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Priscilla Presley:
Elvis was a searcher.
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It's a part of him
that never left.
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Announcer:
The following program
is brought to you
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00:00:41,907 --> 00:00:44,617
in living color, on NBC.
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00:00:46,157 --> 00:00:47,827
Singer presents Elvis,
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00:00:47,827 --> 00:00:51,287
starring Elvis Presley
in his first TV special,
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00:00:51,287 --> 00:00:54,867
his first personal performance
on TV in nearly ten years.
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00:00:56,536 --> 00:00:57,947
? If you're lookin'
for trouble ?
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00:00:59,366 --> 00:01:01,117
You came to the right place
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00:01:02,446 --> 00:01:03,987
? If you're lookin'
for trouble ?
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00:01:05,287 --> 00:01:06,947
Just look right in my face
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00:01:08,117 --> 00:01:09,827
I was born standin' up
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And talkin' back
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00:01:12,787 --> 00:01:18,446
My daddy was
a green-eyed mountain jack
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Because I'm evil
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00:01:22,577 --> 00:01:26,697
My middle name is Misery
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Well, I'm evil
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Ah, so don't you
mess around with me
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00:01:41,827 --> 00:01:45,487
Priscilla:
In '68, he was
a nervous wreck.
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Nervous because he didn't know
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00:01:50,116 --> 00:01:52,486
if his audience was
going to accept him.
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00:01:52,486 --> 00:01:55,237
People had not seen him
perform in so long.
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00:01:56,826 --> 00:01:59,366
It felt like his record career
was over as well.
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00:02:00,657 --> 00:02:03,196
It was intense.
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00:02:03,196 --> 00:02:07,407
The '68 Special,
it was either the beginning
or the end of his career.
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00:02:08,536 --> 00:02:10,657
Tom Petty:
You know, God bless him.
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00:02:10,657 --> 00:02:12,536
He was a light for all of us.
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00:02:12,536 --> 00:02:16,447
We all owe him
for going first into battle.
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He had no road map,
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00:02:19,697 --> 00:02:23,866
and he forged a path
of what to do
and what not to do.
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00:02:23,866 --> 00:02:25,617
We shouldn't
make the mistake
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00:02:25,617 --> 00:02:27,536
of writing off
a great artist
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00:02:27,536 --> 00:02:29,986
by all the clatter
that came later.
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We should dwell in what he did
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00:02:31,867 --> 00:02:34,366
that was so beautiful
and everlasting,
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00:02:34,366 --> 00:02:37,236
which was that
great, great music.
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00:02:46,786 --> 00:02:49,536
Elvis:
Yes, my baby left me
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Never said a word
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00:02:52,036 --> 00:02:53,786
Was it something I done
40
00:02:53,786 --> 00:02:55,076
Something that she heard?
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00:02:55,076 --> 00:02:59,036
My baby left me,
my baby left me
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00:02:59,036 --> 00:03:02,236
My baby even left me
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00:03:02,236 --> 00:03:05,366
Never said a word
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00:03:07,286 --> 00:03:09,907
Lord, I stand at my window
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Wring my hands and cry
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00:03:12,366 --> 00:03:14,196
I hate to lose that woman
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00:03:14,196 --> 00:03:15,736
Hate to say goodbye
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00:03:15,736 --> 00:03:17,906
You know, she left me
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Yeah, she left me
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00:03:19,577 --> 00:03:22,906
My baby even left me
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Never said a word
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00:03:25,737 --> 00:03:28,116
Play it blues, boy
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00:04:05,446 --> 00:04:08,156
Jerry Schilling:
Elvis always remembered
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00:04:08,156 --> 00:04:11,786
what it was like
to have nothing,
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00:04:11,786 --> 00:04:16,075
and to have no respect,
to be looked down upon.
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00:04:16,075 --> 00:04:17,946
Priscilla:
Elvis never forgot
the experience
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00:04:17,946 --> 00:04:20,326
of being in poverty, ever.
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00:04:20,326 --> 00:04:22,195
It stuck with him
all his life.
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00:04:29,326 --> 00:04:32,326
When I look at photos of Elvis
when he was young,
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00:04:32,326 --> 00:04:34,865
I see that little boy in him,
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00:04:34,865 --> 00:04:38,826
that playfulness,
the curiosity in his eyes.
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00:04:38,826 --> 00:04:42,986
But I also see how he felt
responsibility for his mother.
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00:04:47,655 --> 00:04:50,825
Bill Ferris:
Elvis was born
in a shotgun house.
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00:04:50,825 --> 00:04:54,866
The poorest of the poor
lived in those houses.
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00:04:54,866 --> 00:04:58,616
His twin brother
did not survive birth.
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00:04:58,616 --> 00:05:01,326
And it's said that
his mother would tell him
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00:05:01,326 --> 00:05:04,576
that if he sang when
the moon was full at night,
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00:05:04,576 --> 00:05:08,326
his twin brother
could hear him.
69
00:05:08,326 --> 00:05:09,945
Priscilla:
Gladys was a doting mother,
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00:05:09,945 --> 00:05:12,155
but she could be
quite firm as well.
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00:05:12,155 --> 00:05:14,196
Always very protective of him.
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He was her only child.
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00:05:16,656 --> 00:05:19,235
She lived for him, and...
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00:05:19,235 --> 00:05:21,036
he lived for her.
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00:05:24,486 --> 00:05:27,576
When Elvis was
three years old in 1938,
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00:05:27,576 --> 00:05:29,986
his father was sentenced
to three years in prison
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00:05:29,986 --> 00:05:31,655
for forging a check.
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00:05:31,655 --> 00:05:34,405
The check was to buy food
to put on the table.
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00:05:35,485 --> 00:05:38,325
Gladys would take him
to see his father.
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00:05:38,325 --> 00:05:39,986
Vernon was so embarrassed.
81
00:05:39,986 --> 00:05:42,736
John Jackson:
Thankfully, he doesn't have
to spend the three years.
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00:05:42,736 --> 00:05:44,445
He only spends
six months in prison.
83
00:05:44,445 --> 00:05:46,945
But what it does is
84
00:05:46,945 --> 00:05:50,575
it starts a pattern
of Vernon being away
85
00:05:50,575 --> 00:05:55,286
and Elvis and Gladys being
left to their own devices.
86
00:05:55,286 --> 00:05:58,406
And they move around and live
in different boarding houses.
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00:06:02,155 --> 00:06:05,115
Schilling:
This was the end
of the Depression.
88
00:06:05,115 --> 00:06:09,155
Vernon, after that experience
at Parchman Prison,
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00:06:09,155 --> 00:06:12,115
he had a hard time
finding jobs.
90
00:06:17,116 --> 00:06:21,615
Priscilla:
Elvis told me that his father
really lost his spirit.
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00:06:21,615 --> 00:06:25,405
And his mother had to work
really hard during that time.
92
00:06:29,946 --> 00:06:31,945
Man:
Yes, that's it.
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00:06:34,235 --> 00:06:38,735
Ready here for the slate. 802.
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00:06:45,155 --> 00:06:47,485
Steve Binder:
When I first got
the phone call
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00:06:47,485 --> 00:06:49,655
to get involved with Elvis...
96
00:06:51,535 --> 00:06:53,945
my partner at the time,
Bones Howe,
97
00:06:53,945 --> 00:06:57,075
who was a very successful
record producer,
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00:06:57,075 --> 00:07:00,285
was really flabbergasted
when I said no.
99
00:07:00,285 --> 00:07:02,825
And he came over to me
right after I hung up
the phone,
100
00:07:02,825 --> 00:07:05,945
and he said,
Steve, I engineered
an Elvis Presley album.
101
00:07:05,945 --> 00:07:09,945
I know Elvis Presley,
and I think you guys
would hit it off great.
102
00:07:18,485 --> 00:07:22,445
Bones Howe:
Elvis was a guy
who sang from his gut.
103
00:07:22,445 --> 00:07:23,785
This is something
you're born with.
104
00:07:23,785 --> 00:07:26,535
You're born with that
commitment to the music.
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00:07:29,524 --> 00:07:31,145
The one thing I remember
106
00:07:31,155 --> 00:07:34,945
that stuck with me
all these years,
was Binder said,
107
00:07:34,945 --> 00:07:39,575
People need to see him
the way he really is.
108
00:07:39,575 --> 00:07:43,115
He had to dig back
to find his real self,
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00:07:43,115 --> 00:07:46,535
and it was like looking
back into the past.
110
00:08:11,325 --> 00:08:15,405
Red West:
Vernon and Gladys
heard this loud roar,
111
00:08:15,405 --> 00:08:16,944
half in their sleep.
112
00:08:16,944 --> 00:08:18,235
They picked Elvis up.
113
00:08:18,235 --> 00:08:19,904
Thought they were putting
him out a window
114
00:08:19,904 --> 00:08:23,074
to get him away
from the train
that was coming.
115
00:08:23,074 --> 00:08:24,445
Threw him right into a wall,
116
00:08:24,445 --> 00:08:26,574
and he bounced off
and fell on the floor.
117
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His cryin' woke them up,
118
00:08:29,865 --> 00:08:31,575
and they saw it was no train.
119
00:08:31,575 --> 00:08:34,575
It was a tornado
that went through Tupelo.
