawaii" concert was the first satellite broadcast, reaching at least a billion viewers. The show's album went to number one and spent a year in the charts.

Off stage, Presley had continuing problems. In spite of his own infidelity, Presley was furious that Priscilla was having an affair with a mutual acquaintance—Mike Stone, a karate instructor. He raged obsessively: "There's too much pain in me... Stone die." A bodyguard, Red West, felt compelled to get a price for a contract killing and was relieved when Presley decided: "Aw hell... Maybe it's a bit heavy..." The Presleys separated on February 23, 1972, agreeing to share custody of their daughter.

After his divorce in 1973, Presley became increasingly isolated and overweight, with prescription drugs affecting his health, mood and his stage act.Template:Fn Despite this, his "thundering" live version of "How Great Thou Art" won him a Grammy award in 1974 and he continued to play to sell-out crowds. A 1975 tour ended with a concert in Michigan, attended by over 62,000 fans.

By now Presley had "no motivation to lose his extra poundage... he became self-conscious... his self-confidence before the audience declined. Headlines such as 'Elvis Battles Middle Age' and 'Time Makes Listless Machine of Elvis' were not uncommon." According to Marjorie Garber, when Presley made his later appearances in Las Vegas, he appeared "heavier, in pancake makeup... with an elaborate jeweled belt and cape, crooning pop songs to a microphone ... had become Liberace. Even his fans were now middle-aged matrons and blue-haired grandmothers, who praised him as a good son who loved his mother; Mother's Day became a special holiday for Elvis' fans."

Almost throughout the 1970s, RCA had been increasingly concerned about making money from Presley material: they often had to rely on live recordings because of problems getting him to attend studio sessions. RCA's mobile studio was occasionally sent to Graceland in the hope of capturing an inspired vocal performance. Once in a studio, he could lack interest or be easily distracted; often this was linked to his health and drug problems.

Final year

Presley's decline continued. A journalist recalled: "Elvis Presley had become a grotesque caricature of his sleek, energetic former self... he was barely able to pull himself through his abbreviated concerts." In Alexandria, Louisiana, the singer was on stage for less than an hour and "was impossible to understand." In Baton Rouge, Presley failed to appear. He was unable to get out of his hotel bed, and the rest of the tour was cancelled.

According to Guralnick, fans "were becoming increasingly voluble about their disappointment, but it all seemed to go right past Elvis, whose world was now confined almost entirely to his room and his books." In Knoxville, Tennessee on May 20, "there was no longer any pretense of keeping up appearances... The idea was simply to get Elvis out on stage and keep him upright for the hour he was scheduled to perform." Thereafter, Presley struggled through every show. Despite his obvious problems, shows in Omaha, Nebraska and Rapid City, South Dakota were recorded for an album and a CBS-TV special: Elvis In Concert.

In Rapid City, "he was so nervous on stage that he could hardly talk... He was undoubtedly painfully aware of how he looked, and he knew that in his condition, he could not perform any significant movement. He looked, moved, and gestured like an overweight old man with crippling arthritis." A cousin, Billy Smith, recalled how Presley would sit in his room and chat, recounting things like his favourite Monty Python sketches and past japes, but "mostly there was a grim obsessiveness... a paranoia about people, germs... future events," that reminded Smith of Howard Hughes.

A book was published—the first exposé to detail Presley's years of drug misuse. Written with input from three of Presley's "Memphis Mafia," the book was the authors' revenge for them being sacked and a plea to get Presley to face up to reality. The singer "was devastated by the book. Here were his close friends who had written serious stuff that would affect his life. He felt betrayed."

Presley's final performance was in Indianapolis at the Market Square Arena, on June 26, 1977.

Another tour was scheduled to begin August 17, 1977, but at Graceland the day before, Presley was found on the floor of his bathroom by fiancée, Ginger Alden. According to the medical investigator, Presley had "stumbled or crawled several feet before he died."Template:Fn He was officially pronounced dead at 3:30 pm at the Baptist Memorial Hospital.

At his funeral, hundreds of thousands of fans, the press and celebrities line the streets and many hoped to see the open casket in Graceland. Among the mourners were Ann-Margret (who had remained close to Presley) and his ex-wife.Template:Fn U.S. President Jimmy Carter issued a statement.

Presley was buried at Forest Hill Cemetery, Memphis, next to his mother. After an attempt to steal the body, his—and his mother's—remains were reburied at Graceland in the Meditation Gardens.

Post mortem

Presley had developed many health problems, some of them chronic. "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."

Presley first took drugs in the army, taking amphetamines to stay awake, though there are claims that pills of some form were first given to him by Memphis DJ Dewey Phillips. In Elvis and Me, Priscilla Presley writes that by 1962, he was taking placidyls to combat severe insomnia in ever-increasing doses and later took Dexedrine to counter the sleeping pills' after-effects. She later saw "problems in Elvis' life, all magnified by taking prescribed drugs." Presley's physician, Dr. George C. Nichopoulos, has said: " felt that by getting from a doctor, he wasn't the common everyday junkie getting something off the street. He... thought that as far as medications and drugs went, there was something for everything."

According to Guralnick: "rug use was heavily implicated... no one ruled out the possibility of anaphylactic shock brought on by the codeine pills...to which he was known to have had a mild allergy." In two lab reports filed two months later, each indicated "a strong belief that the primary cause of death was polypharmacy," with one report "indicating the detection of fourteen drugs in Elvis' system, ten in significant quantity."

The medical profession has been seriously questioned. Medical Examiner Dr. Jerry Francisco had offered a cause of death while the autopsy was still being performed and before toxicology results were known. Dr. Francisco dubiously stated that cardiac arrhythmia was the cause of death, a condition that can only be determined in a living person—not post mortem. Many doctors had been flattered to be associated with Presley (or had been bribed with gifts) and supplied him with pills which simply fed his addictions. The singer allegedly spent at least $1 million per year on drugs and doctors' fees or inducements. Although Dr. Nichopoulos was exonerated with regard to Presley's death, "In the first eight months of 1977 alone, he had more than 10,000 doses of sedatives, amphetamines, and narcotics: all in Elvis' name. On January 20 1980, the board found him... but decided that he was not unethical ." His license was suspended. In July 1995, it was permanently revoked after it was found he had improperly dispensed drugs to several patients.

