sábado, 14 de diciembre de 2024

September 1956—A Record Month for Presley Records


September 1956—A Record Month for Presley Records
 
In his 23-year recording career, Elvis Presley released a steady stream of single, EP, and LP records. Along the way he accumulated a record number of record sales, gold records, and #1 records. When it came to releasing and selling records, however, September 1956 was a record month for Elvis.
He entered that month as the hottest entertainment personality in the world. He already had three million-selling singles in "Heartbreak Hotel," "Hound Dog," and "Don't Be Cruel." His personal appearances were drawing record crowds around the country, and he was about to make his first appearance on The Ed Sullivan Show. But the best indication of his phenomenal success came in the record business that month.
Early in the month RCA released seven more single records available before only on Elvis LPs. They included some of his early Sun Records recordings, like "Tryin' to Get to You" and "Just Because," and recent RCA album cuts, such as "Blue Suede Shoes" and "Lawdy, Miss Clawdy." By September 5 these reissue singles were all selling at the rate of 12,000 a day. By the end of the month, all six singles had gone over 100,000 in sales.
And then, after Elvis sang "Love Me Tender" on the September 9 Sullivan show, dealers all over the country were swamped with orders for the single the next day. Despite already having eight Presley singles on the market, RCA rushed to get Elvis's new song out. An RCA ad in Billboard on September 29, 1956, proclaimed, "856,327 orders on 'Love Me Tender' a week before release." A footnote added, "by the time you read this, orders will be well over 1,000,000."
An article in Variety on September 5, 1956, reported that Elvis was due to sell around 10,000,000 records during his first year with RCA Victor. From those sales he earned about $400,000 in royalties, a record payoff for any recording artist at that time. September 1956 was indeed a special month for Elvis Presley.


Question on Elvis a hot potato for Minnesota governor in 1956

Question on Elvis a hot potato for Minnesota governor in 1956
 
 On December 11, 1956, Elvis's first movie, Love Me Tender, was in its third week in Minneapolis theaters. That morning the Minneapolis Morning Tribune ran a front-page story on how the state's governor, O. A. Freeman, answered a question posed by 11-year-old Linda Johnson. "I would like to have your personal opinion of Elvis Presley," Linda wrote the governor. "I love him."
 According to the Tribune, Freeman "straddled the fence on a burning national issue." His return letter to Linda read, in part, "I've been so busy with my duties here and my reelection campaign (a successful one) that I had never seen Mr. Presley until his recent appearance on the Ed Sullivan program. He is certainly a very unusual showman and apparently appeals to many people."
Tribune reporter Ed Goodpaster, who wrote the paper's story about the correspondence between the young girl and the governor, closed his article with the following observation.
"Freeman, no stranger to political differences of mind, realized that this, however, was a different situation. As one of his assistants put it: 'Political infighting hath no fury like a Presley fan whose blue suedes have been stepped on.'"

Elvis Beer Cans: In 2004, Miller Brewing Co. released a set of eight commemorative beer cans celebrating 50 years of rock music. Doing the math, that would mark the start of rock and roll in 1954, and we all know what happened then – Elvis’ first reco

 
Elvis Beer Cans: 
 
In 2004, Miller Brewing Co. released a set of eight commemorative beer cans celebrating 50 years of rock music.  Doing the math, that would mark the start of rock and roll in 1954, and we all know what happened then – Elvis' first recording, "That's All Right."  So, of course Elvis was on one of the cans.
You might be surprised who the other seven rockers were:  Eric Clapton, Blondie, Alice Cooper, Bon Jovi, Def Leppard, Joe Walsh, and Willie Nelson.  The pictures of each artist were reproductions of Rolling Stone magazine covers with their faces on them.  The one for Elvis was dated September 22, 1977, the first Rolling Stone cover issued after his death.