120
00:08:37,535 --> 00:08:40,735
Ferris:
Southern religion
reminds its believers
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00:08:40,735 --> 00:08:44,904
that we're here
for a short time.
122
00:08:44,904 --> 00:08:48,114
If you lost your life
or you were spared,
123
00:08:48,114 --> 00:08:51,074
it was because
of divine providence.
124
00:08:51,074 --> 00:08:54,114
The loss of life,
the destruction of property,
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00:08:54,114 --> 00:08:58,785
it was a reminder
of the fragility of life.
126
00:08:58,785 --> 00:09:00,364
(piano playing on record)
127
00:09:00,364 --> 00:09:01,985
Priscilla:
Going to church
with his parents,
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00:09:01,985 --> 00:09:03,404
hearing gospel music,
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00:09:03,404 --> 00:09:06,194
being a part of people
getting in touch,
130
00:09:06,194 --> 00:09:08,985
moving with the music,
getting lost in the music.
131
00:09:08,985 --> 00:09:11,285
Record:
I've got that
old-time religion
132
00:09:11,285 --> 00:09:13,234
Got that old-time religion
133
00:09:13,234 --> 00:09:15,484
That is why I'm satisfied
134
00:09:15,484 --> 00:09:17,615
Larry Strickland:
If you lived in a rural area,
135
00:09:17,615 --> 00:09:20,535
there wasn't much else
but the music and the church.
136
00:09:20,535 --> 00:09:23,074
It wasn't like you'd be
going there and sitting back
137
00:09:23,074 --> 00:09:25,324
and crossin' your legs
and relaxing.
138
00:09:25,324 --> 00:09:28,444
You know, you get very involved
and very energetic.
139
00:09:28,444 --> 00:09:31,784
It's as much a feeling
as it is a hearing.
140
00:09:32,944 --> 00:09:34,824
Elvis Presley:
I've always liked music.
141
00:09:34,824 --> 00:09:37,444
My mother and dad
both loved to sing.
142
00:09:37,444 --> 00:09:39,785
They'd tell me that when I was
about three or four years old,
143
00:09:39,785 --> 00:09:41,614
I got away from
them in church
and walked up
144
00:09:41,614 --> 00:09:43,534
in front of the choir
and started beatin' time.
145
00:09:43,534 --> 00:09:46,325
Man:
Have you seen
146
00:09:46,325 --> 00:09:49,695
Where the Lord's gone?
Tell me now
147
00:09:49,695 --> 00:09:51,784
Where he's gone
Where he's gone
148
00:09:55,825 --> 00:09:58,234
Ferris:
The hymns were more
than religious.
149
00:09:58,234 --> 00:10:02,484
They were fundamental
building blocks of music.
150
00:10:02,484 --> 00:10:04,534
Rhythmic, hard-hitting,
151
00:10:04,534 --> 00:10:08,654
you had the foundation
of rock and roll bands,
152
00:10:08,654 --> 00:10:10,944
playing in churches.
153
00:10:10,944 --> 00:10:12,654
When I sit down
Lord, sit down
154
00:10:12,654 --> 00:10:14,944
Something will be over ?
Lord, sit down ?
155
00:10:14,944 --> 00:10:17,074
When I sit down
Lord, sit down
156
00:10:17,074 --> 00:10:18,444
Gonna say come over here
157
00:10:22,734 --> 00:10:25,694
Man: I'm so glad!
158
00:10:25,694 --> 00:10:28,364
I'm working over here!
159
00:10:28,364 --> 00:10:30,784
Ferris:
People came to be excited,
160
00:10:30,784 --> 00:10:34,034
and taken out
of their daily experience.
161
00:10:36,944 --> 00:10:40,364
Elvis was like
Huck Finn exploring.
162
00:10:40,364 --> 00:10:43,734
At night, he would slip
in to black churches.
163
00:10:43,734 --> 00:10:46,364
He would listen
to gospel music
164
00:10:46,364 --> 00:10:48,324
and to the sermons.
165
00:10:53,654 --> 00:10:56,034
Priscilla:
Gladys let him
pursue the music
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00:10:56,034 --> 00:10:59,324
that he could
surround himself with.
167
00:10:59,324 --> 00:11:02,194
Petty:
Elvis was very different.
168
00:11:02,194 --> 00:11:04,653
Color lines were
rarely crossed.
169
00:11:04,653 --> 00:11:07,234
You just didn't find
white people
170
00:11:07,234 --> 00:11:09,904
that tuned into black music
171
00:11:09,904 --> 00:11:11,574
and stayed there
172
00:11:11,574 --> 00:11:13,534
and found it interesting
173
00:11:13,534 --> 00:11:14,734
and studied it.
174
00:11:15,984 --> 00:11:17,533
David Porter:
A time where the country
175
00:11:17,533 --> 00:11:19,404
was into racism
and segregation,
176
00:11:19,404 --> 00:11:20,613
and here was a young kid.
177
00:11:20,613 --> 00:11:23,154
He was not afraid to go
and be exposed to it,
178
00:11:23,154 --> 00:11:26,034
so he could learn
even more about it.
179
00:11:26,034 --> 00:11:28,944
Schilling:
He was doing what
he enjoyed doing.
180
00:11:28,944 --> 00:11:30,574
I don't think
it was conscious,
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00:11:30,574 --> 00:11:34,194
but he absorbed
everything that he saw.
182
00:11:34,194 --> 00:11:35,614
Man:
That's all right
183
00:11:35,614 --> 00:11:38,404
Jackson:
He would seek out people
in his neighborhood
184
00:11:38,404 --> 00:11:41,444
who could play music
or had records,
185
00:11:41,444 --> 00:11:43,284
or had a radio.
186
00:11:43,284 --> 00:11:46,153
Man:
Any way you do
187
00:11:46,153 --> 00:11:48,283
Bruce Springsteen:
You could turn a dial
and hear gospel.
188
00:11:48,283 --> 00:11:50,324
Well, my mama,
she done told me
189
00:11:50,324 --> 00:11:52,784
Springsteen:
Turn a dial
and hear country.
190
00:11:52,784 --> 00:11:54,444
Turn a dial and hear blues.
191
00:11:54,444 --> 00:11:58,403
Turn the dial and hear
Sunday Night Creatures,
you know?
192
00:11:58,403 --> 00:11:59,784
I mean, it was all just there
193
00:11:59,784 --> 00:12:02,114
in the Southern atmosphere
he grew up in.
194
00:12:02,114 --> 00:12:04,443
That's all right now, mama
195
00:12:16,783 --> 00:12:19,074
Elvis:
If today
196
00:12:19,074 --> 00:12:23,983
Was not an endless highway
197
00:12:25,534 --> 00:12:28,324
If tonight
198
00:12:28,324 --> 00:12:31,983
Was not an endless trail
199
00:12:34,484 --> 00:12:37,824
If tomorrow
200
00:12:37,824 --> 00:12:41,823
Wasn't such a long time
201
00:12:43,534 --> 00:12:47,324
Then lonesome
would mean nothing
202
00:12:47,324 --> 00:12:50,114
? To me at all ?
203
00:12:51,943 --> 00:12:53,404
Yes, and only
204
00:12:53,404 --> 00:12:56,404
Elvis:
I always felt that
someday, somehow,
205
00:12:56,404 --> 00:12:58,983
something would happen
to change everything for me.
206
00:13:00,193 --> 00:13:02,694
And I'd daydream
about how it would be.
207
00:13:02,694 --> 00:13:05,193
If I could hear her heart
208
00:13:07,733 --> 00:13:09,823
Priscilla:
Once he moved to Memphis,
209
00:13:09,823 --> 00:13:12,074
everything started
opening up for him.
210
00:13:13,073 --> 00:13:14,693
He was 13.
211
00:13:19,823 --> 00:13:23,483
Ferris:
As BB King once said,
when he moved to Memphis,
212
00:13:23,483 --> 00:13:25,533
It was like moving to Paris.
213
00:13:25,533 --> 00:13:27,694
It was a different culture,
214
00:13:27,694 --> 00:13:29,483
and a sense in which
215
00:13:29,483 --> 00:13:32,323
things were connected
and happening,
216
00:13:32,323 --> 00:13:33,823
that someone like Elvis
217
00:13:33,823 --> 00:13:36,533
could not even
imagine in Tupelo.
218
00:13:37,653 --> 00:13:40,113
The wealth, the affluence,
219
00:13:40,113 --> 00:13:42,193
the scale of buildings,
220
00:13:42,193 --> 00:13:46,443
the power of that river
flowing by.
221
00:13:46,443 --> 00:13:49,443
Jackson:
Memphis is
a very diverse city,
222
00:13:49,443 --> 00:13:52,073
not an integrated city,
but a very diverse city.
223
00:13:52,073 --> 00:13:54,823
So you had a lot
of people moving there
224
00:13:54,823 --> 00:13:56,283
after the war.
225
00:13:56,283 --> 00:13:58,693
Man:
? Well, you know
I love my baby ?
226
00:13:58,693 --> 00:14:02,403
Jackson:
It was really the hub
for people from that Southern
227
00:14:02,403 --> 00:14:04,283
cotton plantation area
228
00:14:04,283 --> 00:14:08,903
to either stay or use it
as a stepping stone
to go somewhere else.
