Elvis Presley

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Elvis Presley Page 43

by Williamson, Joel


  Gable, Lether, 71–72, 75, 90

  Geller, Larry, 291–92

  gender, in South, 152

  generosity. See gifts and generosity

  Germany, 177–80

  Ghanem, Dr. Elias, 285

  gifts and generosity, 287 to audience, 270

  of cars, 28–29, 227, 242, 249, 270–71, 298

  to friends, 8, 249

  gratitude for, 267, 304

  love through, 266

  with money, 213–14, 323–24

  spending on, 243, 270–71

  will lacking, 323–24

  from women, 266

  to women, 264, 265, 267, 270, 296, 303–4

  Gleaves, Cliff, 189–90

  Goldenberg, Billy, 208–11, 216, 223, 230–31

  Goldman, Albert, 291

  Gone With the Wind (Mitchell), xxi

  “Good Elvis,” 57–59, 231

  “Good Rockin’ Tonight,” 26

  gospel music, 59–60, 133, 138, 158, 222

  Graceland, 59–60 cost of, 227

  death at, 3–4

  decoration and furnishing of, 167, 260–61

  for family, 165–66, 167, 170–71, 310–11, 325–30

  Meditation Garden at, 325–28

  mourning at, 19–20

  popularity of, xx

  public and protection of, 165

  sex games at, 196

  social hierarchy and purpose of, xviii

  The Grand Ole Opry, 25–26

  Grand Ole Opry Show, 29–30

  Grant, Currie, 179

  gratitude, 267, 304

  Great Depression, 72–74, 90–91

  Grenadier, Bernie, 325

  Guercio, Joe, 225–26

  guns, 242, 249–50, 251, 270

  Guy, Farley, 118, 124–25

  “guys.” See “boys” or “guys”