In 1994, the autopsy into Presley's death was re-opened. Coroner Dr. Joseph Davis declared: "There is nothing in any of the data that supports a death from drugs . In fact, everything points to a sudden, violent heart attack." However, there is little doubt that long-term drug misuse caused his premature death.

Legacy

Elvis Presley's death deprives our country of a part of itself. He was unique and irreplaceable. More than 20 years ago, he burst upon the scene with an impact that was unprecedented and will probably never be equaled. His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country.

— President Jimmy Carter, 1977-08-17,

Author Samuel Roy has written: "Elvis' death did occur at a time when it could only help his reputation. Just before his death, Elvis had been forgotten by society."

Biographer Ernst Jorgensen has observed that when Presley died, it was as if all perspective on his musical career had been lost. His latter-day song choices had been seen as poor; many who disliked Presley had long been dismissive because he did not write his own songs. Others complained—incorrectly—that he could not play musical instruments. Such criticism of Presley continues.Template:Fn The tabloids had ridiculed his obesity and his kitschy, jump-suited performances. His film career was mocked. (In 1980, John Lennon said: " died when he went into the army. That's when they killed him, that's when they castrated him.") Acknowledgment of his vocal style had been reduced to mocking the hiccuping, vocalese tricks that he had used on some early recordings—and the way he said "Thankyouverymuch" after songs during live shows. This was only countered by the uncritical adulation of die-hard fans, who had even denied that he looked "fat" before he died.Template:Fn Any wish to understand Elvis Presley—his genuine abilities and his real influence—"seemed almost totally obscured."

However, in the late 1960s, composer and conductor Leonard Bernstein had remarked: "Elvis is the greatest cultural force in the twentieth century. He introduced the beat to everything, music, language, clothes, it's a whole new social revolution... the 60's comes from it."

It has been claimed that his early music and live performances helped to lay a commercial foundation which allowed other established performers of the 1950s to be recognised. African American acts, like Fats Domino, Chuck Berry and Little Richard, came to national prominence after Presley's acceptance among White American teenagers.Template:Fn Little Richard commented: "He was an integrator, Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." It has also been claimed that Presley's sound and persona helped to relax the rigid color line and thereby fed the fires of the civil rights movement.

Presley's recorded voice is seen by many as his enduring legacy. Henry Pleasants writes: "Elvis 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. The voice covers two octaves and a third... Moreover, he has not been confined to one type of vocal production. In ballads and country songs he belts out full-voiced high G's and A's that an opera baritone might envy. He is a naturally assimilative stylist with a multiplicity of voices—in fact, Elvis' is an extraordinary voice, or many voices."Template:Fn

Gospel tenor Shawn Nielsen, who sang backing vocals for Presley, said: "He could sing anything. I've never seen such versatility... He had such great soul. He had the ability to make everyone in the audience think that he was singing directly to them. He just had a way with communication that was totally unique."Template:Fn

Other celebrated pop and rock musicians have acknowledged that the young Presley inspired them. The Beatles were all big Presley fans. John Lennon said: "Nothing really affected me until I heard Elvis. If there hadn't been an Elvis, there wouldn't have been a Beatles." Deep Purple's Ian Gillan said: "For a young singer he was an absolute inspiration. I soaked up what he did like blotting paper... you learn by copying the maestro." Rod Stewart declared: "People like myself, Mick Jagger and all the others only followed in his footsteps." Cher recalls from seeing Presley live in 1956 that he made her "realize the tremendous effect a performer could have on an audience."

By 1958, singers obviously adopting Presley's style, like Marty Wilde and Cliff Richard (the so-called "British Elvis"), were rising to prominence in the UK. Elsewhere, France's Johnny Hallyday and the Italians Adriano Celentano and Bobby Solo were also heavily influenced by Presley.

The singer continues to be imitated—and parodied—outside the main music industry. Presley songs remain very popular on the karaoke circuit, and many from a diversity of cultures and backgrounds work as Elvis impersonators ("the raw 1950s Elvis and the kitschy 1970s Elvis are the favorites.")

Presley's informal jamming in front of a small audience in the '68 Comeback Special is regarded as a forerunner of the so-called 'Unplugged' concept, later popularized by MTV.

In 2002, The New York Times observed: "For those too young to have experienced Elvis Presley in his prime, today’s celebration of the 25th anniversary of his death must seem peculiar. 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’s breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely."

Discography

Awards and recognition

In 1971, Presley was named 'One of the Ten Outstanding Young Men of the Nation' by the U.S. Junior Chamber of Commerce (The Jaycees). That summer, the City of Memphis named part of Highway 51 South "Elvis Presley Boulevard", and he won the Lifetime Achievement Award from the National Academy of Recording Arts and Sciences (the organization that presents Grammy awards).

Presley won three competitive Grammy awards for his gospel recordings: How Great Thou Art (album and live recording of the title track) and for the album He Touched Me. He had fourteen nominations during his career. However, "Elvis has never been adequately appreciated by those who give the Grammies."

He is the only performer to have been inducted into four music 'Halls of Fame': the Rock and Roll Hall of Fame (1986), the Rockabilly Hall of Fame (1997), the Country Music Hall of Fame (1998), and the Gospel Music Hall of Fame (2001). 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’ first posthumous presentation of the Award of Merit.

Presley has featured prominently in a variety of polls and surveys designed to measure popularity and influence.Template:Fn However, rock 'n' roll expert Philip Ennis writes: "Perhaps it is an error of enthusiasm to freight Elvis Presley with too heavy a historical load", as, according to a public opinion poll among high school students in 1957, Pat Boone was "the nearly two-to-one favorite over Elvis Presley among boys and preferred almost three-to-one by girls..."