229
00:14:08,903 --> 00:14:11,113
Ferris:
Like many Southern families,
230
00:14:11,113 --> 00:14:13,863
the Presleys moved
to the big city
231
00:14:13,863 --> 00:14:17,283
seeking a little better
opportunity.
232
00:14:17,283 --> 00:14:21,863
Portia Maultsby:
Memphis developed a very
vibrant entertainment district,
233
00:14:21,863 --> 00:14:26,483
'cause, you know,
people brought with them
their music, their culture.
234
00:14:28,943 --> 00:14:32,233
Petty:
You've got that spill
there of the blues,
235
00:14:32,233 --> 00:14:36,033
of gospel, pop music,
country music.
236
00:14:36,033 --> 00:14:40,232
All those things,
they cross over each other,
237
00:14:40,232 --> 00:14:42,283
and radio definitely
had to play
238
00:14:42,283 --> 00:14:44,573
a big role in his influences,
239
00:14:44,573 --> 00:14:47,573
because I don't think he was
carrying the kind of dough
240
00:14:47,573 --> 00:14:49,652
to have an enormous
record collection.
241
00:14:52,532 --> 00:14:56,112
Porter:
WDIA, it was a 50,000 watt
African-American radio station
242
00:14:56,112 --> 00:14:59,112
that artists like
Bobby Blue Bland
were being played
243
00:14:59,112 --> 00:15:01,573
'cause the whole emphasis
was black music.
244
00:15:01,573 --> 00:15:05,442
Black music was just beginning
to take root in our area,
245
00:15:05,442 --> 00:15:07,153
and there's no doubt in mind
246
00:15:07,153 --> 00:15:09,403
that Elvis Presley
listened to WDIA.
247
00:15:09,403 --> 00:15:11,572
Percy Mayfield (on radio):
It's a real pleasure
to invite you
248
00:15:11,572 --> 00:15:14,482
to keep your radio
dial turned to 1070.
249
00:15:14,482 --> 00:15:16,113
That means WDIA.
250
00:15:16,113 --> 00:15:18,693
That's 50,000 watts
of powered entertainment
for your pleasure.
251
00:15:20,652 --> 00:15:23,363
West:
We were both just
above the poverty level.
252
00:15:23,363 --> 00:15:25,483
I lived in one housing project,
253
00:15:25,483 --> 00:15:27,032
and he lived in
Lauderdale Courts
254
00:15:27,032 --> 00:15:28,983
about three or four
miles away.
255
00:15:28,983 --> 00:15:30,532
We grew up the hard way.
256
00:15:32,573 --> 00:15:34,653
Alan Light:
The apartment
in Lauderdale Courts
257
00:15:34,653 --> 00:15:36,442
that the Presleys moved into
258
00:15:36,442 --> 00:15:40,362
was part of the early
New Deal housing program.
259
00:15:40,362 --> 00:15:43,652
It was affordable,
but it was bigger than
anything they were used to.
260
00:15:48,612 --> 00:15:49,942
They gave him everything.
261
00:15:49,942 --> 00:15:51,443
They let him sleep
in the big bedroom.
262
00:15:51,443 --> 00:15:54,153
They saved what
little money they had
263
00:15:54,153 --> 00:15:57,403
so that he could buy a guitar,
he could buy a record player.
264
00:15:57,403 --> 00:16:00,113
And they gave him that
same sort of independence
265
00:16:00,113 --> 00:16:03,443
to go out in the city
and be exposed to other musics.
266
00:16:07,572 --> 00:16:11,112
Train I ride
267
00:16:11,112 --> 00:16:13,033
Priscilla:
He loved the bright lights.
268
00:16:13,033 --> 00:16:14,692
He loved the music in the city.
269
00:16:14,692 --> 00:16:16,942
He loved hearing people
in the street.
270
00:16:16,942 --> 00:16:20,072
He loved listening to music
coming from the bars.
271
00:16:20,072 --> 00:16:22,033
And he'd study them.
272
00:16:22,033 --> 00:16:23,692
Porter:
Elvis was a student.
273
00:16:23,692 --> 00:16:26,112
As a kid, I would go
to the Flamingo Room,
274
00:16:26,112 --> 00:16:29,862
myself and Elvis would hang
at the Flamingo Room.
275
00:16:29,862 --> 00:16:33,322
When you realize that Elvis
knew where Beale Street was,
276
00:16:33,322 --> 00:16:34,733
and knew what that all meant,
277
00:16:34,733 --> 00:16:36,442
you could sense
that he was different.
278
00:16:39,032 --> 00:16:40,822
You walk in the Flamingo Room
on a Saturday night
279
00:16:40,822 --> 00:16:43,072
or a Friday night,
you're in another world.
280
00:16:43,072 --> 00:16:44,732
It's like a Mardi Gras
celebration,
281
00:16:44,732 --> 00:16:46,402
except the music is soulful.
282
00:16:48,322 --> 00:16:52,072
There was so much color
in clothing, in dress, in vibe,
283
00:16:52,072 --> 00:16:54,612
and the music
was tremendously upbeat.
284
00:16:54,612 --> 00:16:57,652
Comin' on 'round the bend
285
00:16:57,652 --> 00:16:59,322
You're not seeing
that for one night.
286
00:16:59,322 --> 00:17:02,322
You're seeing that
everytime you go there.
287
00:17:02,322 --> 00:17:05,692
Rufus Thomas:
Beale Street was
the black man's haven.
288
00:17:05,692 --> 00:17:08,862
When he'd come here,
everything lit up.
289
00:17:08,862 --> 00:17:12,782
Lit up like a slot machine.
Everything was fired up!
290
00:17:12,782 --> 00:17:15,442
Beale Street was the place.
291
00:17:15,442 --> 00:17:17,442
Porter:
You'd go out
on your weekend night,
292
00:17:17,442 --> 00:17:19,442
and you were
an African-American,
at that time,
293
00:17:19,442 --> 00:17:20,862
you're making small wages.
294
00:17:20,862 --> 00:17:22,612
You were in a racially
prejudiced time,
295
00:17:22,612 --> 00:17:24,282
and you had to have an escape.
296
00:17:24,282 --> 00:17:27,282
And the legitimacy of the
Flamingo Room experience,
297
00:17:27,282 --> 00:17:28,652
and the Beale Street
experience,
298
00:17:28,652 --> 00:17:30,282
was something
that took your mind
299
00:17:30,282 --> 00:17:33,192
totally away
from those things.
300
00:17:33,192 --> 00:17:35,282
But if you had
the right kind of personality
301
00:17:35,282 --> 00:17:37,442
and spirit about you,
regardless of who you were,
302
00:17:37,442 --> 00:17:39,612
you could come in
and check out the music.
303
00:17:40,732 --> 00:17:43,112
Train, train
304
00:17:43,112 --> 00:17:45,282
Preston Lauterbach:
BB King, Rufus Thomas,
305
00:17:45,282 --> 00:17:47,442
Johnny Ace,
Bobby Blue" Bland.
306
00:17:47,442 --> 00:17:49,572
You know, these giants
were playing
307
00:17:49,572 --> 00:17:51,732
little neighborhood
juke joints.
308
00:17:51,732 --> 00:17:53,232
Porter:
Looking at that,
you would see
309
00:17:53,232 --> 00:17:56,481
how powerful it would be
connecting to an audience.
310
00:17:56,481 --> 00:18:01,362
Oh-oh,
stop your train, darlin'
311
00:18:01,362 --> 00:18:05,442
Let a
312
00:18:05,442 --> 00:18:08,652
A poor boy ride
313
00:18:08,652 --> 00:18:12,651
Why don't you hear
me cryin'?
314
00:18:12,651 --> 00:18:15,691
? Woo-hoo ?
315
00:18:15,691 --> 00:18:18,821
Porter:
If you're a young kid,
a black kid or a white kid,
316
00:18:18,821 --> 00:18:21,322
you were not
analytical about it,
317
00:18:21,322 --> 00:18:23,192
but you certainly knew
the difference
318
00:18:23,192 --> 00:18:25,401
between feeling
and not feeling.
319
00:18:25,401 --> 00:18:27,861
And you heard it,
and you felt it.
320
00:18:29,782 --> 00:18:33,482
Ike Turner:
Elvis, he would park his truck
in the alley behind the club,
321
00:18:33,482 --> 00:18:36,862
and he used to come around
to the back of this place,
322
00:18:36,862 --> 00:18:39,902
and he would watch me play
the old upright piano.
323
00:18:39,902 --> 00:18:42,072
When you see him stand up
and he'd be doing his legs,
324
00:18:42,072 --> 00:18:43,691
when he'd be playing
with the guitar,
325
00:18:43,691 --> 00:18:47,822
all this came
from back in those days
when we used to do it.
326
00:18:47,822 --> 00:18:51,692
Howlin' Wolf:
Don't you hear me
talkin' to you, woman?
327
00:18:51,692 --> 00:18:55,032
Whoo-hoo
328
00:18:55,032 --> 00:18:58,532
Whoo-oo
329
00:18:58,532 --> 00:19:01,941
Since I've been gone
330
00:19:01,941 --> 00:19:03,942
Schilling:
Elvis picked up everything.
331
00:19:03,942 --> 00:19:06,611
He was the most
eclectic human being
332
00:19:06,611 --> 00:19:07,942
I have ever been around.