In 1956 Vernon and Gladys Talked About Raising Young Elvis

In 1956 Vernon and Gladys Talked About Raising Young Elvis

Young Elvis Presley had become a phenomenon, and in the fall of 1956, the New York Daily Mirror decided it was time to give him a serious look. And so in early September, columnist Sidney Fields headed down to Memphis to gather material for a series of articles in the Mirror. He didn't get a chance to talk with Elvis, who was in Hollywood shooting Love Me Tender at the time, but Fields was able to get an extensive interview with Elvis's parents, who invited him into the Presley home. That interview with Gladys and Vernon Presley was the basis for a five-part expose entitled "The Real Story of Elvis Presley," which ran in the Daily Mirror from September 23-27, 1956. What follows is a brief summary of the series' first three parts, in which the Presleys revealed much about how they raised their son.

Sidney Fields had gone to Memphis hoping to discover "WHAT is Elvis Presley?" Visiting his parents seemed like a logical first step in looking for the answer. On first meeting Vernon and Gladys Presley, he was impressed with their closeness and honesty. "They do have a deep bond between them," he observed, "which is nice to watch, and they express it in a quiet kindness." He described Gladys as "39, plump, placid, and pious" and Vernon as "40, a gentle, graying, handsome man, as tall as his son."
Mrs. Presley showed Fields their son's room, the predominant feature of which was stuffed animals—teddy bears, pandas, elephants, monkeys, dogs—everywhere. "I took him to carnivals when he was a kid," explained Vernon, "and taught him how to pitch baseballs at wooden bottles and win stuffed animals. He still does it. Last week he won a toy dump truck. It's in the living room."
They sat down to talk in the living room, which Fields described as "mixed modern and traditional with a touch of gaudiness." Gladys pointed out that "Elvis picked out everything with me to furnish the house, and he's always sending new things home. He sent so many lamps home I had to store most of them away."
 
Young Elvis always kept in touch with parents
Whether their son was in Hollywood or on the road, he always keeps in touch with them, said Mrs. Presley. "He phones us every other night, no matter where he is. 'How's my babies?' he asks us. We've always been very close. Why, to this day he gets frightened when his father dives into the pool for fear he won't come up. He was always that way about us."
Gladys recalled another incident that demonstrated young Elvis's concern for his father. When Elvis was 5, his father and some other men were helping a neighbor put out a fire inside his house. Elvis screamed when he saw his father and the other men run inside the house to save some of the family's belongings. "He was afraid his father wouldn't ever come out," said Gladys. "I just told him, 'Daddy will be all right, now. You stop that, hear!' And he did."
Fields asked about their own upbringing and how that shaped their goals for their only son. Gladys, one of eight children, explained, "We didn't get to go to school. Vernon didn't graduate either. We can only read and write enough to get by. That's why I always wanted my son to have an education."
"We were poor," Vernon added. "When I was sick my wife walked to work many times because she had no carfare. And many times we hardly had any lunch money to give Elvis. But we did eat and had clothes and a roof over our heads. Maybe we got them all on credit, but we had them. We never had much until three years ago, but Elvis never wanted for anything even when we were troubled. And we always taught him right from wrong as far as we knew, though we didn't have hardly any education."
Mrs. Presley was pleased with how they taught their son. "He was raised well," she said. "He never lies. He doesn't swear. I never heard him call anyone anything except 'Mister' and 'Sir.' And we taught him if he can't help a man out of a ditch the least he can do is say a prayer for him, and the Lord will never let him fall."
 