In 1994, the 40th anniversary of Presley's "That's All Right" was recognized with its re-release, which made the charts worldwide, making top three in the UK.

During the 2002 World Cup a Junkie XL remix of his "A Little Less Conversation" (credited as "Elvis Vs JXL") topped the charts in over twenty countries and was included in a compilation of Presley's U.S. and UK number one hits, Elv1s: 30.

In the UK charts (January 2005), three re-issued singles again went to number one ("Jailhouse Rock", "One Night"/"I Got Stung" and "It's Now or Never"). Throughout the year, twenty singles were re-issued—all making top five.

In the same year, Forbes magazine named Presley, for the fifth straight year, the top-earning deceased celebrity, grossing US$45 million for the Presley estate during the preceding year. In mid-2006, top place was taken by Nirvana's Kurt Cobain after the sale of his song catalogue, but Presley reclaimed the top spot in 2007.

See also

• Best-selling artist of all-time
• List of best-selling music artists
• List of artists by total number of USA number one singles
• List of artists by total number of UK number one singles
• King of Rock and Roll

Footnotes

• Template:Fnb Presley's genuine birth certificate reads "Elvis Aaron Presley" (as written by a doctor). There is also a souvenir birth certificate that reads "Elvis Aron Presley." When Presley did sign his middle name, he used Aron. It reads 'Aron' on his marriage certificate and on his army duffel bag. Aron was apparently the spelling the Presleys used to make it similar to the middle name of Elvis' stillborn twin, Jesse Garon. Elvis later sought to change the name's spelling to the traditional and biblical Aaron. In the process he learned that "official state records had always listed it as Aaron. Therefore, he always was, officially, Elvis Aaron Presley." Knowing Presley's plans for his middle name, Aaron is the spelling his father chose for Elvis' tombstone, and it is the spelling his estate has designated as the official spelling whenever the middle name is used today. His death certificate says "Elvis Aron Presley." This quirk has helped inflame the "Elvis is not dead" conspiracy theories.

• Template:Fnb Vernon Presley recalled: "There were times we had nothing to eat but cornbread and water ... but we always had compassion for people. Poor we were, I’ll never deny that. But trash we weren’t ... We never had any prejudice. We never put anybody down. Neither did Elvis."

• Template:Fnb It seems likely that the Sun acetates were not cut for a birthday present, nor for Presley just to hear his own singing voice. There were cheaper ways of making recordings. This indicates to some that he already had greater ambitions.

• Template:Fnb Presley's version dropped the word "Mama" from the title.

• Template:Fnb Scotty Moore claims it was just the natural way he moved when performing—little to do with "nerves."

• Template:Fnb This statement is usually attributed to Jim (John) Denny, the Opry manager.

• Template:Fnb But country singer Faron Young and Denny's son, Bill, have both strenuously denied it.

• Template:Fnb Guralnick states it was country music band leader and DJ Eddie Bond who made the comment when Presley failed auditions to join the Songfellows and a professional band. Presley later said that the comment "broke my heart."

• Template:Fnb Country singer Porter Wagoner said Black worked hard on stage, mimicking Presley's moves, to stir the audience. "Bill Black was a big part of —at least fifty percent."

• Template:Fnb The issue of whether Presley "stole" music of black origin continued decades later. See: Kolawole, Helen (August 15 2002). "He wasn't my king". Guardian Unlimited. Retrieved on 2007-10-14; North, Gary (2000). "No Rhythm, No Blues: Must White Guys Always Finish Last?. LewRockwell.com. Retrieved on 2007-10-14.

• Template:Fnb Many of Presley's proposed gigs at the time were subject to local objections.

• Template:Fnb In 1973, Presley was keen to produce a karate movie/documentary, enlisting the help of several top instructors and film-makers. Instructor Rick Husky says: "...Basically never went anywhere... Elvis got up and did some demonstrations with Ed , you know stumbled around a little bit, and it was very sad." Husky was aware that Presley was "stoned." "Colonel" Parker thought the project was folly—and a drain on their resources—from the start. (Guralnick 1994, p.531 and in passim). The film footage was finally edited, restored and released as The New Gladiators in 2002.New Gladiators (2002) Yahoo! Movies. Retrieved on 2007-10-12; Susan, King (November 17 2002). "When Elvis bowed to karate kings" Los Angeles Times. Reprinted in IssacFlorentine.com. Retrieved on 2007-10-12.

• Template:Fnb In 1974, Barbra Streisand offered Presley the male lead role in the remake of A Star is Born. His manager turned down the offer, saying no one should have equal billing with Presley.

• Template:Fnb Binder relates how he challenged Presley to stand with him on Sunset Boulevard. Presley had assumed he would not only be recognized, but mobbed. He went outside and nothing happened. Binder describes the incident as "embarrassing," but it helped build up trust with the singer.

• Template:Fnb The article claims that "the so-called dangerous rock-and-roll idol was anything but a despotic ruler in the bedroom ... He was far more interested in heavy petting."

• Template:Fnb Peggy Lipton further relates that with Presley it "didn't feel like a man next to me—more like a boy who'd never matured." When he tried to make love to her, "he just wasn't up to sex. Not that he wasn't built, but with me, at least, he was virtually impotent."

• Template:Fnb Shepherd relates how Elvis "charmed" her by telling her in one of his drug-induced states about the time a doctor gave him an injection directly into his eye. She also claims to have introduced Elvis to certain amorous techniques. However, Shepherd's much-quoted claims are "viewed with skepticism by other lovers of the King."

• Template:Fnb In his critical study on the "dream machine" (media manipulation to create semi-fictional icons), Gamson cites a press agent "saying that his client, Ann-Margret, could initially have been "sold ... as anything"; "She was a new product. We felt there was a need in The Industry for a female Elvis Presley."