333
00:19:07,942 --> 00:19:10,692
He would pick up something
from another singer,
334
00:19:10,692 --> 00:19:11,941
or he would pick up something
335
00:19:11,941 --> 00:19:13,942
from a guy
walking down the street,
336
00:19:13,942 --> 00:19:15,901
and say, "Jerry,
look at that walk.
337
00:19:15,901 --> 00:19:17,861
I'm gonna use that walk."
338
00:19:17,861 --> 00:19:22,281
Warren Zanes:
He's looking around
for pockets of expression
339
00:19:22,281 --> 00:19:26,112
and putting together
his version of himself
340
00:19:26,112 --> 00:19:30,401
based on these
highly expressive models
that are often quite different.
341
00:19:30,401 --> 00:19:32,152
You know, the Dean Martins
of the world,
342
00:19:32,152 --> 00:19:35,402
the Mario Lanzas,
the black church.
343
00:19:36,571 --> 00:19:38,191
Jackson:
At this point,
Elvis and his parents
344
00:19:38,191 --> 00:19:41,031
are going to a lot
of gospel services,
345
00:19:41,031 --> 00:19:44,401
musical events around
the town in Memphis,
346
00:19:44,401 --> 00:19:45,981
both black and white.
347
00:19:48,861 --> 00:19:51,692
Rock my soul
in the bosom of Abraham
348
00:19:51,692 --> 00:19:53,151
Tony Brown:
Quartets were the alter ego
349
00:19:53,151 --> 00:19:55,731
of the Christian people
back in those days.
350
00:19:55,731 --> 00:19:57,782
In the bosom of Abraham,
Oh, rock my soul...
351
00:19:57,782 --> 00:19:59,981
Brown:
'Cause they wore
really tight, cool suits,
352
00:19:59,981 --> 00:20:03,902
and they had slick-back hair
and sideburns.
353
00:20:03,902 --> 00:20:06,942
Rock my soul
in the bosom of Abraham
354
00:20:06,942 --> 00:20:08,361
Brown:
We looked at those people
355
00:20:08,361 --> 00:20:10,402
like they were our
pop stars in a way,
356
00:20:10,402 --> 00:20:12,401
which is what Elvis
really wanted to do.
357
00:20:12,401 --> 00:20:14,481
You know, he wanted to be
in the Blackwood Brothers.
358
00:20:14,481 --> 00:20:17,941
Petty:
Elvis, he longed to be
a great gospel singer.
359
00:20:17,941 --> 00:20:20,281
I think he wanted to be
in a gospel group.
360
00:20:20,281 --> 00:20:22,321
He wold have been
a great tenor.
361
00:20:22,321 --> 00:20:24,191
I'm glad I've got
362
00:20:24,191 --> 00:20:26,191
That old-time religion ?
363
00:20:26,191 --> 00:20:27,441
It helps me on my journey...
364
00:20:27,441 --> 00:20:28,901
Bill Malone:
Those Pentecostal preachers
365
00:20:28,901 --> 00:20:31,531
were pretty dynamic
individuals, you know.
366
00:20:31,531 --> 00:20:33,691
Back and forth
across the stage
367
00:20:33,691 --> 00:20:35,941
and shouting
and raising their hands
368
00:20:35,941 --> 00:20:37,781
and being very theatrical.
369
00:20:37,781 --> 00:20:39,691
Oh, I couldn't get along
370
00:20:39,691 --> 00:20:41,732
Without Jesus ?
I couldn't sing my song
371
00:20:41,732 --> 00:20:43,571
Without Jesus
I wouldn't know
how to pray
372
00:20:43,571 --> 00:20:45,901
Without Jesus
I wouldn't know
what to say
373
00:20:45,901 --> 00:20:49,731
Without Jesus
Joy bells couldn't ring
374
00:20:49,731 --> 00:20:51,731
Without Jesus
Angels couldn't sing
375
00:20:51,731 --> 00:20:53,861
Without Jesus
My life wouldn't
mean a thing
376
00:20:53,861 --> 00:20:55,981
Without Jesus
I couldn't reach my goal
377
00:20:55,981 --> 00:20:58,071
Without Jesus
With no one to keep
my soul
378
00:20:58,071 --> 00:21:00,401
Hey, tell me,
what can I do without...
379
00:21:00,401 --> 00:21:03,690
Springsteen:
Front man is something
that was derived from preacher,
380
00:21:03,690 --> 00:21:05,691
you know, fronting
the choir in church.
381
00:21:05,691 --> 00:21:07,861
So whether you're
James Brown or Elvis
382
00:21:07,861 --> 00:21:09,571
or anyone out there,
383
00:21:09,571 --> 00:21:10,821
your position, basically,
384
00:21:10,821 --> 00:21:15,031
is always proto-religious,
you know?
385
00:21:15,031 --> 00:21:16,360
Those are its roots.
386
00:21:16,360 --> 00:21:19,031
Oh, tell me what
would I do without Jesus
387
00:21:19,031 --> 00:21:24,031
In my life
388
00:21:37,861 --> 00:21:41,360
Jackson:
Elvis always was
seeking a way
389
00:21:41,360 --> 00:21:45,651
to manifest his musical
interest in some way.
390
00:21:45,651 --> 00:21:48,691
Elvis:
And I went to Humes
High School in Memphis.
391
00:21:48,691 --> 00:21:50,690
I was taking music.
I flunked music.
392
00:21:50,690 --> 00:21:52,281
Just flat, man. Whew!
393
00:21:52,281 --> 00:21:55,651
F. The only thing
I ever failed.
394
00:21:55,651 --> 00:21:58,071
West:
They had a little
talent show every year.
395
00:21:58,071 --> 00:22:00,530
People would sing,
dance, whatever.
396
00:22:09,530 --> 00:22:11,361
West:
I had a little
four-piece band,
397
00:22:11,361 --> 00:22:12,480
I was playing the trumpet.
398
00:22:12,480 --> 00:22:14,361
And Elvis had a guitar,
399
00:22:14,361 --> 00:22:16,901
and he got up
and he sang, Old Shep.
400
00:22:16,901 --> 00:22:21,730
Red Foley's sad song
about his old dog that died.
401
00:22:21,730 --> 00:22:24,481
Elvis:
And one day
402
00:22:24,481 --> 00:22:29,320
The doctor looked at me
403
00:22:29,320 --> 00:22:31,150
And said
404
00:22:31,150 --> 00:22:37,071
I can do no more
for him, Jim
405
00:22:37,071 --> 00:22:40,031
Petty:
I think that's the moment
where the school
406
00:22:40,031 --> 00:22:41,440
sort of throws down and goes,
407
00:22:41,440 --> 00:22:44,190
That's what this
weird kid's about.
408
00:22:45,481 --> 00:22:47,940
The moment that
applause broke through,
409
00:22:47,940 --> 00:22:52,781
that's probably the first
real validation that he's had.
410
00:22:54,280 --> 00:22:57,280
West:
Singing that tearjerker,
he put emotion into it.
411
00:22:57,280 --> 00:23:00,530
Sang the heck out of it,
and he won first place!
412
00:23:00,530 --> 00:23:02,940
And my little band
didn't do shit.
413
00:23:04,361 --> 00:23:07,531
Petty:
That's a big step
for a young man.
414
00:23:07,531 --> 00:23:10,941
At that moment, he had to see
the power of the material.
415
00:23:10,941 --> 00:23:14,111
He had to go,
This is what I am.
416
00:23:14,111 --> 00:23:16,981
This is what
I'm going to do.
417
00:23:18,110 --> 00:23:20,781
Elvis:
It was amazing how--
418
00:23:20,781 --> 00:23:22,980
how popular I became
in school after that.
419
00:23:30,730 --> 00:23:36,071
Just walking in the rain...
420
00:23:43,480 --> 00:23:45,611
James Tipler:
When he wasn't
driving the truck,
421
00:23:45,611 --> 00:23:48,150
he'd help the electricians
pull wire
422
00:23:48,150 --> 00:23:49,980
or whatever they
needed him to do.
423
00:23:49,980 --> 00:23:51,610
Gladys Tipler:
He had long hair.
424
00:23:51,610 --> 00:23:52,690
It was real thick,
425
00:23:52,690 --> 00:23:55,480
and looked like it was
pasted down really.
426
00:23:55,480 --> 00:23:57,650
James:
We all laughed at him
about that.
427
00:24:01,690 --> 00:24:03,480
Gladys:
He just what
he wanted to do
428
00:24:03,480 --> 00:24:05,320
is to get in some
kind of business
429
00:24:05,320 --> 00:24:07,610
where he could make
his mother a living,
430
00:24:07,610 --> 00:24:10,400
where she would not have
to struggle for it anymore.
431
00:24:11,980 --> 00:24:14,230
Shake their heads...
432
00:24:14,230 --> 00:24:15,440
Ernst Jorgensen:
At that time,
433
00:24:15,440 --> 00:24:17,440
The Prisonaires had
recorded their big hit,
434
00:24:17,440 --> 00:24:19,230
Walking in the Rain.
435
00:24:19,230 --> 00:24:20,690
Jackson:
The Prisonaires
were a group
436
00:24:20,690 --> 00:24:22,610
that Sam Phillips
was recording.
437
00:24:22,610 --> 00:24:26,070
Sam Phillips, he grew to be
one of the most famous
438
00:24:26,070 --> 00:24:28,190
and celebrated
record producers of all time,
439
00:24:28,190 --> 00:24:30,900
but at first,
he started his own label.