  Haldeman, H. R., 246

  Hank Snow All-Star Jamboree tour, 34–35

  happiness, philosophy on, 254

  Hays, Lowell G., 298

  health and well-being, 285–87, 302, 315. See also illness or injury

  “Heartbreak Hotel,” 50–51

  heart failure, 13, 15

  Hebler, Dave, 278, 284–85

  high school academic performance in, 120

  clothing worn in, 120, 126

  deference to authority in, 127

  education, 110, 116–18, 123

  friendships, 117–18

  musical performance in, 127–28

  physical appearance in, 119–20

  popularity, 128–29

  reputation, 126–27

  senior year in, 126, 127–29

  social hierarchy, 116–17

  history. See specific topics

  Hodge, Charlie, 169, 268, 281, 286, 321, 322–23

  Hofman, Dr. Lester, 314–15

  Holiness movement, 85–86

  home or housing. See also Graceland childhood, 69–70, 101–3, 105–6, 110–16

  employment away from, 96–97

  in Memphis, 108–9, 110–16, 118–24, 161

  money problems and, 101–2, 118, 120–21, 123–24

  Palm Springs, 234

  public, 110–16, 118–24

  race and, 105, 114–15

  success and family purchased, 163–64

  World War II and shortage in, 102

  homosexuality, 31, 79–80, 83

  Hood, Minnie Mae, 68–69, 106, 111–12, 181–82, 253, 323

  Hoover, J. Edgar, 250

  housing. See home or housing

  Howe, Bones, 205–6

  Howe, Marjorie, 46

  Humbard, Rex, 289–90

  Humes High School, 110, 116–18, 127–29

  husband. See father and husband

  “I Don’t Care If the Sun Don’t Shine,” 26

  “If I Can Dream,” 215, 221, 225

  illness or injury, 252 chronic, 11

  complaints regarding, 283

  concerts and, 271, 275

  from depression, 271–72

  from drugs, 286

  employment and, 120–21, 122, 135

  in family, 97, 120–21, 122, 124–27, 135, 163–69, 283, 311

  mental, 124–27, 271–72, 306

  performance impacted by, 45, 289, 302

  of Phillips, Sam, 140–41

  on tours, 277, 289, 302–3

  image audience dictating, 53–54, 230–31, 331–34

  “Bad Elvis,” 231–32

  charitable contributions and, 60

  control of, 48–49, 51–52, 60–61, 176–77, 199, 299, 320

  enjoyment or indulgence-based, 231

  eschewing sexual, 51–52, 55

  of “Good Elvis,” 57–59, 231

  love and public, 300, 313

  marriage for benefit of, 293, 299, 313

  in military service, 61

  of Nixon for youth, 246–47

  others’ projection of, 230–31

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

  tell-all book and tarnishing of, 280–81

  incarceration. See arrest and incarceration

  indulgence. See enjoyment or indulgence

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

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

  integration, xv

  International House orchestra, 222–23, 225–26

  interviews, 153, 155

  “In the Ghetto (The Vicious Circle),” 220, 221

  investments, 226–27, 282

  Jailhouse Rock, 58, 59

  jealousy, 182, 184–85

  Jones, Ulysses, 3, 4, 9, 321

  junior high school, 103, 104

  justice, racial, 144

  juveniles romantic relationships with, 192–96

  sex or sexuality with, 179, 180, 186–87, 190–91, 193, 194, 288

  karate, 235, 266–67

  Katzman, Sam, 197

  Keisker, Marion, 141–42, 144–45, 146, 149, 155

  Kelly, “Machine Gun,” 72–73

  Kennedy, Aaron, 102

  Kennedy, Robert, 206

  Kerwin, Alicia, 304–7

  King, Martin Luther, Jr., 206, 216

  King Creole, 58, 59

  Kissin’ Cousins, 197

  Klein, George, 42, 117, 188–90, 293–94, 304, 308

  Krogh, Egil “Bud,” 245–46

  labor and unions, 73–74, 75–76

  Lacker, Marty, 174–75, 261, 325

  Las Vegas and Las Vegas shows “Bad Elvis” image in, 231–32

  clothing or outfits for, 223

  death threat, 236–38

  diversity in, 222–23

  illness during, 271

  love of, 232

  money from, 221, 223, 226, 229–30

  morality and freedom in, 231–32

  musicians in, 221–23, 225–26

  rebellion in, 232, 266

  Southern gospel to, 222

  stage performance in, 225–26, 236

  success of, 221, 223–24

  touring with, 224, 225

  violence or aggression in, 232

  Lauderdale Courts, 110–16, 117

  law enforcement. See police and law enforcement

  lawsuits. See trials or lawsuits

  LeGault, Lance, 218

  Leigh, Barbara, 237, 238, 240, 241, 252–53

  liberalism, 207–8

  Lisa Marie jet, 229, 272

  Locke, Dixie Assembly of God and meeting, 132–33

  celebrity and loss of, 157–63

  family of, 134, 162

  on friendships after early success, 161–62

  last meeting with, 168–69

  possessiveness over, 161, 162

  for Presley, Gladys, 134–35, 162

  on Presley family, 135

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

  on sexuality of stage performance, 158–59

  Louisiana Hayride, 25–27

  Louvin, Charlie,
52–53

  Louvin, Ira, 52–53

  love. See also relationships, romantic of audience, xx, 34, 214, 232, 330–34

  at death, 19–20

  through gifts, 266

  of Las Vegas, 232

  public image of, 300, 313

  for women, 35, 159, 179–80, 260

  Love Me Tender, 51, 57–58

  Loving You, 58, 59, 188–89

  lower-class whites, 149. See also social hierarchy

  lust, of public, xi

  management and managers. See also Parker, Colonel Tom of Blue Moon Boys, 26–28, 38