• Template:Fnb A general article on Parker can be found at: McGurk, Tom (2002-08-18). "Why Colonel Parker could not leave the building". The Post.IE. Retrieved on 2007-10-19.

• Template:Fnb In his book, Me and a Guy named Elvis, Jerry Schilling relates that one way to arouse the wrath of the singer was to play one of his own recordings at his parties. "Get that crap off," was his reaction on one occasion when someone played "All Shook Up" on a jukebox. "There was no doubt he was really angry." Schilling thinks that Presley "lived with his music outside of the house—he didn't need to hear it while he was trying to relax in his own basement."

• Template:Fnb In 1973, he overdosed twice on barbiturates: In February, when he spent three days in a coma in his suite at the Hilton hotel and later in St. Louis.

• Template:Fnb Binder also claimed that Presley's black leather outfit needed cleaning between live sessions, not just because he perspired, but because he had ejaculated while performing.

• Template:Fnb At a press conference after his first opening in Vegas, when a reporter referred to him as "The King", Presley pointed to Fats Domino, standing at the back of the room. "No," he said, "that’s the real king of rock and roll."

• Template:Fnb Presley had apparently been on the toilet before he stumbled and then vomited.

• Template:Fnb Marty Lacker was apparently not pleased when Tom Parker turned up at Presley's funeral wearing shorts and a Hawaiian shirt. "All he did was stand outside and lean up against a car and smoke a cigar and look at all the people going in."

• Template:Fnb Others take the opposite view: "Presley’s comprehensive musical knowledge and talent also surprised and impressed songwriters Jerry Leiber and Mike Stoller... considered Presley to be an 'idiot savant' because he knew so many songs. His knowledge of the blues especially impressed them. Leiber remembers that Presley "could imitate anything he heard. He had a perfect ear," and he also described Elvis’s ear as "uncanny." In addition, Presley could sing and/or play a song on the piano after hearing it only once or twice. His natural ear for music, ability to play by ear, and to improvise were well known to his friends and musical associates."

• Template:Fnb Wall has argued that many Presley authors are part of a "worldwide Elvis industry" which tends to be biased. He contends that few publications are critical. One such book is Albert Goldman's controversial biography (1981), in which the author unfavorably discusses the star's weight problems, his stage costumes and his sex life. Such books are frequently disparaged and harshly attacked by Elvis fan groups. Professor Wall claims that one of the strategies of fan clubs and appreciation societies is "'community policing' to achieve governance at a distance... These organisations have, through their membership magazines, activities and sales operations, created a powerful moral majority" endeavoring to suppress most critical voices. "With a combined membership of millions, the fans form a formidable constituency of consumer power."

• Template:Fnb Music journalist Dave Marsh has defended Presley and argued how his work led to integration.

• Template:Fnb See also: Cook, Graceland National Historic Landmark Nomination Form. Other analyses of Presley's voice credit him with a three octave range.

• Template:Fnb Bob Dylan remarked: "When I first heard Elvis' voice I just knew that I wasn't going to work for anybody; and nobody was going to be my boss... Hearing him for the first time was like busting out of jail."

• Template:Fnb "This year's Wonders of America set climbed to second place in the most popular stamps, but Elvis is still the King, the Postal Service said Tuesday."

• Template:FnbVH1 ranked Presley #8 on its 100 Greatest Artists in Rock and Roll in 1998 while CMT ranked him #15 on CMT's 40 Greatest Men in Country Music. Presley is one of only three artists to make both VH1's and CMT's lists, the others being Johnny Cash and The Eagles. Elvis also ranked second for BBC's "Voice of the Century", eighth on Discovery Channel's "Greatest American" list, in the top ten of Variety's "100 Icons of the century", sixty-sixth in The Atlantic Monthly's "100 most influential figures in American history", and third in Rolling Stone's "The Immortals: The Fifty Greatest Artists of All Time" for which he was chosen by Bono.

