Elvis Presley

by Williamson, Joel

  of Thompson, 261–62

  as young adult, 129

  persona or act, xv–xvi, xx, 26, 330

  Phillips, Dewey, 153, 157

  Phillips, Sam audience and role of, 25–26, 28, 157

  background of, 138–39

  black culture for, 139, 140, 149

  Blue Moon Boys’ recordings with, 26, 38–39

  illness of, 140–41

  Keisker and relationship with, 141–42

  lower-class musicians for, 145–47, 149

  in Overton Shell concert, 23, 24

  physical appearance of, 141

  racial justice for, 144

  racism experienced by, 140

  in radio, 139, 141

  in recording business, 139–40, 141–56

  as sound engineer, 155

  as Southern cultural figure, xviii

  philosophy, 254, 255–56

  photographs or photography, 65–67, 196, 249–50, 328–29

  physical abuse or assault, 183, 275–77, 278–80, 329. See also violence or aggression

  physical appearance, 239 at death, 4, 5

  employment and, 136–37

  in high school, 119–20

  on last tour, 313

  in Nixon meeting, 246–47

  of Phillips, Sam, 141

  of Presley, Vernon, 74–75, 79, 112

  sexuality in, 31, 214

  vanity concerning, 136

  as young adult, 129

  piano, 316

  police and law enforcement, 10, 242–45, 247, 249–50, 305

  politics, 207, 244–48

  popular culture, 19

  popularity, xx, 27, 50–51, 104, 128–29, 132

  possessiveness, 161, 162, 181–82, 184–85

  poverty, 102–4, 107, 109–13, 121, 125–26

  Precision Tool, 119, 130, 133, 136

  prescription drugs, 5–6, 15–16, 316–17

  Presley, Annie, 96–97

  Presley, Dunnan, Jr. (great grandfather), 68

  Presley, Elvis. See specific topics

  Presley, Gladys (mother), 70 alcoholism of, 125, 164, 167–68

  authority and, 111–12

  burial in Meditation Garden, 326–27, 329

  chickens of, 166

  death of, 163–69, 180–81, 183–84

  education for, 99

  emotions of, 124–25, 164–65, 166, 167

  employment of, 90, 106, 110, 111, 120, 122

  family and children for, 328, 329

  in family photograph, 65, 67, 328

  female fans and safety concerns of, 164–65

  injury or illness to, 97, 124–27, 163–69

  Locke for, 134–35, 162

  management and relationship to, 39

  marriage to Presley, Vernon, 67, 83, 167, 182–83, 329

  Parchman visits from, 80–82

  perceptiveness of, 112, 113–14

  Presley, Vernon, correspondence with, 80–81

  Presley, Vernon, release and, 88–90, 92

  religion for, 84

  Southern culture and father or husband’s role from, 89–90, 92, 93, 94

  Wood, Anita, for, 189

  Presley, Jessie (paternal grandfather), 67–69, 71–72, 106

  Presley, Jessie Garon (brother), 70, 327–28

  Presley, Lisa Marie (daughter), 289–90 attention paid to, 309–11

  birth of, 233

  death and involvement of, 320

  emotions elicited by, 304–5

  family resemblance of, xx

  last visit of, 309–12

  personality of, 310

  in will, 323

  Presley, Minnie Mae. See Hood, Minnie Mae

  Presley, Noah (great uncle), 81

  Presley, Priscilla (spouse), 251, 290–91. See also Beaulieu, Priscilla divorce from, 258, 264–65, 304–5

  first meeting with, 179–80

  friendship with, 264–65

  karate for, 235

  on love for audience, xx

  as mother, 233

  separation from, 255, 256, 265–66

  on spending, 243

  Presley, Rosella (paternal grandmother), 68

  Presley, Sales, 96–97

  Presley, Vernon (father), 70 arrest and incarceration of, 65–67, 71–72, 73–84, 91–92

  autopsy presented to, 14

  in bodyguard firings, 278–79

  childhood relationship with, 121–22

  criminal activity of, 65–66, 70–71, 73, 108

  death and, 5, 8–9, 10, 16–17, 320–21

  education of, 74–75

  employment for, 90–91, 95–98, 108, 109–10, 111, 118, 119, 120–21, 122, 328–29

  as failed father, 122, 135, 329–30

  in family memorial, 326–28, 329–30

  illness or injury of, 120–21, 122, 135, 283, 311

  management and relationship to, 39, 166–67

  marriage to Presley, Gladys, 67, 83, 167, 182–83, 329

  Meditation Garden for, 325–26

  money for, 98, 101–2, 108–9, 118, 119, 125–26, 166–67, 227, 243, 248–49, 283, 328–29