440
00:24:30,900 --> 00:24:32,530
Schilling:
The Prisonaires.
441
00:24:32,530 --> 00:24:34,530
They were brought out
with handcuffs
442
00:24:34,530 --> 00:24:37,230
into Sun Records to record.
443
00:24:38,530 --> 00:24:40,230
Light:
To even conceive of that
444
00:24:40,230 --> 00:24:42,439
as a possible source
for great music
445
00:24:42,439 --> 00:24:43,860
that people should hear,
446
00:24:43,860 --> 00:24:47,190
there's just a
democratization of...
447
00:24:47,190 --> 00:24:49,650
of art,
of the possibilities for art.
448
00:24:49,650 --> 00:24:54,939
Walkin' in the rain
449
00:24:56,570 --> 00:24:59,320
Ferris:
What happened in
Memphis at that time
450
00:24:59,320 --> 00:25:02,530
was a convergence
of forces.
451
00:25:02,530 --> 00:25:05,780
The emergence of radio,
452
00:25:05,780 --> 00:25:09,230
deejays, and artists.
453
00:25:09,230 --> 00:25:12,190
And then you add
to that concoction,
454
00:25:12,190 --> 00:25:14,940
the genius of producers
455
00:25:14,940 --> 00:25:16,899
like Sam Phillips.
456
00:25:16,899 --> 00:25:20,900
Lauterbach:
There wasn't much
in the way of rhythm and blues,
457
00:25:20,900 --> 00:25:23,649
black music recording
infrastructure.
458
00:25:23,649 --> 00:25:27,730
It was very much
a do-it-yourself,
mom-and-pop business.
459
00:25:27,730 --> 00:25:30,730
Maultsby:
Sam Phillips loved the blues,
460
00:25:30,730 --> 00:25:33,860
and he was interested
in recording
461
00:25:33,860 --> 00:25:37,280
as many blues
performers as he could.
462
00:25:37,280 --> 00:25:40,610
Schilling:
Elvis was aware
of what Sam had recorded
463
00:25:40,610 --> 00:25:42,479
at Sun Studios.
464
00:25:42,479 --> 00:25:43,780
Rufus Thomas.
465
00:25:43,780 --> 00:25:45,029
Ike Turner.
466
00:25:45,029 --> 00:25:46,440
The Prisonaires.
467
00:25:46,440 --> 00:25:50,070
Petty:
I really believe Sam Phillips,
for a long time,
468
00:25:50,070 --> 00:25:53,899
had the idea of finding
a white singer
469
00:25:53,899 --> 00:25:55,780
that could bring black music
470
00:25:55,780 --> 00:25:58,229
into the white mainstream.
471
00:25:58,229 --> 00:26:00,779
For a lot of noble reasons,
472
00:26:00,779 --> 00:26:03,529
not just commercial.
473
00:26:03,529 --> 00:26:07,569
Schilling:
Everybody thinks that Sam
was looking for a white boy
474
00:26:07,569 --> 00:26:09,110
to do black music.
475
00:26:09,110 --> 00:26:11,900
But Elvis was looking
for Sam Phillips.
476
00:26:11,900 --> 00:26:15,979
Sam Phillips:
I had seen him go by
in his Crown Electric truck
477
00:26:15,979 --> 00:26:17,149
a number of different times,
478
00:26:17,149 --> 00:26:19,319
'cause we had
an open storefront.
479
00:26:19,319 --> 00:26:21,230
He'd go by and go back,
480
00:26:21,230 --> 00:26:23,439
and go by and go back.
481
00:26:23,439 --> 00:26:25,689
This guy would not
come in the studio
482
00:26:25,689 --> 00:26:28,319
and ask me to audition him
for nothin'.
483
00:26:28,319 --> 00:26:30,570
Elvis had never
been in a studio.
484
00:26:30,570 --> 00:26:31,859
Jorgensen:
There was a newspaper story
485
00:26:31,859 --> 00:26:33,820
about how you could
get lucky at Sun Records,
486
00:26:33,820 --> 00:26:36,399
and Elvis just went for it.
487
00:26:46,939 --> 00:26:50,979
Elvis:
If you
488
00:26:50,979 --> 00:26:54,069
Find your sweetheart
489
00:26:54,069 --> 00:26:58,189
In the arms of a friend ?
490
00:26:59,230 --> 00:27:00,779
Schilling:
Elvis went in to do
491
00:27:00,779 --> 00:27:02,280
what he thought
he should do
492
00:27:02,280 --> 00:27:04,149
to get a record deal.
493
00:27:04,149 --> 00:27:06,069
West:
He had this beautiful voice,
494
00:27:06,069 --> 00:27:10,779
a high voice, singing
slow love longs, ballads.
495
00:27:10,779 --> 00:27:12,529
Schilling:
And he sang Dean Martin.
496
00:27:12,529 --> 00:27:14,529
He sang Ink Spots--
497
00:27:14,529 --> 00:27:17,569
black but white-accepted music.
498
00:27:17,569 --> 00:27:20,029
There was nothing
that was exciting Sam.
499
00:27:20,029 --> 00:27:21,529
Phillips:
I didn't want that.
500
00:27:21,529 --> 00:27:23,439
It had to have a feel.
501
00:27:24,609 --> 00:27:26,189
I did have the feeling
502
00:27:26,189 --> 00:27:28,569
that this guy had
something in the raw
503
00:27:28,569 --> 00:27:30,440
that we could
do something with
504
00:27:30,440 --> 00:27:32,819
if we even knew
what the hell we were doing.
505
00:27:32,819 --> 00:27:34,569
Brought in Scotty Moore,
506
00:27:34,569 --> 00:27:37,359
he was working at his
brother's dry cleaning plant,
507
00:27:37,359 --> 00:27:39,529
and Scotty played the guitar
508
00:27:39,529 --> 00:27:42,479
and was not afraid
to experiment.
509
00:27:42,479 --> 00:27:45,069
Bill Black, I knew could
play a good slap bass.
510
00:27:45,069 --> 00:27:48,649
Black was working
in an appliance store
repairing appliances.
511
00:27:48,649 --> 00:27:51,229
And I said,
Go and woodshed, boys.
512
00:27:51,229 --> 00:27:54,779
Scotty Moore:
Sam said, "All I need is just
a little background noise.
513
00:27:54,779 --> 00:27:57,229
You don't have
to worry about
arrangements or anything.
514
00:27:57,229 --> 00:28:00,479
Don't need the whole band,
just a little rhythm stuff.
515
00:28:00,479 --> 00:28:02,319
I knew Sam was looking
for something,
516
00:28:02,319 --> 00:28:05,569
but he couldn't tell you
what he was looking for,
you know?
517
00:28:05,569 --> 00:28:08,228
Phillips:
This day we had wound up
518
00:28:08,228 --> 00:28:10,109
just about ready to give up
519
00:28:10,109 --> 00:28:12,899
on having any success
on a session.
520
00:28:12,899 --> 00:28:16,109
About ready to bag up
the instruments and go home.
521
00:28:16,109 --> 00:28:18,229
I knew Sun Records
had to make it
522
00:28:18,229 --> 00:28:21,279
on something that
was a little bit
out of the ordinary
523
00:28:21,279 --> 00:28:23,319
or we may as well forget it.
524
00:28:23,319 --> 00:28:24,819
Jackson:
Things aren't going well.
525
00:28:24,819 --> 00:28:26,569
Elvis is nervous.
526
00:28:26,569 --> 00:28:28,649
Moore:
We'd been there
two, three hours,
527
00:28:28,649 --> 00:28:29,898
and it was starting
to get late
528
00:28:29,898 --> 00:28:31,149
and we were getting tired.
529
00:28:31,149 --> 00:28:34,069
And, uh, we stopped
and had a Coke or something.
530
00:28:34,069 --> 00:28:37,029
Jackson:
Elvis was just about
a year out of high school,
531
00:28:37,029 --> 00:28:39,438
19 years old.
532
00:28:39,438 --> 00:28:42,189
Moore:
He wanted to please Sam,
533
00:28:42,189 --> 00:28:46,729
and he knew he had
to prove himself.
534
00:28:47,819 --> 00:28:50,569
Robbie Robertson:
It was in that moment
535
00:28:50,569 --> 00:28:52,568
that the world changed.
536
00:28:59,899 --> 00:29:02,439
Moore:
Elvis sets his Coke down,
picks up the guitar,
537
00:29:02,439 --> 00:29:04,898
starts just frailing,
you know, fire out of it.
538
00:29:04,898 --> 00:29:06,899
I mean, he was beating
his rhythm thing.
539
00:29:06,899 --> 00:29:09,109
Well, Bill picked his bass,
started slapping,
540
00:29:09,109 --> 00:29:11,318
playing along with him.
Just-- just all rhythm.
541
00:29:11,318 --> 00:29:13,818
Guitar was leaning up
on the amp and I picked it up
542
00:29:13,818 --> 00:29:16,149
and started just kinda
vamping along with him.