References

1. ^ (May 9 2002). "Elvis Presley - the Singer". bbc.co.uk. Retrieved 2007-10-12.
2. "FAQ: Elvis' middle name, is it Aron or Aaron?" Elvis.com. Retrieved 2007-10-22.
3. Elvis Presley's Family Tree. ElvisPresleyNews.com. Retrieved August 15 2007.
4. Presley's ancestry is discussed at the following sites:
   • Rossacher, Hannes (August 16 2007). Austrian and French TV documentary: "Elvis-O-Rama". ARTE. Retrieved on 2007-10-12.
   • (August 11 2007). "Die wahre Wiege des Rock ’n’ Roll." Ludwigshafen: Die Rheinpfalz.
   • "Biography: Presley, Elvis". German Heritage.com. Retrieved October 12 2007.
   • (23 March 2004). "Elvis roots 'lead to Scotland'". BBC News Online. Retrieved on 2007-10-12.
   • "Elvis Presley's Family Tree". ElvisPresleyNews.com. Retrieved on 2007-10-12.
   • "Elvis Presley's Roots". fife.50megs.com. Retrieved October 12 2007.
   • "Elvis' Jewish Heritage". ElvisPresleyNews.com. Retrieved October 12 2007.
   • "Elvis Was a Metis: Cherokee-Scots-Irish (Celt)". WolfLodge.org. Retrieved October 12 2007.
5. ^ Guralnick 1994, p.13
6. ^ Guralnick 1994, p.29
7. Goldman, p.16
8. Guralnick 1994, p.12
9. ^ Elvis Presley Home. Elvis-Presley-Biography.com. Retrieved July 15 2007.
10. Presley, p.172
11. Guralnick 1994, p.36
    Referring to an account by singer Barbara Pittman in Humphries, Patrick (April 1, 2003). "Elvis The #1 Hits: The Secret History of the Classics" Andrews McMeel Publishing, p.117. ISBN 0740738038.
12. Elvis Australia (Jan 7, 2004). "Elvis Presley 1935-54." elvis.com.au. Retrieved 2007-10-14.
13. (October 14 2001). "Elvis Presley's First Guitar". Tupelo Hardware. Retrieved 2007-10-14.
14. Escott, p.420
15. ^ Guralnick 1994, p.50
16. ^ Carr and Farren, p.10
17. Guralnick, Last Train to Memphis, chapter 1.
18. Lichter, p.10
19. Lichter, p.9
20. Guralnick 1994, p.149
21. (1996). "Elvis Presley". history-of-rock.com. Retrieved 2007-10-14.
22. ^ George-Warren, Holly; Patricia Romanowski, Jon Pareles (2001). The Rolling Stone Encyclopedia of Rock And Roll. Fireside. ISBN 0-7432-0120-5. Excerpt in "Elvis Presley biography". Rolling Stone. Retrieved on 2007-10-14.
23. Guralnick 1994, p.461
24. ^ Guralnick 1994, p.21
25. Guralnick 1994, p.171
26. ^ (August 18, 1997). "Good Rockin'". Newsweek, pp.54-5
27. Guralnick, Peter (August 11, 2007). "How Did Elvis Get Turned Into a Racist?" New York Times. Retrieved August 15 2007.
28. Szatmary, p.35
29. Bertrand, p.205
30. "Elvis biography: 1935 - 1957". elvis.com. Retrieved on 2007-10-14.
31. Miller, p.71
32. "Sam Phillips Sun Records Two". history-of-rock.com. Retrieved on 2007-10-14.
33. Guralnick, Peter (1992). The Complete 50's Masters (CD booklet notes).
34. Jorgensen, p.13
35. ^ Carr and Farren, p.6
36. EPE (July 21, 2004). "Elvis Presley Sun Recordings". elvis.co.au. Retrieved on August 17 2007.
37. ^ EPE. "Elvis Presley's First Record & Early Gigs". ElvisPresley.com.au. Retrieved on 2007-10-14.
38. Burnett, Brown (ed.) (August 2 2004). "Overton Park Shell 50th Anniversary, Elvis’ 1st live show". Memphis Mojo Newspaper. Reprinted in "The Buzzards". RedClock.com. Retrieved on 2007-10-14.
39. Naylor and Halliday, p.43
40. ^ Clayton and Heard, p.61
41. Elvis Presley Classic Albums (DVD). Eagle Eye Media, EE19007 NTSC.
42. ^ Naylor and Halliday, pp.43-6
43. ^ Clayton and Heard, p.69
44. ^ Guralnick 1994, p.11
45. Naylor and Halliday, p.46
46. Naylor and Halliday, p.52
47. ^ Clayton and Heard, p.73
48. Cook, p.50
49. Guralnick 1994
50. Carr and Farren, p.21
51. Escott, p.421
52. Hilburn, Robert (2005-02-11). "Review: Elvis Presley CD". elvis.com.au. Retrieved on 2007-10-14.
53. Butler, Peter. "Blackie". RockabillyHall.com. Retrieved on 2007-10-14.
54. Jorgensen, p.45
55. ^ Jorgensen, p.49
56. An example of press criticism can be found at Gould, Jack (June 6 1956). "TV: New Phenomenon" (PDF). The New York Times. Retrieved on 2007-10-14.
57. ^ Raymond, Susan (Director) (1987, Re-released 2000). Elvis '56 - In the Beginning (DVD). Warner Vision.
58. Austen, p.13
59. ^ Beebe, Fulbrook and Saunders, p.97
60. Jorgensen, p.51
61. For more on the TV host rivalries of the period, see "The Steve Allen Show (And Various Related Programs)". The Museum of Broadcast Communications. Retrieved on 2007-10-14.
62. Marcus, Greil, "Elvis Presley: The Ed Sullivan Shows." "Official Press Release". elvis.com.au. Retrieved on 2007-10-22.
63. Paul Mavis (Director) (2006). Elvis Presley - Ed Sullivan Shows (DVD). Image Entertainment.
64. Marcus, "Elvis Presley: The Ed Sullivan Shows."
65. Clayton and Heard, pp.117-8
66. ^ Gibson, Christine (December 6 2005). "Elvis on Ed Sullivan: The Real Story". American Heritage Magazine. Retrieved on 2007-10-22.
67. Carr and Farren, pp.11, 16
68. Bayles, p.22
69. ^ Blank, Christopher (July 15 2006). "Elvis & Racism - Elvis Presley Legacy is cloudy through lens of race". elvis.com.au. Retrieved on 2007-10-14.
70. Moore and Dickerson, p.175
71. Carr and Farren, p.12
72. Carr and Farren, p.12
73. "Elvis Rock 'n' Roll History". showbuzz.CBSnews.com. Retrieved 2007-10-14.
74. Billboard writer Arnold Shaw, cited in Denisoff, p.22.
75. "Elvis Presley - 1956". PBS. Retrieved on 2007-10-14.
76. Khurana, Simran. "Quotes About Elvis Presley". about.com. Retrieved on 2007-10-14.
77. See Fensch, Thomas. The FBI Files on Elvis Presley, pp.15-17.
78. ^ Marino, Rick. "Elvis and Jacksonville, Florida". LadyLuckMusic.com. Retrieved on 2007-10-14.
79. Davis, Natalie (August 17 2003). "The 'King' Has Left the Building". GratefulDread.net.Retrieved on 2007-10-14.
80. Elder, Daniel K. "Remarkable Sergeants: Ten Vignettes of Noteworthy NCOs". ncohistory.com. Retrieved on 2007-11-13.
81. Lichter, p.51
82. Jorgensen, p.107
83. Guralnick 1994, p.21
84. Guralnick 1994, p.71
85. Rodriguez, p.87
86. Guralnick 1999, p.480
87. "What is the history of Elvis Presley's military career?". Army.mil. Retrieved on 2007-10-19.
88. Jorgensen, p.128
89. Harbinson, p.62
90. Falk and Falk, p.52
91. "Elvis goes Hollywood: Fun in the sun, and not much else". CNN.com. Retrieved on 2007-10-19.
92. Guralnick 1999, p.50
93. Guralnick 1999, p.27