  family and relationship to, 39, 165, 166–67

  Parker, Tom, as, 37, 39, 60–61, 165, 271, 299–300, 302

  Mansfield, Rex, 185, 187–88

  marriage to Beaulieu, 194–95, 199, 233

  “boys,” divorce, and, 235

  control of, 299–300

  within family, 97

  for female fans, 162–63

  image benefiting from, 293, 299, 313

  of Moore, Bobbie, and Moore, Scotty, 150

  for Presley, Jesse, 106

  of Presley, Vernon, and Presley, Gladys, 67, 83, 167, 182–83, 329

  of Presley, Vernon, and Stanley, “Dee,” 193, 311–12

  sexual life and, 233, 234–35, 238, 239–41, 253–55

  masculinity. See also “boys” or “guys” audience, 54

  control over “Elvis mania,” 48–49

  NBC Comeback Special and, 212–13

  personality with feminine and, xx–xxi

  sexual style and, 248, 258, 262, 263–64, 306, 308

  M. B. Parker Company, 129–30

  McMahan, Betty, 131–32

  McMahon, Mike, 282

  media on body and stage performance, 45–46

  bodyguards’ stories to, 279–80

  death and response of, 10, 12, 14–15, 18–20, 320

  on early shows, 36

  on female fans, 46

  interviews, 155

  obituary from, 18–19

  off-stage personality for, 55–56

  Meditation Garden, 325–30

  memorial, family, 326–30

  Memphis. See also Graceland employment in, 96, 97–98, 109–10, 111

  exposure to, 114

  as fascinating place, xv

  first great audience in, xviii–xix

  home and housing in, 108–9, 110–16, 118–24, 161

  social hierarchy in, xvii–xviii

  “Memphis Mafia,” 170 adolescent nature of, 172–73

  control provided by, 174–75

  cruelty towards members of, 175–76

  as employees, 173–74

  fear of desertion counteracted by, 172

  Parker, Tom, control over, 176–77

  recruitment into, 189–90

  for “taking care of business,” 171

  violence or aggression of, 173–74, 275–77, 284–85

  Memphis Recording Service, 139–40

  “Memphis Sound,” 219–20

  messiah. See savior or messiah

  middle age, 306, 308

  Milam Junior High School, 103, 104

  military service, 61, 169, 185, 187–88

  Miller, Sandy, 311, 320

  Mississippi, xv

  “Mississippi Slim.” See Ausborn, Carvel Lee or “Mississippi Slim”

  Mitchell, Margaret, xxi

  modernity, in South, 90

  Moman, Lincoln Wayne “Chips,” 220

  money and wealth. See also cost; poverty collaborating musicians and sharing of, 213–14

  enjoyment of, 52

  family and, 101–2, 107, 108–9, 122–24, 125–26, 136–37, 163–64, 303–4, 323–24

  from films and television, 52, 196–97, 203–4

  financial habits, spending, and, 226–28, 248–49, 272, 277

  generosity with, 213–14, 323–24

  home and problems with, 101–2, 118, 120–21, 123–24

  in image control, 60–61

  investments and, 226–27, 282

  from Las Vegas shows, 221, 223, 226, 229–30

  from military service, 61

  musical creativity compromised by, 197

  Parker, Tom, and, 176, 203–4, 221, 223, 228, 229–30, 243, 277, 299, 302, 303

  payroll drawing from, 227

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

  from recordings, 37–39, 303

  social hierarchy and, xvii–xviii, 103

  from touring, 224, 226, 228, 277, 302, 303, 312

  Moore, Bobbie, 28–29, 150, 157

  Moore, Scotty, 30–31, 40, 147–49, 151–52, 154–56, 213–14

  morals and morality, xii, 46–48, 51, 55–56, 58–59, 231–32

  Morris, Bill, 249, 250

  mother and motherhood, 233, 254, 264. See also Presley, Gladys (mother)