When young Elvis was disciplined when needed
His mother spanked the young Elvis when needed, and his father remembers hitting his son just once. "He was 5 then," Gladys explained. "He took two empty Coke bottles from a neighbor's porch. He told me the neighbor let him take 'em, but that was stealin' and he had to be corrected. I got Vernon to take the switch to him and give him one or two licks." Vernon added with a wince, "It hurt me more'n it did him."
His parents recalled that when Elvis started at L.C. Humes High School at age 13, he didn't go in the first day because he was so scared. He was afraid the other kids would laugh at him. He had a desperate need to be liked. "And when he isn't, he worries about it," said his father.
The Presleys admitted they were always protective of their only son. As an example, Vernon explained how they tried to stop Elvis from playing football after he fell in love with the game at age 15. "After school the white boys would team up against the colored boys," he recalled. "They'd come home with their clothes torn and their hides, too. Elvis being all we had, we didn't want him to get hurt. But he wouldn't stop. Gladys was workin' in the hospital then and one day a boy was brought in from a football game, and he died of a blood clot. That scared both of us and we made Elvis quit." Mrs. Presley added, "Know what he told me? He said: 'I'll stop because I don't want to worry you.'"
 
All of young Elvis's girls were nice
Of course, Elvis had discovered girls about that time too. In fact, the first time young Elvis could remember really being out of his mother's sight was when he started dating at age 16. "He didn't have real dates till then," said his father, "but he had girl friends since he was 11. Once, when he was 16, I seen him sittin' real close to a little girl and I spoke to him about what he should know. He listened. He always does. We've been lucky. All the girls he's known have been nice kids."
Fields asked how they felt about the charges that Elvis's obscene stage movements were debasing the morals of America's youth. "Those things hurt," admitted Mrs. Presley. "He's never sassed us, and he's never been uppity. Big people are still the same as little people to him, and he's considerate of both the same way. We're country folk. He's a country boy, and always will be. How can any boy brought up like mine be indecent or vulgar? Especially when he's so good to us and his friends. Why, he always wants to do what's right."
Elvis's father denied other rumors that his son drinks and takes dope. "He never touch a drop of liquor in his life, and he wouldn't know dope if he saw it."
"He's a sympathetic boy, and tender-hearted," Vernon continued. "It hurts him when someone thinks bad of him. Maybe this will tell you what he's like. He was usherin' at the movies this time, and on his night off he was downtown with his friends and he sees this Salvation Army lady takin' up the Christmas collection. But the box was empty. Elvis put his last $5 bill in it, and started drummin' up a noise to get that box filled. It was filled."
 
To parents, young Elvis's temper was his only fault
Does Elvis have any faults his parents can see? A bit of a temper, said his mother. "To be plain with you, he's the easiest goin' guy you ever saw until he gets pushed or shoved. Then he gets mad, and he's a little too high tempered. But lots of people are."
The family always talked things out. "We've always been able to calm him, to talk to him about everything," said Vernon. "Except maybe his dates, and then we could talk to him if they were the wrong girls and he'd listen. He'll say something about a car he'd like to buy and I'll say, I wouldn't son, and he'll listen. Even now he obeys."
And the Presleys see nothing wrong with their son's "twitching and twisting" on stage. "Even when he was a tiny kid and we sang at church and camp meetin's, Elvis moved around and acted out his songs," Mrs. Presley said. "He's always had a lot of energy and he's big now and gets rid of it in his music. When he sings he's bein' himself and that's not bad or wrong."
Vernon recalled more about young Elvis's singing. "At 9 he was picked to sing alone in church," he said. "At home we sang as a trio, when Gladys wasn't playin' the harmonica. Elvis always had a natural talent. He can't read a note even now. But you don't have to teach a fish to swim."
 
Young Elvis: "I can sing better than that"
And Gladys remembered a time when she took her son to the fair in Tupelo. After listening to a guitarist sing a song, Elvis told his mother, "I can sing better than that." According to Vernon, "he just walked right up on that platform, his legs shakin' a little, and sang that song without any accompaniment." "With a real powerful voice," added Gladys, "and he did sing it better than that guitarist."
The Presleys recollect that from early on young Elvis dreamed of what he would do for his parents someday. "When he was hardly four," his mother recalled, "he'd tell me: 'Don't worry, baby. When I'm grown up I'll buy you a big home and two cars. One for you and Daddy and one for me.' All his life he'd say out loud what he was going to do for us, and he'd say it in front of other people. And you know, I believed him."
While in high school, Elvis took jobs in the afternoon to help his parents make ends meet. "And even when he was in school he'd go around and pay the grocery bill, $25, $30," said Mrs. Presley. "We didn't ask him to. He'd just do it himself." Once Elvis got his father to buy him a lawn mower and used it to make himself $8 a week. "But he stopped when the girls watched him," remembered Vernon.
 