94. Guralnick 1999, pp.89-91
95. Verswijver, p.129
96. Caine, p.21
97. Kirchberg and Hendricks, p.67
98. Sight and Sound, The British Film Institute, British Institute of Adult Education (1992), p.30.
99. Hopkins, p.32
100. Hopkins, p.31
101. Lisanti 2000, pp.19, 136
102. Lyon, p.511
103. Lisanti 2000, p.18
104. Hopkins, vii
105. Alagna, Elvis Presley
106. Guralnick 1999, p.171
107. Lisanti 2000, p.9
108. Presley, p.188
109. ^ George-Warren, Romanowski and Pareles, The Rolling Stone Encyclopedia of Rock And Roll. Excerpt in "Elvis Presley biography". Rolling Stone. Retrieved on 2007-10-14.
110. Kirchberg, Connie and Marc Hendricks 1999, p.66.
111. ^ Binder, Steve (2005-07-08). "Interview with Steve Binder, director of Elvis' 68 Comeback Special". elvis.com.au. Retrieved on 2007-10-19.
112. Margret, Ann-Margret: My Story
113. Presley, p.175
114. ^ Gamson, p.46
115. Harrington and Bielby, p.273
116. Stein, Ruthe (August 3, 1997). "Girls! Girls! Girls! From small-town women to movie stars". San Francisco Chronicle.
117. Lisanti 2003, p.207
118. Presley, Elvis and Me.
119. Dickerson, Colonel Tom Parker: The Curious Life of Elvis Presley's Eccentric Manager
120. Nash, Lacker, Fike and Smith, Elvis Aron Presley: Revelations from the Memphis Mafia
121. Presley, Elvis and Me
122. Humphries, p.79
123. Harris, John (March 27, 2006). "Talking about Graceland". The Guardian.
124. Clayton and Heard, p.339
125. ^ Guralnick 1999, p.173
126. Guralnick 1999, p.174 and in passim
127. ^ (August 11 2002). "Elvis Special: Doctor Feelgood". The Observer. Reprinted in Guardian Unlimited. Retrieved on 2007-10-12.
128. Clayton and Heard, p.265
129. Clayton and Heard, p.267
130. Guralnick 1999, p.171
131. Guralnick 1999, p.293
132. ^ Binder, Steve (Aired: August 14, 2007). "Comeback Special". BBC Radio Two.
133. Jorgensen, p.281
134. ^ Cook, p.39
135. (Aired: August 7, 2002). "How Big Was The King? Elvis Presley's Legacy, 25 Years After His Death." CBS News.
136. ^ Guralnick 1999, p.420
137. ^ Guralnick 1999, in passim
138. Guralnick 1999, p.489
139. Guralnick 1999, p.490
140. Jorgensen, p.381
141. Roy, p.70
142. Garber, Vested Interests: Cross-Dressing & Cultural Anxiety (1992), p.380
143. Scherman, T. (August 16 2006). "Elvis Dies". American Heritage.
144. ^ Guralnick 1999, p.628
145. Guralnick 1999, p.634
146. Guralnick 1999, p.634
147. Guralnick 1999, pp.637-8
148. Roy, p.71
149. Guralnick 1999, p.642
150. West, West and Hebler, Elvis: What Happened
151. Review of Medical Report. ElvisPresleyNews.com. Retrieved 2007-10-12.
152. Patterson, Nigel (2003-01-30). David Stanley interview. Elvis Information Network (EIN). Retrieved on 2007-10-12.
153. ^ Guralnick 1999, p.651
154. ^ Clayton and Heard, p.394.
155. Woolley, John T.; Gerhard Peters. "Jimmy Carter: Death of Elvis Presley Statement by the President". The American Presidency Project. Santa Barbara, CA:University of California (Hosted). Retrieved on 2007-10-12.
156. Baden and Hennessee, p.35
157. Goldman, Albert, Elvis: The Last 24 Hours, p. 9
158. Guralnick, p.652
159. ^ "Coverup for a King". Court TV Crime Library. Retrieved 2007-10-12.
160. Clayton and Heard, p.336
161. Goldman, Albert, Elvis: The Last 24 Hours, p. 56
162. "Death of Elvis Presley Statement by the President". The American Presidency Project. Retrieved on 2007-10-17.
163. Roy, p.173
164. Jorgensen, p.4
165. Sinclair, Tom (August 9 2002). "Elvis Presley is overrated". CNN.com. Retrieved 2007-10-12.
166. ^ Cook, p.20
167. Associated Press (2002-08-07). How big was the king? CBS News. Retrieved 2007-10-18.
168. ^ Wall, David S. (2003). "Policing Elvis: legal action and the shaping of post-mortem celebrity culture as contested space" (PDF). Entertainment Law, 2 (3): pp.35-69. doi:10.1080/1473098042000275774. Retrieved on 2007-10-18.
169. Jorgensen, p.4
170. ^ Khurana, Simran. "Quotes about Elvis". About.com. Retrieved on 2007-10-18.
171. ^ Associated Press (2002-08-07). How big was the king? CBS News. Retrieved 2007-10-18.
172. Bertrand, Race, Rock, and Elvis
173. ^ WikiQuote: Elvis Presley
174. "Elvis Presley biography". Music-Atlas. Retrieved on 2007-10-18.
175. Cook, p.35
176. Ian Gillan (2007-01-03). "Elvis Presley". Classic Rock. Retrieved on 2007-10-18.
177. "Johnny Hallyday biography". RFI Musique. Retrieved on 2007-10-18.
178. Gundle, Stephen (September 2006). "Adriano Celentano and the origins of rock and roll in Italy". Journal of Modern Italian Studies, 11 (3): pp.367-86. Royal Holloway, University of London: Routledge. doi:10.1080/13545710600806870.
179. Stecopoulos, p.198
180. Johnson, Brett (2004-06-28). "Steve Binder, Director Of Elvis' '68 Comeback Special Talks About The King". elvis.com.au. Retrieved 2007-10-18.
181. (August 16, 2002). "Long Live the King". The New York Times. Retrieved on 2007-10-18.
182. Roy 1985, p.131.
183. Cook, p.33
184. See Ennis, Philip H., The Seventh Stream: The Emergence of Rocknroll in American Popular Music (Wesleyan University Press, 1992), pp.251-252.
185. Goldman, Lea; David M. Ewalt, eds. (2007-10-29). "Top-Earning Dead Celebrities". Forbes. Retrieved on 2007-10-31.
186. Cite error: The named reference Raphael was invoked but never defined (see the help page).
187. Cite error: The named reference Lipton was invoked but never defined (see the help page).
188. Shepherd, Cybill Disobedience
189. Schilling, Jerry (2006-07-10). "Why I Wrote Me And A Guy Named Elvis". elvis.com.au. Retrieved on 2007-10-23.
190. (1998). "VH1: 100 Greatest Artists of Rock & Roll". VH1. Retrieved on 2007-10-16.
191. (2005). "CMT's 40 Greatest Men in Country Music". CMT. Retrieved on 2007-10-16.
192. (April 18, 2001). "Sinatra is voice of the century" BBC NEWS, Retrieved on 2007-10-16.
193. "Greatest American". Discovery Channel. Retrieved on 2007-10-16.
194. "100 Icons of the century". Variety. Retrieved on 2007-10-16.
195. (December 2006). "Top 100 most influential figures in American history". The Atlantic Monthly. Retrieved on 2007-10-16.
196. (2004-04-15). "The Immortals: The First Fifty". Rolling Stone (946). Retrieved on 2007-10-16.