  personality of, 69, 79, 98, 112, 166–67

  physical appearance of, 74–75, 79, 112

  Presley, Gladys, and release of, 88–90, 92

  Presley, Gladys, correspondence with, 80–81

  retirement of, 163–64

  in Southern social hierarchy, 93–94

  Stanley, “Dee,” marriage to, 193, 311–12

  success for, 166–67, 328

  suspended sentence for, 91–93

  violence against, 78, 79–80

  in will, 323–24

  women and, 182–84, 311

  World War II and impact on, 98

  Presley, Vester (paternal uncle), 69, 97

  prison, 74–84. See also Parchman Farm

  product marketing, 99–100

  public and public opinion death and theories of, 16–18

  discontent or unhappiness expressed in, 257

  emotions or emotional response of, ix

  Graceland for protection from, 165

  housing, 110–16, 118–24

  love and image for, 300, 313

  Pugh, Wynette, 151

  race and racism in America, 206–7

  in audience, xviii–xix

  civil rights, television, and, 204–5, 208, 215–16, 217–18

  concerts, South, and, 40–41

  “cross-over” people regarding, xviii

  emotional appeal across, 60

  housing and, 105, 114–15

  justice and, 144

  musical creativity and, xviii

  over musical style, 53

  at Parchman Farm, 76–77, 83

  Phillips, Sam, experiencing, 140

  self on, 206, 208, 220–21, 268, 269

  sexuality and, xix–xx, 40–41, 76

  in Southern culture, xi, xix–xx, 25, 40–41, 75, 76, 117, 143–44, 206–7

  on tour, 53

  violence involving, 206–7

  radio audience found on, 25–27

  in concert bookings, 148

  Fike in, 175

  first recordings on, 153, 155

  interviews, 153

  Keisker in, 141

  performances, 99–100

  Phillips, Sam, in, 139, 141

  The Rainmaker, 57

  RCA, recordings with, 37–38, 39, 297

  rebellion, 126, 232, 266

  records, recordings, and recording business of African American musicians, 142–43, 147

  for African Americans, 140

  with American Sound Studio, 219–21

  awards for, 59–60

  of black culture and lower-class whites, 149

  of Blue Moon Boys, 26, 38–39

  drug use and, 253

  films and impact on, 203

  first, 144–46, 149–56

  Keisker in, 141–42, 149

  “Memphis Sound” in, 219–20

  money from, 37–39, 303<
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  performance exclusive to, 56

  Phillips, Sam, in, 139–40, 141–56

  with RCA, 37–38, 39, 297

  religious or gospel, 59–60

  of Starlite Wranglers, 147–48

  Sun Records in, 142–56

  television and, 205–6

  youthful tolerance and, 149

  relationships. See also friends and friendships accountability in, 281, 283, 286

  authority, command, or control in, 184–85, 187–88, 195–96, 237, 241, 247–48, 263, 264, 267, 284–85, 301, 304

  on NBC Comeback Special, 208–12

  relationships, romantic. See also sex, sexuality, sexual desire, and sexual life Alden, Ginger, in, 293–304, 306, 307

  Beaulieu in, 179, 186–87, 192–96, 198–99, 220

  Bova in, 236, 237–38, 243–44, 248, 252–56

  childhood, 131–32

  female fans and, 162–63

  innocence and, 189, 192, 195, 259–60, 263–64, 295

  with juveniles, 192–96

  of Keisker and Phillips, Sam, 141–42

  Kerwin in, 304–7

  with Locke, 131, 132–35, 137–38, 157–63

  of Mansfield and Stefaniak, 187–88

  sexual infidelity and, 190, 191–92, 198–99, 220, 234–36, 238, 239–41, 252–54, 255, 262–64, 265–66, 311