Elvis: "You've taken care of me … Now it's my turn
"And when he got 19 and started making money," Gladys said, "he told us: 'You've taken care of me for 19 years. Now it's my turn."
Even with their son about to turn 22, the Presleys expected their close family ties would last forever. "This is Elvis's home," declared his father. "He's never had no other home except with us."
"And even when he gets married," said his mother, "part of him will always be here."
When Sidney Fields left Memphis and returned to the big city up north, he took with him a good feeling about Elvis Presley's parents. "I like these people," he wrote in one of his Daily Mirror articles a few weeks later. "They're simple, neighborly, unaffected by the fame and fortune of their son, or the furor he has created."
 
Alan Hanson

April 21, 1956 - Municipal Auditorium, Houston, Texas

 
April 21, 1956 - Municipal Auditorium, Houston, Texas
Text and photographs by John D. Greensmith:

"The date was April 21st 1956 and as a news photographer for The Chronicle in Houston, Texas, I had been assigned to photograph a concert featuring the then controversial young singer, Elvis Presley. He was to appear at the old Texas Municipal Auditorium for one performance. There was more than a little concern in Houston that Presley's stage antics might excite the audience too much and cause a riot. So extra police protection was planned. Church leaders were urging their young members to stay away from the Elvis concert because his style of singing was "lewd" and "suggestive". There was no doubt that Elvis did play to the females in his audiences with his bumps and grinds and moaning and groaning...but was it lewd? Frankly, a lot of of us at the time thought he was rather amusing to watch, but that maybe he did excite the young ladies with his writhing body action and slicked back hair. But a threat to the morals of the young generation? Hardly!
So it was with more than the usual detached attitude of a news photographer that I walked the short distance across the street from the newspaper office to the auditorium where Elvis was to perform. And I had to admit I was anxious to meet this young performer.
Inside a small, very ordinary room, Elvis sat in front of a smudgy mirror combing his hair. It seemed a natural way to remember my introduction to Elvis. I hesitate to say it, but I recall thinking how greasy his hair was and wondering if he used crankcase oil to slick it down. Elvis stood up and I was introduced to him. I was at first taken by how quiet he seemed and what a soft voice he had when speaking compared to the booming vibes he had when he sang. After explaining who I was and what I would like in the way of photos for the newspaper,
Elvis assured me he could give me all the time I wanted since the show didn't start for 30 minutes. He seemed surprised and maybe a little disappointed that I was the only member of the press on hand. Elvis and I went to the stage where he was to perform. The curtains were closed and you could hear the buzz of the crowd as it gathered. Band instruments stood on stage awaiting the
musicians. Several large speakers were propped up on folding chairs to provide the sound system. It was a very plain setting for a concert to say the least. I recall asking Elvis to put his right foot up on one of the folding chairs and to look as though he were tuning his guitar. He obliged. l recall him asking how big the crowd was and going over to the curtain to look out at the audience. Counting the crowd was soon to become the least of his concerns!
As a news photographer using large format film, i had been trained to capture the action in one or two photos - three at the most. So i only took a few shots of Elvis backstage...what a pity! Today i probably would have taken several rolls of 35mm using a motorized camera. I don't recall any words said between Elvis and myself. I do recall thinking that he had oily skin, greasy hair and was not a very friendly person. But on the other hand, he was polite to me and also most co-operative at a time when he could have been otherwise. And he did have a rather untrained and genuine charm about him.
After maybe 8 to 10 minutes alone with Elvis, the local P.R. person reappeared to say that he felt Elvis should be excused to get ready for the show. We all shook hands and I went down into the auditorium to await the Presley performance. Elvis came on stage and the crowd in Houston went wild! And that's the way it went for the whole of his show. He sang softly, loudly, confidently and played his guitar gently or boldly as the song or mood dictated. The audience, particularly the young Houston belles, at times sat in awe and then screamed and hollered with delight. Flashbulbs popped all over the place and a few young ladies seemed to faint with excitement. But there was no riot or close to what police and public worry warts felt might take place. No one tried to climb on stage and no articles of clothing were tossed on stage. All in all, it was a noisy but pretty tame afternoon...much to everyone's surprise.
When the concert was over, Elvis came to the front of the stage and sat down at the edge to sign autographs on glossy black and white portraits of himself that were held up to him by probably about 100 admiring young women. No one tried to tear off a piece of his clothing or plant a kiss on him. It was all very civilized!
And, by the way, Elvis was one heck of a fine singer! He did it his way.