• Alagna, Magdalena (2002). Elvis Presley. Rosen Publishing Group. ISBN 0823935248.
• Austen, Jake (2005). TV-A-Go-Go: Rock on TV from American Bandstand to American Idol. Chicago Review Press. ISBN 1556525729.
• Baden, Michael M.;Judith Adler Hennessee (1992). Unnatural Death: Confessions of a Medical Examiner. New York: Random House. ISBN 0804105995.
• Bayles, Martha (1996). Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music. University of Chicago Press. ISBN 0226039595.
• Bertrand, Michael T. (2000). Race, Rock, and Elvis. University of Illinois Press. ISBN 0-252-02586-5.
• Beebe, R.; D. Fulbrook, B. Saunders (eds.) (2002). Rock over the Edge. Duke University Press. ISBN 0822329158.
• Brown, Peter Harry; Pat H. Broeske (1998). Down at the End of Lonely Street: The Life and Death of Elvis Presley. Signet. ISBN: 0451190947.
• Caine, A. (2005). Interpreting Rock Movies: The Pop Film and Its Critics in Britain. Palgrave Macmillan. 0719065380.
• Carr, Roy and Mick Farren (1982). Elvis: The complete illustrated record. Eel Pie Publishing. ISBN 0-906008-54-9.
• Clayton, Rose and Dick Heard (2003). Elvis: By Those Who Knew Him Best. Virgin Publishing Limited. ISBN 0-7535-0835-4.
• Cook, J., Henry, P. (ed.) (2004). Graceland National Historic Landmark Nomination Form (PDF). United States Department of the Interior.
• Curtin, Jim; James Curtin, Renata Ginter (1998). Elvis: Unknown Stories behind the Legend. Celebrity Books. ISBN 1580291023.
• Dickerson, James L. (2001). Colonel Tom Parker: The Curious Life of Elvis Presley's Eccentric Manager. Cooper Square Press. ISBN 0815412673.
• Denisoff, R. Serge (1975). Solid Gold: The Popular Record Industry. New Brunswick, New Jersey: Transaction Books. ISBN 0878555862.
• Dundy, Elaine (1986). Elvis and Gladys: The Genesis of the King, London: Weidenfeld and Nicolson. ISBN 0708830870.
• Escott, Colin. (1998). "Elvis Presley". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. ISBN 0195176081.
• Falk, Ursula A.; Gerhard Falk (2005). Youth Culture and the Generation Gap. Algora Publishing. ISBN 0875863671.
• Finstad, Suzanne (1997). Child Bride: The Untold Story of Priscilla Beaulieu Presley. New York: Harmony Books. ISBN 0517705850.
• Gamson, Joshua (1994). Claims to Fame: Celebrity in Contemporary America. University of California Press. ISBN 0520083520.
• George-Warren, Holly; Patricia Romanowski, Jon Pareles (2001). The Rolling Stone Encyclopedia of Rock And Roll. Fireside. ISBN 0-7432-0120-5.
• Goldman, Albert (1990). Elvis: The Last 24 Hours. St Martins. ISBN 0312925417.
• Guralnick, Peter (1994). Last Train to Memphis: The Rise of Elvis Presley. Boston: Little, Brown and Company. ISBN 0316332259.
• Guralnick, Peter (1999). Careless Love. The Unmaking of Elvis Presley. Back Bay Books. ISBN 0316332976.
• Harbinson, W. A., (1977). The life and death of Elvis Presley. London: Michael Joseph. ISBN 0517246708.
• Harrington C. Lee; Denise D. Bielby (2000). Popular Culture: Production and Consumption. Blackwell. ISBN 063121710X.
• Hopkins, Jerry (2002). Elvis in Hawaii. Bess Press. ISBN 1573061425.
• Humphries, Patrick (2003). Elvis The #1 Hits: The Secret History of the Classics. Andrews McMeel. ISBN 0740738038.
• Jorgensen, Ernst (1998). Elvis Presley: A life in music. The complete recording sessions. St. Martin's Press. ISBN 0312185723.
• Kirchberg, Connie and Marc Hendricks (1999). Elvis Presley, Richard Nixon, and the American Dream, Jefferson, NC: McFarland and Company. ISBN 0786407166.
• Lichter, Paul (1980). Elvis - The Boy Who Dared To Rock. Sphere Books. ISBN 0 7221 5547-6.
• Lipton, Peggy; Coco Dalton, David Dalton (2005). Breathing Out. St. Martin's Press. ISBN 0312324138.
• Lisanti, Tom (2000). Fantasy Femmes of 60's Cinema: Interviews with 20 Actresses from Biker, Beach, and Elvis Movies. McFarland and Company. ISBN 0786408685.
• Lisanti, Tom (2003). Drive-In Dream Girls: A Galaxy of B-Movie Starlets of the Sixties. McFarland. ISBN 0786415754.
• Margret, Ann; Todd Gold (1994). Ann-Margret: My Story. G.P. Putnam's Sons. ISBN 0399138919.
• Miller, James, (1999). Flowers in the Dustbin: The Rise of Rock and Roll, 1947-1977. Fireside. ISBN 0684865602.
• Moore, Scotty; James Dickerson (1997). That’s Alright, Elvis. Schirmer Books. ISBN 0028645995.
• Nash, A.; M. Lacker, L. Fike, B. Smith (1995). Elvis Aron Presley: Revelations from the Memphis Mafia. Harper Collins. ISBN 006109336X.
• Naylor, Jerry and Steve Halliday (2007). The Rockabilly Legends; They Called It Rockabilly Long Before they Called It Rock and Roll (Book and DVD). Hal Leonard Publishing Corporation. ISBN 142342042X.
• Pratt, Linda R. (1979). "Elvis, or the Ironies of a Southern Identity". Elvis: Images and Fancies. Jackson: University Press of Mississippi.
• Presley, Priscilla, (1985). Elvis and Me. New York: G.P. Putnam's Sons. ISBN 0-399-12984-7.
• Rodman, G., (1996). Elvis After Elvis, The Posthumous Career of a Living Legend. London: Routledge. ISBN 0415110025.
• Rodriguez, R., (2006). The 1950s' Most Wanted: The Top 10 Book of Rock & Roll Rebels, Cold War Crises, and All-American Oddities. Potomac Books. ISBN 1574887157.
• Roy, Samuel (1985). Elvis: Prophet of Power. Branden Publishing Co. Inc. ISBN 0-8283-1898-0.
• Shepherd, Cybill; Aimee Lee Ball (2000}. Cybill Disobedience. Thorndike Press. ISBN 0061030147.
• Stecopoulos, H.; M. Uebel (1997). Race and the Subject of Masculinities. Duke University Press. ISBN 0822319667.
• Szatmary, David P. (1996). A Time to Rock: A Social History of Rock 'n' Roll. New York: Schirmer Books. ISBN 0028646703.
• Verswijver, L., (2002). Movies Were Always Magical: Interviews with 19 Actors, Directors, and Producers from the Hollywood of the 1930s through the 1950s. McFarland & Company. ISBN 0786411295.
• Walser, Robert; David Nicholls (ed.) (1999). The Cambridge History of American Music. Cambridge University Press. ISBN 0521454298.
• West, Red; Sonny West, Dave Hebler (As Told To Steve Dunleavy) (1977). Elvis: What Happened. Bantam Books. ISBN 0345272153.

