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Doss (fine arts and American studies, U. of Colorado-Boulder) examines the image of Elvis from a number of perspectives, including as a religious icon honored in household shrines, as a sexual fantasy for women and men, as an inspiration for impersonators, as a not- altogether positive emblem of whiteness for many blacks, and as a commodity to be protected by Elvis Presley Enterprises. Bandw illustrations. Annotation copyrighted by Book News, Inc., Portland, OR
A photographic collection that provides an all-access pass to the personal and professional world of Elvis Presley, as photographed by Thom Gilbert, whose stunning photos of Elvis artifacts reveal the man behind the legend. Behind-the-scenes images of Elvis's personal memorabilia, jewelry, clothing, and cars, plus interior images from his homes and birthplace are paired with portraits of friends, fellow musicians, co-stars, and fans, whose memories and anecdotes create a remarkable picture of this extremely generous and talented man.
Listening in on public conversation that recreates Elvis after death, Marcus tracks Presley's resurrection. He grafts together snatches of film, music, books, newspapers, photos, posters, and cartoons, and amazes us with what America has been saying as it raises its late king--and also what this obsession with dead Elvis says about America itself.
Elvis Presley Passed Here is an amazing portrait of the bizarre, shocking, weird, and wonderful moments that have come to define American popular culture. The follow-up to the critically acclaimed James Dean Died Here and Marilyn Monroe Dyed Here, this third collection of the locations where the most significant events in American popular culture took place offers a fully illustrated encyclopedic look at the most famous--and infamous--pop culture events, providing historical information on more than 600 landmarks as well as their exact locations (including, of course, the Los Angeles park where Elvis Presley and his entourage would organize spirited touch football games against other celebrities).
In Race, Rock, and Elvis, Michael T. Bertrand contends that popular music, specifically Elvis Presley's brand of rock 'n' roll, helped revise racial attitudes after World War II. Observing that youthful fans of rhythm and blues, rock 'n' roll, and other black-inspired music seemed more inclined than their segregationist elders to ignore the color line, Bertrand links popular music with a more general relaxation, led by white youths, of the historical denigration of blacks in the South. The tradition of southern racism, successfully communicated to previous generations, failed for the first time when confronted with the demand for rock 'n' roll by a new, national, commercialized youth culture. In a narrative peppered with the colorful observations of ordinary southerners, Bertrand argues that appreciating black music made possible a new recognition of blacks as fellow human beings. Bertrand documents black enthusiasm for Elvis Presley and cites the racially mixed audiences that flocked to the new music at a time when adults expected separate performances for black audiences and white. He describes the critical role of radio and recordings in blurring the color line and notes that these media made black culture available to appreciative whites on an unprecedented scale. He also shows how music was used to define and express the values of a southern working-class youth culture in transition, as young whites, many of them trying to orient themselves in an unfamiliar urban setting, embraced black music and culture as a means of identifying themselves. By adding rock 'n' roll to the mix of factors that fed into civil rights advances in the South, Race, Rock, and Elvis shows how the music,with its rituals and vehicles, symbolized the vast potential for racial accord inherent in postwar society.
Though Elvis Presley's music is widely credited as starting a sea change in American popular culture, his films are often dismissed as superficial. Beyond the formulaic plotlines and the increasingly weaker songs, however, the films are rich with resonance to the changing times in which they were produced (roughly 1955-1970). They were also a means by which Elvis communicated deeply felt autobiographical material to his fan base, although in the guise of lighthearted escapist fare. This work takes a new stand, maintaining that Elvis's 31 Hollywood features and two documentaries reveal a profound statement from the star and auteur. Analyzing each film in detail and exploring the body of work as a whole, Brode reveals the Elvis persona as a contemporary Candide, attempting to navigate an ever changing social and political landscape.
Echoes of Elvis is a collection of papers examining how the Elvis' story and widespread fame fit into the greater framework of American culture.
One of the most admired Southern historians of our time paints an intimate portrait of Elvis Presley, set against the rich backdrop of Southern society, that illuminates the zenith of his career, showing how Elvis himself changed—and didn't—and providing a deeper understanding of the man and his times.
“Outstanding pop-culture history.” —Newsday The “smart and zippy account” (The Wall Street Journal) of how Las Vegas saved Elvis and Elvis saved Las Vegas in the greatest musical comeback of all time. Elvis’s 1969 opening night in Vegas was his first time back on a live stage in more than eight years. His career had gone sour—bad movies, mediocre pop songs that no longer made the charts—and he’d been dismissed by most critics as over-the-hill. But in Vegas he played the biggest showroom in the biggest hotel in the city, drawing more people for his four-week engagement than any other show in Vegas history. His performance got rave reviews; “Suspicious Minds,” the song he introduced there, gave him his first number-one hit in seven years; and Elvis became Vegas’s biggest star. Over the next seven years, he performed more than 600 shows there, and sold out every one. Las Vegas was changed, too. By the end of the ‘60s, Vegas’ golden age—when the Rat Pack led a glittering array of stars who made it the nation’s premier live-entertainment center—was losing its luster. Elvis created a new kind of Vegas show: an over-the-top, rock-concert extravaganza. He set a new bar for Vegas performers, with the biggest salary, the biggest musical production, and the biggest promotion campaign the city had ever seen. He opened the door to a new generation of pop/rock artists and brought a new audience to Vegas—not the traditional well-heeled older gamblers, but a mass audience from Middle America that Vegas depends on for its success to this day. At once “a fascinating history of Vegas as gambling capital, celebrity playground, mob hangout, [and] entertainment Valhalla” (Rolling Stone) and the incredible “tale of how the King got his groove back” (Associated Press), Elvis in Vegas is a classic feel-good story for the ages.
Filled with memorable photographs, Rock Star will appeal to anyone interested in modern American popular culture or music history.