543
00:29:16,149 --> 00:29:18,859
Elvis:
Well, Mama,
she done told me
544
00:29:18,859 --> 00:29:21,188
Papa done told me too
545
00:29:21,188 --> 00:29:23,318
Son, that gal
you fooling with
546
00:29:23,318 --> 00:29:25,229
She ain't no good for you
547
00:29:25,229 --> 00:29:27,979
Well, that's all right
548
00:29:27,979 --> 00:29:30,819
Phillips:
Although Elvis knew
a lot of blues,
549
00:29:30,819 --> 00:29:33,608
country and pop,
it shocked me,
550
00:29:33,608 --> 00:29:37,189
because here is
a classic blues number,
551
00:29:37,189 --> 00:29:40,819
and here is a white cat
not imitating
552
00:29:40,819 --> 00:29:43,148
or mimicking or anything,
553
00:29:43,148 --> 00:29:47,649
but just putting
his feel into it.
554
00:29:47,649 --> 00:29:50,319
Blew me away!
555
00:29:50,319 --> 00:29:53,399
Springsteen:
You hear performers
in the thrall
556
00:29:53,399 --> 00:29:55,068
of the beauty of invention,
557
00:29:55,068 --> 00:29:57,398
not knowing quite
where they're going to go,
558
00:29:57,398 --> 00:29:59,899
not knowing exactly
what they're doing.
559
00:29:59,899 --> 00:30:02,028
Elvis:
I'm leaving town, baby
560
00:30:02,028 --> 00:30:03,818
I'm leaving town for sure
561
00:30:03,818 --> 00:30:05,729
Springsteen:
Just discovering it
and doing it
562
00:30:05,729 --> 00:30:08,188
literally as the music
is being played.
563
00:30:08,188 --> 00:30:09,688
You're out on the frontier,
564
00:30:09,688 --> 00:30:13,188
and it's a very pristine
and exciting place to be.
565
00:30:13,188 --> 00:30:16,568
Elvis:
That's all right now, mama
566
00:30:16,568 --> 00:30:20,028
Any way you do
567
00:30:27,688 --> 00:30:29,858
That's all right
568
00:30:29,858 --> 00:30:31,528
It's all right
569
00:30:31,528 --> 00:30:34,359
That's all right, now, mama
570
00:30:34,359 --> 00:30:36,728
Any way you do
571
00:30:36,728 --> 00:30:38,068
One more time, baby.
572
00:30:38,068 --> 00:30:39,728
One more!
573
00:30:39,728 --> 00:30:41,438
Ha!
574
00:30:48,398 --> 00:30:50,069
Yeah, baby
575
00:30:58,278 --> 00:31:00,978
Well, my Mama
she done told me
576
00:31:00,978 --> 00:31:02,648
Papa done told me too
577
00:31:02,648 --> 00:31:04,728
They said, Son,
this gal you foolin' with
578
00:31:04,728 --> 00:31:06,398
She ain't no good for you
579
00:31:10,068 --> 00:31:13,108
That's all right,
little mama
580
00:31:13,108 --> 00:31:15,728
Any way you do
581
00:31:16,858 --> 00:31:18,277
Give it all, baby!
582
00:31:25,438 --> 00:31:29,398
That's all right
583
00:31:29,398 --> 00:31:32,108
That's all right,
little mama
584
00:31:32,108 --> 00:31:34,728
Any way you do
585
00:31:38,108 --> 00:31:39,728
Whoo!
586
00:31:41,188 --> 00:31:42,608
Moore:
We knew it was
a little different.
587
00:31:42,608 --> 00:31:44,648
We didn't know
what it was really.
588
00:31:44,648 --> 00:31:47,438
There was no mention
of, you know,
get this out or anything,
589
00:31:47,438 --> 00:31:49,318
'cause we didn't know.
590
00:31:57,818 --> 00:32:00,728
Write me a letter
591
00:32:06,318 --> 00:32:07,478
Just flat fixin' to bring you
592
00:32:07,478 --> 00:32:08,817
the hottest thing
in the country.
593
00:32:08,817 --> 00:32:11,228
Red, Hot, and Blue coming
to you, WHBQ,
594
00:32:11,228 --> 00:32:13,108
in Memphis, Tennessee
and it's Friday night.
595
00:32:13,108 --> 00:32:16,108
Tomorrow's payday
and bath day.
That's a good deal.
596
00:32:16,108 --> 00:32:17,478
Schilling:
Growing up in Memphis,
597
00:32:17,478 --> 00:32:19,528
I'd been listening
to Dewey Phillips
598
00:32:19,528 --> 00:32:21,027
and his Red, Hot,
and Blue show
599
00:32:21,027 --> 00:32:23,188
for two years
before Elvis came on.
600
00:32:23,188 --> 00:32:26,478
DJ Fontana:
He was the number one jock
in Memphis at the time.
601
00:32:27,607 --> 00:32:29,978
Schilling:
When Elvis was played,
602
00:32:29,978 --> 00:32:31,978
it was just different.
603
00:32:31,978 --> 00:32:34,147
It wasn't really
rhythm and blues,
604
00:32:34,147 --> 00:32:35,608
and it wasn't country.
605
00:32:35,608 --> 00:32:37,567
Moore:
Dewey's program,
he started playing it
606
00:32:37,567 --> 00:32:39,188
and phones was
ringing off the wall.
607
00:32:39,188 --> 00:32:41,858
In fact, they went,
took Elvis out of the movie
he was at,
608
00:32:41,858 --> 00:32:43,067
and told him that, uh,
609
00:32:43,067 --> 00:32:45,528
that Dewey wanted
to talk to him on the radio.
610
00:32:45,528 --> 00:32:48,148
Schilling:
He came on,
did the interview.
611
00:32:48,148 --> 00:32:50,568
He was nervous
and he stuttered.
612
00:32:51,818 --> 00:32:53,527
Phillips:
That's All Right, Mama
was a hit
613
00:32:53,527 --> 00:32:55,687
in Memphis, Tennessee,
overnight.
614
00:32:55,687 --> 00:32:57,228
Moore:
It was quite
phenomenal, really,
615
00:32:57,228 --> 00:33:00,358
getting that kinda response
off a local radio station.
616
00:33:00,358 --> 00:33:02,607
Fontana:
Dewey played it on the air,
just the one side,
617
00:33:02,607 --> 00:33:03,978
and Sam got
ahold of us, and,
618
00:33:03,978 --> 00:33:05,187
Gotta get back in here.
619
00:33:05,187 --> 00:33:06,898
We got to have another
side for this record.
620
00:33:06,898 --> 00:33:09,067
Phillips:
I said, "Do you know
anything else
621
00:33:09,067 --> 00:33:11,147
that's as wild as that?"
622
00:33:24,727 --> 00:33:28,478
Man:
Blue moon of Kentucky
623
00:33:28,478 --> 00:33:30,687
Keep on shining
624
00:33:31,778 --> 00:33:35,318
Shine on the one
that's gone
625
00:33:35,318 --> 00:33:38,398
And proved untrue
626
00:33:38,398 --> 00:33:40,527
Elvis:
Blue moon
627
00:33:40,527 --> 00:33:42,647
Blue moon
628
00:33:42,647 --> 00:33:46,687
Blue moon
keep shining bright
629
00:33:46,687 --> 00:33:48,937
Blue moon, keep on
shining bright
630
00:33:48,937 --> 00:33:51,277
You're gonna bring me
back my baby tonight
631
00:33:51,277 --> 00:33:52,977
Blue moon
632
00:33:52,977 --> 00:33:54,937
Keep shining bright
633
00:33:54,937 --> 00:33:59,897
Ferris:
That one record
summed up his roots--
634
00:33:59,897 --> 00:34:03,107
the very best of
both black blues
635
00:34:03,107 --> 00:34:04,777
and white bluegrass.
636
00:34:04,777 --> 00:34:07,107
Elvis:
Blue moon of Kentucky
keep on shining
637
00:34:07,107 --> 00:34:08,777
Petty:
He knew the blues.
638
00:34:08,777 --> 00:34:12,227
He knew Arthur Crudup,
Bill Munroe.
639
00:34:12,227 --> 00:34:15,187
He knew that stuff by memory.
640
00:34:15,187 --> 00:34:18,187
Elvis:
Stars shinnin' bright
641
00:34:18,187 --> 00:34:20,607
Phillips:
The elements there
that came together
642
00:34:20,607 --> 00:34:23,857
were things that I had
prayed for so long:
643
00:34:23,857 --> 00:34:28,187
To record a black low-down
almost gut-bucket blues,
644
00:34:28,187 --> 00:34:32,897
and turn around
and put a classic,
classic bluegrass number,
645
00:34:32,897 --> 00:34:34,936
Blue Moon of Kentucky,
on the other side.
646
00:34:36,647 --> 00:34:38,777
It didn't have
to have a color.
647
00:34:38,777 --> 00:34:40,397
It didn't need a color.
648
00:34:40,397 --> 00:34:42,777
Petty:
I don't know if Elvis
was looking at it
649
00:34:42,777 --> 00:34:44,937
all in that noble of a light.
650
00:34:44,937 --> 00:34:46,437
It was just music he liked.
651
00:34:46,437 --> 00:34:49,067
Elvis:
? Oh, well, I said,
blue moon of Kentucky ?
652
00:34:49,067 --> 00:34:50,526
? Just keep on shining ?
653
00:34:50,526 --> 00:34:51,777
Petty:
Blue Moon of Kentucky,
654
00:34:51,777 --> 00:34:55,567
he has got this entirely
original take on the bluegrass
655
00:34:55,567 --> 00:34:57,317
and it transforms into
656
00:34:57,317 --> 00:34:59,607
what would later
be called rock and roll.