  Southern culture and, 259

  Thompson in, 258–62, 295–96

  wholeness lacking in, 163

  Wood, Anita in, 188–92

  religion or spirituality at Assembly of God, 85–88, 103–4, 132–33

  drug use and, 255–56

  of Eastern thought, 291–92

  emotional response to, 289–90

  for family, 84–88, 103–4

  Holiness movement and Pentecostal, 85–86

  morality and female fans, 46–47

  music or singing in experience of, 86–87, 88, 104

  Parker, Tom’s, influence regarding, 292

  personal beliefs regarding, 84–85, 290–92

  poverty and, 104

  recordings involving, 59–60

  sex and, 253–54

  social hierarchy and, 103–4

  in South, 85–86

  reputation, 90–91, 96, 126–27

  Richardson, Jane, 110–12, 113

  road. See tours, touring, or road

  Ryan, Sheila, 262, 263–64, 267–68

  safety, 42, 43, 164–65, 270

  savior or messiah, 226, 252, 254, 255–56

  Schilling, Jerry, 244, 245–48, 269

  screen test, film, 57–58

  Scrivener, Mildred, 123, 127, 128

  self acting as, 58

  “boys” for defining, 170, 171–75, 257

  in Elvis on Tour, 257

  erasure and perpetuation of, 309

  family for defining, 170–71

  feminine, 195–96

  “institutions” in defining, 170

  lawsuits and response of, 282–83

  on musical style, 145

  NBC Comeback Special and displaying, 205, 207–8, 214, 218

  pity for, 283–84

  race and racism from, 206, 208, 220–21, 268, 269

  as savior or messiah, 226, 252, 254, 255–56

  social hierarchy and awareness of, 93–94, 113

  on social issues, 220

  tell-all book and response of, 281–87

  wholeness lacking in, 170

  women in defining, 170, 180–81

  self-awareness, 43, 93–94, 113

  self-esteem or confidence, 197, 235–36, 265–66

  self-pity, 283–84

  sex, sexuality, sexual desire, and sexual life, ix in America, 51, 186

  Boccaccio’s tales and relation to, 252–54

  of body, xx, 25, 30

  enjoyment or indulgence in, xii, 31, 43, 160, 177, 178–79, 180–81, 184, 190, 234, 235–36, 238

  eschewing image of, 51–52, 55

  European approach to, 185–87

  family and, xvi–xvii

  of female fans, xix–xx, xxi, 30–32, 36–37, 42, 43, 44, 49, 158–59, 232

  with film costars, 198

  games or parties, 196, 199, 234, 288

  impact of, x–xi

  innocence and, 179–80, 235–36, 248, 259–60, 263–64, 267

  with juveniles, 179, 180, 186–87, 190–91, 193, 194, 288

  marriage and, 233, 234–35, 238, 239–41, 253–55

  masculinity and style of, 248, 258, 262, 263–64, 306, 308

  as moral threat, 47–48, 51

  motherhood and, 254

  in musical style, 211

  objectification of, 32

  orientation in, 31

  at Parchman Farm, 79–80, 83

  in personality, xx–xxi, 32–33, 211, 265–66

  physical appearance in, 31, 214

  romantic relationships and infidelity in, 190, 191–92, 198–99, 220, 234–36, 238, 239–41, 252–54, 255, 262–64, 265–66, 311

  self-awareness of, 43

  self-esteem and, 265–66

  in Southern culture, xi, xix–xx, 25, 32, 40–41, 76

  stage performance and, xv, xx, 25, 31–34, 36, 44, 47–48, 158–59, 214, 232

  on tour or road, 31, 35

  for validation, 181

  violence involving, 79–80

  women’s, x–xi, 25, 30–34, 215

  Sheperd, Cybill, 258

  show business, doctors in, 6–7

  shows. See concerts or shows; Las Vegas and Las Vegas shows

  Sinatra, Frank, 281

  singing, 86–87, 88, 104, 145, 169

  slavery, 143–44

  Smith, Billy, 182–83, 237, 261–62, 297, 305, 313 on attention paid to Presley, Lisa Marie, 309–10