Further reading

• Goldman, Albert (1981). Elvis. McGraw-Hill. ISBN 0-07-023657-7.
• Allen, Lew (2007). Elvis & the birth of rock. Genesis Publications. ISBN: 1-905662-00-9.
• Cantor, Louis (2005). Dewey and Elvis - The Life and Times of a Rock 'n' Roll Deejay. University of Illinois Press. ISBN 0-252-02981-X.
• Chadwick, Vernon (ed.) (1997). In Search of Elvis: Music, Race, Art, Religion. Proceedings of the first annual International Conference on Elvis Presley, Westview. ISNB 0813329876.
• Doss, Erika Lee (1999). Elvis Culture: Fans, Faith, and Image. University of Kansas Press. ISBN 0700609482.
• Marcus, Greil (1991). Dead Elvis: A Chronicle of a Cultural Obsession.
• Marcus, Greil (2000). Double Trouble: Bill Clinton and Elvis Presley in a Land of No Alternative. ISBN 057120676X.
• Nash, Alanna (1995). Elvis Aaron Presley: Revelations from the Memphis Mafia. Harper Collins. ISBN 006109336X.
• Nash, Alanna (2003). The Colonel: The Extraordinary Story of Colonel Tom Parker and Elvis Presley. Simon and Schuster. ISBN 0743213017.

External links

• Elvis Presley Enterprises - Official site of Elvis Presley
• Official UK Elvis site - Includes details of new UK releases
• Genealogy of Elvis Presley
• Elvis Presley at IMDb
• Rock and Roll Hall of Fame
• Elvis Presley biography at Rolling Stone.com

Template:Persondata

Template:Link FA Template:Link FA

• American Jews
• Elvis Presley
• American rock singers
• American baritones
• American musicians
• American country singers
• American male singers
• American gospel singers
• American B-movie actors
• American crooners
• American actor-singers
• American film actors
• Identical twins
• Sun Records artists
• Rock and Roll Hall of Fame inductees as a Performer
• Rockabilly Hall of Fame
• Grammy Award winners
• Grammy Lifetime Achievement Award winners
• Hollywood Walk of Fame
• United States Army soldiers
• American Pentecostals
• Jewish singers
• People from Memphis, Tennessee
• People from Tupelo, Mississippi
• People from Las Vegas
• Scottish-Americans
• Tennessee actors
• Tennessee musicians
• Las Vegas musicians
• 1935 births
• 1977 deaths