source: "The Man and His Music" - no. 11, june 1991


The Killer and The King… Jerry Lee Lewis vs. Elvis Presley

   The Killer and The King…  Jerry Lee Lewis vs. Elvis Presley


Elvis Presley wasn't anointed the "King of Rock 'n' roll" by unanimous consent. In the fifties, other contenders vied for the title. Chuck Berry and Jerry Lee Lewis were two other frontrunners. All three contenders had their personal demons. In the end, Elvis ascended to the throne, in no small part because he had the sense to conceal his demons from rock 'n' roll's young citizens.
Chuck Berry was different. He was black, older, and recorded in Chicago. Elvis and Jerry Lee, however, were of a shared age and upbringing, which led them both to Sam Phillips's doorstep in Memphis.

Jerry Lee Lewis Ferriday was Jerry Lee's Tupelo. He was born in that Louisiana town on September 29, 1935, just about 10 months after Elvis's birth a couple of hundred miles to the northeast in Mississippi. Both were born into poverty, raised in the tenets of Christianity, and embraced music at an early age.
During his school years, a nickname attached itself Jerry Lee—the Killer. "That's what all my friends called me," he explained years later. "I hated that damn name ever since I was a kid, but I been stuck with it. I don't think they mean it killer like I'd kill people. I think they meant it music'ly speakin'." (Unless otherwise stated, all Jerry Lee Lewis statements herein come from Hellfire, Nick Toches's acclaimed 1982 Lewis biography.)
The two future rock 'n' rollers experienced similar musical influences in their teenage years. In 1954 Jerry Lee played piano nightly in a band at the Wagon Wheel, a club on the banks of the Mississippi. "We played everything, man," recalled band leader Johnny Littlejohn. "We played everything from 'The Wild Side of Life' and 'Slippin' Around' to 'Big Legged Woman' and 'Drinkin' Wine, Spo-Dee-O-Dee.' Hell, we did 'Stardust.' Whatever we did, we did it honky-tonk style, hard-core barroom style." That same year, Elvis started his career at Sun Records, melding together the multiple musical styles to which he too had been exposed.

