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Elvis After Elvis, Gilbert Rodman Traces Elvis Presley's Myriad Manifestations in Contemporary Popular and Not-So-Popular Culture

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Elvis After Elvis, Gilbert Rodman Traces Elvis Presley's Myriad Manifestations in Contemporary Popular and Not-So-Popular Culture ELVIS AFTER AFTER ELVIS ELVIS "For a dead man, Elvis Presley is awfully noisy. His body may have failed him in 1977, but today his spirit, his image, and his myths do more than live on: they flourish, they thrive, they multiply." Why is Elvis Presley so ubiquitous a presence in US culture? Why does he continue to enjoy a cultural prominence that would be the envy of the most heavily publicized living celebrities? In Elvis after Elvis, Gilbert Rodman traces Elvis Presley's myriad manifestations in contemporary popular and not-so-popular culture. He asks why Elvis continues to defy our expectations of how dead stars are supposed to behave: Elvis not only refuses to go away, he keeps showing up in places where he seemingly does not belong. Rodman draws upon an extensive and eclectic body of Elvis "sightings," from Elvis's appearances at the heart of the 1992 presidential campaign to the debate over his worthiness as a subject for a postage stamp, and from Elvis's central role in furious debates about racism and the appropriation of African-American music to the world of Elvis impersonators and the importance of Graceland as a place of pilgrimage for Elvis fans and followers. Rodman shows how Elvis has become inseparable from many of the defining myths of US culture, enmeshed with the American Dream and the very idea of the "United States," caught up in debates about race, gender, and sexuality, and in the wars over what constitutes a national culture. Gilbert B. Rodman is Assistant Professor of Communication at the University of South Florida. This page intentionally left blank ELVIS AFTER ELVIS The posthumous career of a living legend Gilbert B. Rodman Routledge Taylor & Francis Group LONDON AND NEW YORK First published 1996 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, 0X14 4RN Simultaneously published in the USA and Canada by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint o f the Taylor & Francis Group, an informa business © 1996 Gilbert B. Rodman Typset in Perpetua by Keystroke, Jacaranda Lodge, Wolverhampton All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library o f Congress Cataloging in Publication Data Rodman, Gilbert B., Elvis after Elvis : the posthumous career of a living legend / Gilbert B. Rodman. p. cm. Includes bibliographical references and index. 1. Presley, Elvis, 1935—1977. 2. Popular culture— United States— History— 20th century. I. Title. ML420.P96R58 1996 782.42166'092-dc20 96-8157 CIP MN ISBN 0-415-11002-5 (hbk) ISBN 0-415-11003-3 (pbk) You've established a wonderful thing here with Hitler. You created it, nurtured it, you made it your own. Nobody on the faculty of any college or university in this part of the country can so much as utter the word Hitler without a nod in your direction, literally or metaphorically. This is the center, the unquestioned source. He is now your Hitler, Gladney's Hitler. It must be deeply satisfying for you. The college is internationally known as a result of Hitler studies. It has an identity, a sense of achievement. You've evolved an entire system around this figure, a structure with countless substructures and inter-related fields of study, a history within history. I marvel at the effort. It was masterful, shrewd and stunningly preemptive. It's what I want to do with Elvis. Murray Jay Siskind, in Don DeLillo's White Noise (1985: 11-12) This page intentionally left blank CDNTENTS List of plates Acknowledgments xi 1 ELVIS STUDIES 1 When It Rains, It Really Tours 1 Dont 10 My Way 18 2 ELVIS MYTHS 30 What'd I Say? 30 King Creole 43 U.S. Male 56 Hound Dog 71 Follow that Dream 82 3 ELVIS SPACE 97 Ba/?7, Let's Play House 97 Stranger in My Own Hometown 103 Promised Land 111 Trjin' to Get to You 122 4 ELVIS CULTURE 130 / Was the One 130 Reconsider Baby 132 / Forgot to Remember to Forget 146 Rip It Up 158 Too Much 169 NOTES 181 VII C D NTE NTS SOURCES 211 Printed Materials 211 Sound Recordings 223 Films, Videos, and Television Broadcasts 225 INDEX 227 VIII P LATE S While every effort has been made to contact owners of copyright of material which is reproduced in this book, we have not always been successful. In the event of a copyright query, please contact the publishers. 