  mourning, at death, 19–20

  movies. See films

  Muirhead, Dr. E. Eric, 11, 12–14, 15

  Murphy, George, 244

  music. See also specific types gospel, 59–60, 133, 138, 158, 222

  high school performance of, 127–28

  for Moore, Scotty, 148

  religion and, 86–87, 88, 104

  musical inspiration, 99, 100–101, 105, 152

  television shows, 49–50

  musical creativity or talent American Sound Studio recordings and, 221

  in childhood, 101, 104, 127–29

  film for showcasing, 57–58, 59

  in first recordings, 150

  lack of, ix–x

  money compromising, 197

  in NBC Comeback Special, 205

  object of desire and relation to, xii

  on piano, 316

  race and, xviii

  time frame for, xi

  young women inspiring, xi

  musical style body linked to, 30, 38

  control of, 209–10

  of first recordings, 145–46, 155–56

  hybrid, 23–24, 155–56

  racism over, 53

  self on, 145

  sexuality in, 211

  in stage performance, 37–38

  television and performance of, 209–10, 216–17

  musicians, 142–43, 145–47, 149, 213–14, 221–23, 225–26

  “Mystery Train,” 38–39

  name and naming, 70

  NBC Comeback Special, 204, 206 audience in, 214–15, 216–17

  black culture in, 217–18

  Blue Moon Boys on, 213

  civil rights, race, and, 215–16, 217–18

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

  control in, 209–10, 212

  “Guitar Man” segment in, 216–17

  “guys” presence on, 210–11, 212–13, 214

  liberalism in, 207–8

  masculine “informal” segment on, 212–13

  musical creativity in, 205

  musical style of, 209–10, 216–17

  relationships on, 208–12

  self displayed in, 205, 207–8, 214, 218

  Southern culture in relation to, 230

  time frame for, 218–19

  women and stage performance in, 214–15

  Neal, Bob, 23, 24, 26–28, 38, 157

  Neal, James, 16

  need, for attention, 132

  Nelson, Gene, 197

  New Deal, 115–16

  Nichopoulos, Dr. George, 270 background and education of, 6–7

  death and involvement of, 7–9, 10, 12, 15–18, 316–17

  debt of, 8–9, 271

  drug prescriptions from, 5–6, 15–16, 316–17

  in drug use cover-up, 10–11, 14

  investment with, 282

  payment and gifts for, 8

  as show business doctor, 6–7

  style of, 7

  trial and, 15–16

  Nightly News, 18–19

  Nixon, Richard, 244–48

  nostalgia
, 154

  numerology, 286

  obituary, 18–19

  objectification, of sexuality, 32

  obsessions, 242–43, 244–45, 247, 249–52

  Omaha, 330–34

  Overton Shell, 23–25, 157–58

  Pajarinen, K. Peter, 275

  Palm Springs home, 234

  Parchman Farm, 74–84

  Parham, Bill, 95–96

  Parker, Colonel Tom, 214, 297, 313 control of musical style and, 209, 210

  emotions towards, 299

  films and involvement of, 196–97, 203–4, 219, 257, 299

  Florida for, 35–36

  gambling addiction of, 229–30

  image controlled by, 51–52, 60–61, 176–77, 199, 299, 320

  as manager, 37, 39, 60–61, 165, 271, 299–300, 302

  “Memphis Mafia” and control by, 176–77

  money and, 176, 203–4, 221, 223, 228, 229–30, 243, 277, 299, 302, 303

  spirituality and influence of, 292

  tours and involvement of, 27–28, 29, 52–53, 224–26, 228–29, 302

  Parker, Patricia Ann, 236

  parole, 88

  payment and payroll, 8, 214–15, 227. See also finances, financial habits, and spending; money and wealth

  Peace in the Valley, 59

  “Peace in the Valley,” 56

  Pennington, Ann, 262–63, 264

  Pentecostal religion, 85–86

  perception and perceptiveness, 55–56, 112, 113–14

  performance or performing. See also stage performance attention sought in, 34, 138, 219

  body in gospel music, 158

  censorship, 50

  during elementary school, 99

  exclusive to film and recordings, 56

  high school academic, 120

  high school musical, 127–28

  illness impacting, 45, 289, 302

  product marketing and radio, 99–100

  road life and, 28–30

  South and radio, 99–100

  of teenage girls, 40

  on television, ix, 209–10, 212–19

  tours and nature of, 228–30

  personality. See also self of Alden, Ginger, 300

  anger or cruelty in, 211, 238

  arrogance in, 238, 241

  audience and attuned, 55–56

  celebrity and, 230

  childhood, 112, 113

  regarding confrontation, 122, 285

  of Fike, 175, 176

  off-stage, 33–34, 38, 54–56

  of Presley, Lisa Marie, 310

  of Presley, Vernon, 69, 79, 98, 112, 166–67

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

  in stage performance, 32–33, 37–38, 46, 128

  tell-all book on, 287–88

 

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