657
00:34:59,607 --> 00:35:04,357
Elvis:
Shine on the one
who's gone and left me blue
658
00:35:11,187 --> 00:35:15,187
Emmylou Harris:
There's no one that
creates music in a vacuum.
659
00:35:15,187 --> 00:35:17,857
We're all influenced
by what we've heard
660
00:35:17,857 --> 00:35:19,477
and what has come before.
661
00:35:19,477 --> 00:35:22,687
But occasionally, you have
those crossroads moments
662
00:35:22,687 --> 00:35:25,226
when something
completely new is born.
663
00:35:26,727 --> 00:35:28,816
Petty:
It was a beautiful,
beautiful thing.
664
00:35:28,816 --> 00:35:30,027
It was high art,
665
00:35:30,027 --> 00:35:32,687
in the greatest degree,
you know, this is Picasso.
666
00:35:32,687 --> 00:35:36,027
I mean, this is really
taking your influences
667
00:35:36,027 --> 00:35:37,856
and going somewhere with them,
668
00:35:37,856 --> 00:35:39,977
to a place that's new.
669
00:35:41,356 --> 00:35:43,227
West:
Now, Elvis had a hit record,
670
00:35:43,227 --> 00:35:45,937
and he was touring
every night somewhere,
671
00:35:45,937 --> 00:35:48,027
each night a different place.
672
00:35:48,027 --> 00:35:50,726
Jorgensen:
The basic mistake
people make about Elvis
673
00:35:50,726 --> 00:35:53,186
was that he came along
and got lucky.
674
00:35:53,186 --> 00:35:55,317
No, he didn't get lucky.
675
00:35:55,317 --> 00:35:57,777
He worked hard
and he created the music
676
00:35:57,777 --> 00:35:59,476
with great musicians.
677
00:35:59,476 --> 00:36:01,567
He had a drive
that motivated him,
678
00:36:01,567 --> 00:36:03,687
and it was there
from day one.
679
00:36:03,687 --> 00:36:06,897
Elvis:
Well, what a fool I was
680
00:36:06,897 --> 00:36:10,727
To think that you
could love me too
681
00:36:13,227 --> 00:36:14,567
Bill Malone:
In those early days,
682
00:36:14,567 --> 00:36:17,567
whether it was Slim Whitman
or Jim Reeves
683
00:36:17,567 --> 00:36:19,066
or Elvis Presley,
684
00:36:19,066 --> 00:36:21,066
if they wanted to survive,
685
00:36:21,066 --> 00:36:22,606
they had to hit the road.
686
00:36:22,606 --> 00:36:24,356
Springsteen:
It's an old-fashioned
experience
687
00:36:24,356 --> 00:36:27,186
in the sense that he was
part of a touring band.
688
00:36:28,226 --> 00:36:30,027
Which meant that
night after night,
689
00:36:30,027 --> 00:36:32,186
he was putting on his act.
690
00:36:32,186 --> 00:36:33,976
And there's something
that happens
691
00:36:33,976 --> 00:36:35,226
through extensive touring
692
00:36:35,226 --> 00:36:37,476
that you can't
get anywhere else.
693
00:36:37,476 --> 00:36:39,936
Jackson:
You look back at the
calendar of his dates,
694
00:36:39,936 --> 00:36:42,936
and he's literally playing
dates every single night.
695
00:36:42,936 --> 00:36:44,476
The circuit that
they're working
696
00:36:44,476 --> 00:36:46,776
is probably one
of the most thankless
697
00:36:46,776 --> 00:36:48,437
and low-paying,
698
00:36:48,437 --> 00:36:52,606
just grind-of-a-circuit
that you could imagine.
699
00:36:52,606 --> 00:36:54,937
Springsteen:
There's a depth of craft
that's attained
700
00:36:54,937 --> 00:36:58,147
through simply constantly
doing it night after night,
701
00:36:58,147 --> 00:37:01,606
having to satisfy all
different types of audiences.
702
00:37:01,606 --> 00:37:03,276
West:
You know, you have
the stereotype
703
00:37:03,276 --> 00:37:05,476
of the bass being
tied on top of the car.
704
00:37:05,476 --> 00:37:08,606
That was true.
They really did that.
705
00:37:08,606 --> 00:37:10,727
Man:
May I ask, where did you
pick up your style?
706
00:37:10,727 --> 00:37:13,857
Elvis:
My very first appearance
after I started recording.
707
00:37:13,857 --> 00:37:15,606
I was on a show
and I was scared stiff.
708
00:37:15,606 --> 00:37:18,566
And I came out and I was
doing a fast type tune.
709
00:37:18,566 --> 00:37:21,776
Everybody was hollering,
and I didn't know what
they were hollering at.
710
00:37:21,776 --> 00:37:24,316
Everybody was screaming
and then I came offstage,
711
00:37:24,316 --> 00:37:26,476
and my manager told me
that they was hollering
712
00:37:26,476 --> 00:37:28,316
because I was
wiggling my legs.
713
00:37:28,316 --> 00:37:31,356
I was unaware, and so
I went back out for an encore,
714
00:37:31,356 --> 00:37:32,686
and I did a little more.
715
00:37:32,686 --> 00:37:34,316
And the more I did,
the louder they went.
716
00:37:41,646 --> 00:37:45,316
Jackson:
Sam Phillips was able to get
Elvis on the Opry in Nashville,
717
00:37:45,316 --> 00:37:46,606
which was massive.
718
00:37:46,606 --> 00:37:49,816
I mean, you don't just
get on the Grand Ole Opry.
719
00:37:49,816 --> 00:37:52,976
The Opry, you had to be
a member, be in this club,
720
00:37:52,976 --> 00:37:57,566
the traditional
Nashville establishment.
721
00:37:57,566 --> 00:38:00,226
You had to dress the way
that they wanted you to dress
722
00:38:00,226 --> 00:38:02,976
and sing the way
they wanted you to sing.
723
00:38:02,976 --> 00:38:06,646
The Opry was very,
very segregated.
724
00:38:12,856 --> 00:38:14,856
Moore:
This was an older audience.
725
00:38:14,856 --> 00:38:17,776
They had their artists
that they went to see.
726
00:38:17,776 --> 00:38:20,476
And here's a kid
dressed funny,
727
00:38:20,476 --> 00:38:23,776
coming out, doing one
of their idols' songs
728
00:38:23,776 --> 00:38:26,726
in a blasphemous way.
729
00:38:26,726 --> 00:38:28,855
They didn't get up
and cheer and holler.
730
00:38:30,526 --> 00:38:32,225
Phillips:
Now, if you are fainthearted,
731
00:38:32,225 --> 00:38:33,856
you're gonna
give up in a hurry
732
00:38:33,856 --> 00:38:36,316
on a situation like that.
733
00:38:36,316 --> 00:38:38,605
We were not fainthearted.
734
00:38:38,605 --> 00:38:41,725
But we certainly didn't know
whether we would win it.
735
00:38:41,725 --> 00:38:44,565
We knew in time
that something this great
736
00:38:44,565 --> 00:38:47,895
could not be kept
under a bushel.
737
00:38:50,316 --> 00:38:52,686
Ferris:
You cannot understand Elvis
738
00:38:52,686 --> 00:38:55,066
apart from country music,
739
00:38:55,066 --> 00:38:57,435
but he was pulling it away
740
00:38:57,435 --> 00:39:00,855
from the traditional
Grand Ole Opry sound
741
00:39:00,855 --> 00:39:06,106
and shaping it as a new,
bluesier version.
742
00:39:07,476 --> 00:39:10,646
While country music
could recognize it,
743
00:39:10,646 --> 00:39:13,565
they also knew it was
a threatening sound
744
00:39:13,565 --> 00:39:16,725
that would ultimately
destroy the power
745
00:39:16,725 --> 00:39:18,436
of the Grand Ole Opry.
746
00:39:20,226 --> 00:39:22,225
Jackson:
So four months after
747
00:39:22,225 --> 00:39:23,646
the release
of the first single,
748
00:39:23,646 --> 00:39:26,646
they play their first
Louisiana Hayride show.
749
00:39:31,775 --> 00:39:35,976
Elvis:
Tweedle, tweedle,
tweedle, dee
750
00:39:37,436 --> 00:39:40,935
I'm as happy as can be
751
00:39:40,935 --> 00:39:44,565
Fontana:
The Louisiana Hayride was
strictly a country show.
752
00:39:44,565 --> 00:39:47,815
Webb Pierce, Faron Young,
Nat Stuckey, George Jones,
753
00:39:47,815 --> 00:39:50,145
just about everybody
played the Hayride.
754
00:39:50,145 --> 00:39:54,105
Robertson:
The Louisiana Hayride
was really the place
755
00:39:54,105 --> 00:39:57,065
where country music and blues
756
00:39:57,065 --> 00:40:00,065
hit one another and exploded.
757
00:40:00,065 --> 00:40:03,395
Ferris:
It was a critical moment
in his career.
758
00:40:04,726 --> 00:40:06,645
The radio broadcasts
759
00:40:06,645 --> 00:40:09,315
had an enormous
impact in Memphis,
760
00:40:09,315 --> 00:40:14,396
but the Louisiana Hayride was
a whole different audience.
