Titans of History

ELVIS

1935–1977

The colored folks been singing it and playing it just like I’m doin’ now, man, for more years than I know … They played it like that in their shanties and in their juke joints and nobody paid it no mind ’til I goosed it up.

Elvis Presley, in an early interview

Elvis, the King. Thus the United States, that most republican of nations, dubbed its favorite musical son, ensuring that his preeminence would remain inviolate. He didn’t invent rock ’n’ roll, he didn’t write many songs, he never toured abroad, and he has since been eclipsed in almost every bald statistic of popular-music success. But all that is irrelevant. His sublimity of voice—startling in its reach from raunch and rebellion to the angelically tender—his devastating good looks, and the pulsating charisma of the performer entranced millions. He was a global star, and, by carrying the black music of blues and gospel to a white audience in a way that was unthinkable before, he enabled the musical synthesis that remains the bedrock of popular music today.

Elvis Aaron Presley had a poor Southern upbringing and was much closer to his lively and impressive mother than his shirking, petty-criminal father. He was a shy teenager, often bullied for being a mother’s boy. When he left school, he started driving trucks, just as his father did. But it was not long before his remarkable voice came to the attention of the record producer Sam Philips. Philips was looking for a white man to sing “Negro” songs, and when he heard Presley’s self-funded singles, recorded in 1953 as a birthday present for his mother, Philips felt he had found his man.

In 1954 Presley recorded “That’s All Right,” a blues song. Radio stations in Tennessee immediately began playing it, and Presley went on a tour of the Southern states. He came up against the ingrained prejudice of many white Americans opposed to seeing blacks and whites mixing together or sharing culture. But even this generations-old legacy of separateness could not compete with the adoration from the young and more color-blind fans that Presley began to attract. By 1956 pressure from white teenagers had forced radio stations nationwide to play Elvis’ singles—hits such as “Heartbreak Hotel” (1956), “Love Me Tender” (1956) and the title song to the film Jailhouse Rock (1957)—and he remained completely frank about his musical influences. In some quarters black critics accused him of stealing their music; in contrast, Little Richard called Elvis “a blessing,” who “opened the door” for black music. What was undeniable was that his momentum was unstoppable.

Elvis signed a management deal with “Colonel” Tom Parker, to whom he turned over all of his business affairs. Parker was a shadowy character, but he was a master merchandiser and turned Elvis into the greatest musical brand the world had ever seen. Under his guidance, Elvis found that he could draw crowds and audiences on a phenomenal scale. He broke records for sales of singles and albums, and he could attract 80 percent of the American television audience for his TV appearances. Young men wanted to be him, young women wanted him, and older generations were scared and shocked. In the city of Liverpool, John Lennon recruited Paul McCartney to the band that had Elvis as its lodestar and that wanted to be “bigger than Elvis.”

Back home, as Elvis’ music and high-energy stage act grew ever more popular, conservative America became more disgusted and worried that its offspring were being irrevocably corrupted. His habits of shaking his legs, rolling his tightly leather-clad hips, thrusting and throwing himself about in front of the microphone were considered the height of obscenity. As a result, there were many who saw Elvis’ draft into the US Army, and subsequent posting to Germany in 1958, as something of a relief. When he returned to America in 1960, he was a more subdued character, and during the 1960s, as the era of the pop groups burgeoned, he chose to concentrate on a lackluster film career rather than return to music. But he reinvented himself for a musical comeback in 1968, adopting some of the influences of the Beatles and the Rolling Stones, the very stars who had re-interpreted his kind of music and sold it back to America.

Elvis’s popularity remained huge throughout the 1970s, and he sold out enormous venues across the United States, particularly in Las Vegas, albeit in a new persona where he was now encased in the outré outfits of the cabaret scene. He still made it into the charts, for example with “Always on My Mind” (1973). But his health and state of mind declined alarmingly. He grew fat, gorging himself on fast food. He also became addicted to prescription drugs. He slept for most of the day and cut a bloated figure on stage—although that voice remained mesmerizing.

Elvis died on August 16, 1977. He suffered heart failure at Graceland, his mansion in Memphis, Tennessee. His funeral was a massive event, watched by millions. He ranks with the American singers Frank Sinatra, Bob Dylan and Michael Jackson, those English bands the Beatles and the Rolling Stones, and the French singer Edith Piaf as musical giants who have moved beyond the realm of music into the conscious identity of nations.