  communication with, 308, 309

  death and involvement of, 314, 315–16

  support from, 307–9

  on will’s beneficiaries, 323

  Smith, Frank, 104

  Smith, Gene, 132–33, 137

  Smith, Jo, 304, 305, 306, 307–8, 315–16

  Smith, Myrna, 269

  Smith, Travis, 71–72, 75, 79, 90, 109–10, 165

  Snow, Jimmie Rodgers, 34, 35

  social corruption, 44–45

  social hierarchy family in, 103, 113–14

  Graceland’s purpose and, xviii

  high school, 116–17

  money, wealth, and, xvii–xviii, 103

  public housing and impact on, 115–16

  religion and, 103–4

  self and awareness of, 93–94, 113

  in Southern culture, xvii–xviii, 93–94, 113–14, 115–16, 117

  social issues, Presley, Elvis, on, 220

  “Softly as I Leave You,” 265

  sound engineering, 155

  South concerts in racial, 40–41

  desegregation and response of, 40–41

  early concerts outside, 41–43

  early tours in, 28–30, 38

  economic prosperity in, 112–13

  gender relationships in, 152

  housing and race in, 105, 114–15

  integration and response of, xv

  Las Vegas and gospel of, 222

  modernity in, 90

  populace of birthplace in, xvii

  radio performances in, 99–100

  religion in, 85–86

  Southern culture creative figures in, xvii, 143–44

  education in, 117

  father or husband’s role in, 89–90, 92–94

  Grand Ole Opry Show tour and, 29–30

  marriage within family in, 97

  of Mitchell, xxi

  NBC Comeback Special in relation to, 230

  Phillips, Sam, as figure in, xviii

  public housing in, 114–16

  race and racism in, xi, xix–xx, 25, 40–41, 75, 76, 117, 143–44, 206–7

  romantic relationships and, 259

  sexuality in, xi, xix–xx, 25, 32, 40–41, 76

  social hierarchy in
, xvii–xviii, 93–94, 113–14, 115–16, 117

  spending. See finances, financial habits, and spending

  spirituality. See religion or spirituality

  stage performance anger or cruelty in, 268–71

  attention sought in, 34, 219

  audience dictating, 53–54, 55

  body in, 24, 25, 26, 30, 45–46, 158, 218

  control in, 40, 54, 268–71

  female stripper compared to, 45–46

  in Las Vegas shows, 225–26, 236

  morals threatened by, xii, 46, 47–48

  musical style in, 37–38

  at Overton Shell, 24–25, 158

  personality in, 32–33, 37–38, 46, 128

  sexuality and sexual desire from, xv, xx, 25, 31–34, 36, 44, 47–48, 158–59, 214, 232

  on television, 53–55, 56, 214, 218–19

  time frame for, ix

  women and, xv, xx, 25, 31–34, 214–15, 232

  Stage Show, 49–50, 53

  Stanley, David, 306

  Stanley, “Dee,” 184, 193, 311–12

  Stanley, Ricky, 316, 317–18

  Starlite Wranglers, 147–48

  Steele, John (great grandfather), 68

  Stefaniak, Elisabeth, 177–79, 180, 181–82, 184–85, 187–88

  The Steve Allen Show, 50

  Stone, Mike, 235, 256, 265–66

  Strada, Al, 319–20

  Strange, Billy, 209, 210

  Strauss, Richard, 225–26

  style. See clothing and outfits; musical style; specific topics

  success failure and relationship to, xiii

  family home purchased after, 163–64

  of first recordings, 153

  friendships after early, 161–62

  of Las Vegas shows, 221, 223–24

  military service impacting, 61

  for Presley, Vernon, 166–67, 328

  of Sun Records, 142, 153

  of tell-all book, 312

  suffering, 143–44

  Sullivan, Ed, 50, 55, 56, 59

  Sumner, J. D., 222

  Sun Records, 142–56

  suspended sentence, for Presley, Vernon, 88–89, 90–93

  “Suspicious Minds,” 220, 221, 286

  Sweet Inspirations, 222, 268, 269

  Tamke, Beth J., 14–15

  taxes, 98, 102, 122–23, 130, 226–28, 277

  teachers, 129

  teenage girls, xv–xvii, xx, 26, 36, 39–40. See also juveniles

  television. See also NBC Comeback Special; specific shows audience and “Elvis mania” changed by, 48–49, 51–52

  censorship, 50

  civil rights, race, and, 204–5, 208, 215–16, 217–18

  clothing or outfits on, 50, 211–12, 213, 216, 217

  image and stage performance on, 53–55, 56, 214, 218–19