1 Sylvia comic strip (22 September 1992) between pp. 96—97 2a Elvis Hornbill: International Business Bird: front cover 2b Elvis Hornbill: International Business Bird: "I beg Elvis to study music" 3 Catalogue for First Class adult education center, Washington, DC (1992) 4 SilverPlatter CD-ROM databases, magazine advertisement (1991) 5 Fallen Empire mail-order catalogue entry (1991) 6 American Libraries cover (October 1993) 7 Angel Times cover (1995) 8 Chile Pepper cover (October 1993) 9 The Humanist cover (May/June 1995) 10 "The Great Wallingford Wurst Festival," special advertising insert in the North Seattle Press (September 1993) 11 Yamaha MT120 mixer/equalizer, magazine advertisement (1991) 12a The 24-Hour Coin-Operated Church of Elvis, Portland, Oregon 12b "Official Elvis Identification Card" (front and back) from the 24-Hour Coin-Operated Church of Elvis, Portland, Oregon 13a The Adventures of Fetal Elvis, Kitchen Sink Comix (1991): front cover 13b The Adventures of Fetal Elvis, Kitchen Sink Comix (1991): A happy ending 14 Elvis Shrugged, Revolutionary Comics (1993) 15 The Elvis Mandible, Piranha Press (1990) 16 Nutri/System weight loss centers, newspaper advertisement (1989) 17 President Bill comic strip (25 October 1991) 18 Viva Las Vegas! on stage (photo from The Village Voice, 10 October 1995) IX P LATE S 19a Women's Wear Daily (4 May 1992): "Elvis is Everywhere" cover 19b Women's Wear Daily (4 May 1992): "Elvis is Everywhere" centerfold spread 20 "Art Imitates Life Imitates Elvis" (from Spy magazine, November 1990) 21 Bizarro comic strip: "Which way to the Elvis paintings?" 22 Shoe comic strip (2 May 1992) 23 Mike Luckovich political cartoon (September 1991) 24 Stan Mack's Real Life Funnies (1 October 1991) 25 Elvis "Soldier Boy" poster 26 Madonna poster 27 ElvisTown magazine/tourist guide (1991) 28a "The Sacred Heart of Elvis," artwork found on the World Wide Web at http : / / www. stevens-tech. edu / ~jformoso / sacred_hear t_elvis.html 28b "Elvis Bearing the Cross," artwork found on the World Wide Web at http://www.stevens-tech.edu/~jformoso/large_cross _elvis.gif 28c "Jesus Stamp," artwork found on the World Wide Web at http://www.stevens-tech.edu/~jformoso/jesus_stamp.html 29 "Pop! Goes the Culture" symposium, advertisement from the Swarthmore College Bulletin (August 1993) 30 "Elvis+Nixon=Culture" (T-shirt) 31 "Elvis H. Presley!" (T-shirt) x ACKNOWLEDGMENTS One of the more interesting side effects of writing a scholarly book on Elvis is that seemingly everyone you know — regardless of who they are or what they do for a living — has something to contribute to your project. Had I been studying post- modern architecture, nineteenth-century US poets, or even a phenomenon as widely familiar as music videos, it's likely that only a handful of people — most of whom would have been fellow academics working on similar topics — would have come forth with information directing me to additional texts and resources related to my project. Because I was studying Elvis, however, my problem was never one of finding other people to share their theories, opinions, anecdotes, or citations with me; on the contrary, from day one of this project, the problem on my hands was that of keeping up with the flood of Elvis texts that came my way from a veritable army of helpful friends, colleagues, and family members. In the space available to me here, then, it would simply be impossible to name everyone who provided me with advice, editorial comments, support (moral and otherwise), and — most crucially — a file cabinet's worth of assorted "Elviscera" during the course of researching and writing this book. Recognizing that I'm inevitably doomed to overlooking someone who deserves mention here, I'd like to make up for such oversights by giving my first thanks to the many people not named below who nevertheless contributed to this project. In part, the research behind Elvis after Elvis was underwritten by a grant from the Graduate College at the University of Illinois at Urbana-Champaign (UIUC). A previous incarnation of sections I and II of chapter 3 (and a smidgen of intro- ductory prose from chapter 1) appeared as "A Hero to Most?: Elvis, Myth, and the Politics of Race" in Cultural Studies, 8(3), pp. 457-83. I owe a sizable debt to Larry Grossberg, Michael Bérubé, Norm Denzin, James Hay, and Tom Turino, who guided me through seven years of life and learning on the prairie and helped steer this project through its various dissertational stages. Extra special thanks and a waggle of the elbow go to Diane Tipps, the backbone — and the heart — of the Institute of Communications Research at UIUC, for her XI ACKNOWLEDGMENTS kind help, support, and friendship over the years. For helping to make life in Champaign not merely bearable but actually happy over the years, many warm thanks (and cold beverages) go to Jack Bratich, Anne Eckman, Cheryl Elsbury, Lee Furey, Ivy Glennon, Julian Halliday, Natasha Levinson, Carine Melkom, John Nerone, Carrie Rentschler, David Schulman, Jackie Seigworth, Jonathan Sterne, Mary Vavrus, Cat Warren, and Greg Wise.
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