Jerry Lee moves to Memphis
In an interview included in the DVD issue of Elvis: The Great Performances, Jerry Lee explained the life-changing decision he made in November 1956:
"I was reading a lot of magazines about Sam Phillips and Sun Records … so I told my dad, this is the man we need to go see. And we did. We drove down from Ferriday into Memphis and pulled up in front of Sun Records. I came in and auditioned for Jack Clement, who said I could never make it playing the piano. He said rock 'n' roll was out, cause Elvis had it all tied up. He said I could forget that. Well, I said, 'I don't think so.' I said, 'I'm a hit.' He said, 'They all say that, son.' I said, 'I'm not all. I'm different.'"
Sam Phillips was out of town, so Clement, then an engineer at Sun, taped Jerry Lee playing the piano and singing a few songs. One of them was Ray Price's recent hit, "Crazy Arms." According to Tosches, when Sam returned to the studio, Clement played that recording for him. "I can sell that," Phillips declared, and Jerry Lee Lewis was about to hit the big time.
Million Dollar Quartet Just a month after Jerry Lee first walked through the door at Sun Records, a legendary gathering occurred there. On December 4, 1956, Sam asked Jerry Lee to play piano at a Carl Perkins recording session. Johnny Cash came to the session at Carl's request. When Elvis unexpectedly showed up, the players for what became known as "The Million Dollar Quartet" were all in the studio. At the time Jerry Lee was generally unknown outside of the local area, while Elvis had become a national phenomenon in the year since Sam had sold his contract to RCA.
During the recorded jam session that followed, Jerry Lee and Elvis took turns singing. When Lewis sang bit of "Crazy Arms," Elvis said, "The wrong man's been settin' here at this piano." Jerry Lee responded, "Well, I been wantin' to tell you that. Scoot over!" In Robert Johnson's newspaper article the next day, Elvis praised Jerry Lee. "That boy can go," he said. "I think he has a great future ahead of him. He has a different style, and the way he plays piano just gets inside me."
 
"Whole Lotta Shakin' Goin' On"
Memphis booking agent Bob Neal, who had been Elvis's manager when Presley was at Sun in 1954-1955, began booking Jerry Lee as a separate act at venues throughout the South. Soon, though, a Lewis Sun recording propelled him onto the national stage. "Whole Lotta Shakin' Goin' On" did for Jerry Lee Lewis what "Heartbreak Hotel" had done for Elvis Presley. Released in April 1957, "Shakin'" reached the top of the C&W and R&B charts. It then spent 29 weeks in Billboard's "Top 100" pop chart, peaking at #3. Jerry Lee performed it on The Steve Allen Show on July 28, 1957, a year after Elvis's controversial appearance on the same show.
Other hits on the Sun label followed for Lewis. "Great Balls of Fire" reached #2 on Billboard's singles chart in early 1958. It led to another appearance on The Steve Allen Show and one on American Bandstand. Best of all, from Jerry Lee's point of view, Elvis had been drafted into the army, leaving rock 'n' roll's throne open for Jerry Lee to occupy. "Breathless," Lewis's fourth single for Sun, was another top 10 record in 1958. It was written by Otis Blackwell, who had penned Elvis's two biggest hits, "Don't Be Cruel" and "All Shook Up." May 17, 1958, was declared "Jerry Lee Lewis Day" in Ferriday. The town's favorite son was on hand to receive the key to the city, as Elvis had on "Elvis Presley Day" in Tupelo on September 26, 1956.
Hellfire Book Cover At the very moment that he stood on rock 'n' roll's summit, however, Jerry Lee's career suddenly collapsed. On May 22, 1958, Jerry Lee arrived at Heathrow Airport in London to begin a concert tour. When reporters asked about the little girl accompanying him, Jerry Lee told them she was his wife. He gave her age as 15. It turned out that Myra Gale Lewis was actually 13 and was Jerry Lee's second cousin. To make matters worse, he had married her five months before his divorce from his second wife was final. The press in both England and the U.S. turned both nasty and comical toward the singer. Columnist Hy Gardner, who had conducted a high profile interview of Elvis in 1956, announced, "The Jerry Lee Lewises are going to have an addition to the family. He bought her a new doll." Dick Clark even banned Jerry Lee from American Bandstand.
During an interview at the Brooklyn Army Terminal before his departure for Germany, Elvis was asked his opinion on the controversy. "He's a great artist," Elvis asserted. "I'd rather not talk about his marriage, except that if he really loves her, I guess it's all right."
• Fall from Grace brought bitterness toward Elvis
Elvis's sympathy could not help revive Jerry Lee's career. There were no more hit records, no more TV appearances, no more big paydays. As he traveled around the country over the next few years, he played for hundreds of dollars a night instead of thousands. When he returned to Memphis from a tour of England in 1963, a reporter asked if the British compared him with Elvis. The question brought to the surface a bitterness toward his old rival. "I really wish people would stop tryin' to compare me with Elvis," Jerry Lee said. "We are entirely different performers. 'Bout the only thing we got in common is that we're from Tennessee."
In the mid-sixties, Jerry Lee began to build a new, successful career in country music. The hits in that market kept coming, and by 1970 his concert price had risen to $10,000 a night. He bought an airplane, and in May 1970, flew to Las Vegas to record a live album at the International Hotel, where Elvis had returned to live performances the year before.
With both men having revived their careers, the old competition between them revived as well, at least in Jerry Lee Lewis's mind. In 1975, when they ran into each other in Las Vegas, Jerry Lee told Elvis, "You don't know what you're doin'. You're just Colonel Parker's puppet." Elvis responded, "Well, if I'm so dumb and you're so smart, how is it that I'm playing the main room and you're playin' the lounge?"
Back in Memphis the following year, a drunken Jerry Lee pulled his car up against the front gates of Graceland at 3 in the morning. "I want to see Elvis," Jerry Lee shouted. "You tell him the Killer's here." When word came back to the security guard that Elvis didn't want to be disturbed, Jerry Lee exploded, "Git on that damn house phone and call him! Who the hell does that sonofabitch think he is? Doesn't wanna be disturbed! He ain't no damn better'n anybody else." As Jerry Lee yelled and waved his gun toward the house, Elvis had his gate guard call the police. They came, pulled the Killer from his car, cuffed him, and took him away.
 
Jerry Lee Lewis is now 76 years old. Hopefully, he has learned to control his demons since he made the preceding comments 30 years ago. I'd like to believe that Sam Phillips properly judged how the two rock 'n' roll icons felt about each other. "For two monumental people, you know you're gonna have a little jealousy," Sam once said, "which is really good if it doesn't go beyond the bounds of reasonable taste. Elvis Presley, everytime he had a chance to listen to Jerry Lee, he did. Every time Jerry [had a chance to listen to Elvis], he did. It wasn't just camaraderie. Total respect for each other. Great musicians."
 
Alan Hanson
_

Colonel Parker Answers Criticism About Elvis Movies in 1964 Interview



Colonel Parker Answers Criticism
About Elvis Movies in 1964 Interview

Colonel Parker is the devil to many Elvis Presley fans. They hurl a litany of accusations at Presley's former manager—he took too much of Elvis's money, he mismanaged Elvis's movie career, he pressured Elvis to work when he was in poor health, he even tried to capitalize on Elvis's name after he died.
To what extent Parker was guilty of such sins against Elvis, I'm not qualified to say. I do know that while researching for my book, I became increasingly impressed with how the Colonel managed Elvis during the 1956-57 period. In fact, in my book I included a chapter entitled, "The Parker Propaganda Machine." It outlines how Parker promoted, marketed, and booked Elvis in ways that undeniably made possible Presley's meteoric rise in show business. In their rush to denounce him for failing his client in later years, many Elvis fans forget that there may not have been an Elvis Presley were it not for Tom Parker's work in those early days.
Colonel Parker protects Elvis in Ottawa, 1957 The purpose here is not to recap the relationship between Parker and Presley. That can be found in detail in two Parker biographies published in recent years—Colonel Tom Parker by James Dickerson (2001) and The Colonel by Alanna Nash (2003).

Colonel Parker stands stage front in Ottawa on April 3, 1957. That year Parker often used his body as the final line of defense should police lines fail to hold back teenage girls rushing the stage.

Instead, the focus here will be on sharing some interesting information about Colonel Parker that appeared in a rather obscure source. I offer this information without prejudice or comment, leaving it to the reader to judge whether it reflects good or ill on Colonel Parker.
 
• Colonel Parker tells how the money was split
The article in question appeared in Variety on January 15, 1964. The piece by Michael Fessier, Jr., carried the headline, "Elvis Hits $20,000,000 Gross Jackpot". The article's first three paragraphs broke down the various amounts and sources of Presley's income since 1956, with the total having reached the $20 million mark by the end of 1963.
The article then turned to a lengthy interview with Colonel Parker, who Fessier called the "commander-in-chief of the Presley forces." Parker started out by explaining how Elvis's earnings were divided in those movie-making days. Cash was split down-the-line of 75% to Elvis, 25% to the Colonel, with the William Morris Agency taking 10% off of the top of film revenues. According to the Colonel, "We make no picture deals without the great potentate—Abe Lastfogel." (Lastfogel was the long-time president of the Morris agency.)
Parker admitted he was a bit troubled by the public perception that he was profiting too much from Presley's work. He claimed that at least 50% of his share went right back into the business of promoting Elvis—"office expenses, advertising and exploitation, etc." Elvis's cut, said Parker, "goes straight to the Memphis accountants."
 
• "Look—you got a product, you sell it."
The Colonel just shrugged at the perception around Hollywood that Elvis was falling off at the box office due to over exposure. "Look—you got a product, you sell it," explained Parker. "As long as the studios come up with the loot we'll make the deal. Those guys complaining—some of them are not working too good. Me—I'm happy being able to buy the groceries."
As for the reports of declining returns on Elvis's movies, Parker didn't believe them. "They keep asking us to do more," he said. "Somebody must be making a buck. A producer was complaining that an Elvis picture of his didn't do so well. All I can say is that he must like losing money. Now he's after us for two more."
The Colonel went on to tell a story about a producer who wanted to trim down Elvis's film fee. Less cash to Elvis, claimed the producer, would allow the use of a "great script" to get Presley's film career back on the right track. "I told him that if we're doing so badly maybe next year he wouldn't want us at all," said the Colonel, "and we better get all we can while we can—and I hiked the price.
"Another guy says he has a script which would cinch an Oscar for Elvis and wouldn't we do it for less money. I told him pay us our regular fee and if Elvis gets the Oscar we'll give him his money back. We never saw him again.
 
• No Oscar for Elvis, but lots of money
"So maybe we never win an Oscar—but we're going to win a few boxoffice awards. Check the list of the 10 top boxoffice stars—Elvis is right there. And here's a guy who carries his pictures by himself—the rest of the guys on the list have three or four stars to back them up."
Fessier pointed out that the Presley-Parker partnership was one of the few in Hollywood that confined its demands to money. The writer explained, "Once a deal is made, the studio takes complete control of a film, the Presley camp having no say—so on cast, script or production costs."
Colonel Parker confirmed that Elvis had no creative say in his films. "We don't have approval on scripts—only money. Anyway, what's Elvis need? A couple of songs, a little story and some nice people with him.
"We start telling people what to do and they blame us if the picture doesn't go. As it is, we both take bows and if it doesn't hit maybe they get more blame that us. Anyway, what do I know about production?—nothing."
According to Parker, production costs for the average Presley film ran between $1.5 and $2 million, "and if the studio lets it—maybe a little more."
 
• Elvis could always go back on the road
The Colonel didn't seem too concerned that Elvis's film popularity would dry up someday. Presley had other ways of making money that they could fall back on. "For one," Parker said, "we can do some of the personal appearances we haven't been able to. Anytime we want—$75-100,000 a week."
In the meantime, Colonel Parker had nixed all offers for Elvis to appear on stage, as he had for Presley to appear on TV. One of the offers he turned down was for Elvis to appear on the small screen for $150,000. Presley's schedule didn't allow it anyway, according to Parker.
Over the next four years, Elvis's movie career would indeed play out. Only then did the Presley-Parker partnership make a triumphant return to television and, soon after that, to the concert stage. But in 1964 both men seemed content with the steady and dependable flow of money provided them by the Hollywood studios.
— Alan Hanson