761
00:40:14,396 --> 00:40:16,145
Malone:
Hayride could be heard
762
00:40:16,145 --> 00:40:18,435
all through the western
part of the South,
763
00:40:18,435 --> 00:40:21,935
so it had a pretty wide
geographical audience.
764
00:40:21,935 --> 00:40:25,975
Ferris:
That was a kind of
testing of his ability
765
00:40:25,975 --> 00:40:27,815
to reach audiences
766
00:40:27,815 --> 00:40:30,645
beyond his own home
in Memphis.
767
00:40:33,685 --> 00:40:36,025
Malone:
The Louisiana Hayride
did send out
768
00:40:36,025 --> 00:40:38,475
road tours
to surrounding towns.
769
00:40:38,475 --> 00:40:40,315
The entire show would move.
770
00:40:40,315 --> 00:40:42,225
Jackson:
They'd start to build
these touring routes
771
00:40:42,225 --> 00:40:45,475
that bring them back
to Shreveport once a week.
772
00:40:46,475 --> 00:40:49,315
That's a big turning point,
773
00:40:49,315 --> 00:40:51,435
not only from
a financial perspective
774
00:40:51,435 --> 00:40:54,895
but also from
a exposure perspective.
775
00:40:54,895 --> 00:40:58,185
Jorgensen:
Elvis played a lot
of these first shows
776
00:40:58,185 --> 00:41:02,065
with Jim Ed and Maxine Brown,
Bud Deckelman,
777
00:41:02,065 --> 00:41:04,855
uh, Betty Amos--
successful country artists,
778
00:41:04,855 --> 00:41:08,185
but not on a real top level.
779
00:41:08,185 --> 00:41:11,065
Zanes:
Those performers are
competing with one another.
780
00:41:11,065 --> 00:41:14,645
Somebody wants to leave there
feeling like they won.
781
00:41:14,645 --> 00:41:16,315
And being on bills like that,
782
00:41:16,315 --> 00:41:19,435
you are amongst people
who are gonna
teach you things.
783
00:41:19,435 --> 00:41:21,855
And that's a big part
of what made Elvis
784
00:41:21,855 --> 00:41:24,315
in those early becoming years
785
00:41:24,315 --> 00:41:26,525
was that he had
an antenna that was up,
786
00:41:26,525 --> 00:41:30,105
and he was stealing tricks,
he was learning lessons.
787
00:41:30,105 --> 00:41:34,025
He was bringing it all in
without it seeming like
788
00:41:34,025 --> 00:41:38,275
he was just doing
somebody else's act.
789
00:41:39,565 --> 00:41:41,395
Fontana:
He could go out there,
and the audience
790
00:41:41,395 --> 00:41:43,475
wouldn't be on his side
for maybe five minutes.
791
00:41:43,475 --> 00:41:46,395
But all of a sudden,
somehow or another,
he'd turn 'em around.
792
00:41:46,395 --> 00:41:48,225
Moore:
He could read
an audience very well.
793
00:41:48,225 --> 00:41:49,565
He could tell
if it didn't seem
794
00:41:49,565 --> 00:41:51,145
like he was going
or just right,
795
00:41:51,145 --> 00:41:52,225
he'd do something,
796
00:41:52,225 --> 00:41:54,645
something you wouldn't
even expect.
797
00:41:54,645 --> 00:41:58,144
Jorgensen:
He often started
a song by like a wail
798
00:41:58,144 --> 00:41:59,475
and then left it
hanging there,
799
00:41:59,475 --> 00:42:01,224
so people were like,
What's going on?
800
00:42:01,224 --> 00:42:03,145
He would stop
in the middle of a song
801
00:42:03,145 --> 00:42:05,525
and turn around
or walk away,
802
00:42:05,525 --> 00:42:08,895
and then go back,
or do something with
a microphone stand.
803
00:42:10,185 --> 00:42:12,935
Schilling:
And he would grab
that microphone,
804
00:42:12,935 --> 00:42:16,604
and he would drag it
across the stage.
805
00:42:16,604 --> 00:42:19,105
He was so
sophisticated already
806
00:42:19,105 --> 00:42:21,275
about making contact
with an audience.
807
00:42:21,275 --> 00:42:25,435
If the audience reacted
a lot to something he did,
808
00:42:25,435 --> 00:42:26,934
he did it again.
809
00:42:28,315 --> 00:42:30,395
He just had this look,
810
00:42:30,395 --> 00:42:33,435
like a wild, captured animal.
811
00:42:33,435 --> 00:42:36,354
Shook his head and his hair
was down in his face,
812
00:42:36,354 --> 00:42:40,025
and just to watch him
walk from that curtain
813
00:42:40,025 --> 00:42:43,105
to the microphone,
you felt a part of it.
814
00:42:44,475 --> 00:42:46,775
Jorgensen:
He gets presence
on the charts,
815
00:42:46,775 --> 00:42:48,684
and his records
kept doing well,
816
00:42:48,684 --> 00:42:51,724
and eventually, he gets voted
the Most Promising New Artist.
817
00:42:53,105 --> 00:42:54,724
Fontana:
And he finally got a Cadillac.
818
00:43:13,474 --> 00:43:15,225
Elvis:
And when I was
driving a truck,
819
00:43:15,225 --> 00:43:17,434
every time a big,
shiny car drove by,
820
00:43:17,434 --> 00:43:19,314
it started me
sorta daydreaming.
821
00:43:21,645 --> 00:43:23,604
I'd daydream...
822
00:43:25,974 --> 00:43:27,815
about how it would be.
823
00:43:33,144 --> 00:43:34,644
And the first car
I ever bought
824
00:43:34,644 --> 00:43:36,524
was the most beautiful car
I've ever seen.
825
00:43:40,894 --> 00:43:42,564
It was secondhand,
but I parked it
826
00:43:42,564 --> 00:43:45,724
outside of my hotel
the day I got it.
827
00:43:48,524 --> 00:43:50,524
Elvis:
I sat up all night
just looking at it.
828
00:43:52,775 --> 00:43:54,934
And the next day,
well the thing caught fire
829
00:43:54,934 --> 00:43:56,524
and burned up on the road.
830
00:43:58,104 --> 00:44:01,524
Uh, I've got a lot of cars,
831
00:44:01,524 --> 00:44:03,894
but none of 'em would take
the place of that first one.
832
00:44:22,224 --> 00:44:26,564
Zanes:
The story that we hear
about early rock and roll
833
00:44:26,564 --> 00:44:29,024
is that the major labels,
in the main,
834
00:44:29,024 --> 00:44:30,474
passed on rock and roll.
835
00:44:30,474 --> 00:44:32,314
And so the indie
labels took it up,
836
00:44:32,314 --> 00:44:35,314
and it took the
major labels a while
837
00:44:35,314 --> 00:44:38,104
to see that rock and roll
wasn't going away.
838
00:44:38,104 --> 00:44:40,564
Man:
Now if you've got a woman
839
00:44:40,564 --> 00:44:44,104
Victor Linn:
The RCAs, the Capitols,
the Columbias, the Deccas,
840
00:44:44,104 --> 00:44:47,684
they were called the majors.
841
00:44:47,684 --> 00:44:50,524
All the other people,
these were independent
businessmen
842
00:44:50,524 --> 00:44:53,854
who sold records to stores.
843
00:44:53,854 --> 00:44:55,434
Phillips:
I have a small
record company,
844
00:44:55,434 --> 00:44:57,224
been in business five years,
845
00:44:57,224 --> 00:45:00,394
worked the lower
of my anatomy off,
846
00:45:00,394 --> 00:45:02,774
peddling days of me
on the road
847
00:45:02,774 --> 00:45:05,604
to the tune of
70,000 miles a year.
848
00:45:08,024 --> 00:45:09,644
Linn:
When we say independent,
849
00:45:09,644 --> 00:45:11,814
Sam was connected to no one
850
00:45:11,814 --> 00:45:14,024
at the major labels
in any way.
851
00:45:14,024 --> 00:45:16,474
He would produce what
he wanted to produce.
852
00:45:16,474 --> 00:45:18,144
Dog that bite your hand
853
00:45:18,144 --> 00:45:22,144
It means record it.
It means edit it.
854
00:45:22,144 --> 00:45:24,894
They went into the lab
and did the mastering.
855
00:45:24,894 --> 00:45:26,474
Packaging was already done,
856
00:45:26,474 --> 00:45:28,774
and then they put a bunch
of singles in the car,
857
00:45:28,774 --> 00:45:32,184
and got on the road
and went into the hills
of Tennessee.
858
00:45:32,184 --> 00:45:35,564
And this is really a very
traditional way of doing it.
859
00:45:37,354 --> 00:45:38,894
I went down to the river
860
00:45:38,894 --> 00:45:41,854
Linn:
Now what the record company
would like to see happen
861
00:45:41,854 --> 00:45:44,854
is they could spread
that regionality,
862
00:45:44,854 --> 00:45:48,144
get it from northern
Georgia to Alabama,
863
00:45:48,144 --> 00:45:50,604
and from Alabama
across to Mississippi.
864
00:45:50,604 --> 00:45:53,474
You know, then they've got
national distribution.
865
00:45:53,474 --> 00:45:56,684
Phillips:
I knew, really, so little
about the business
866
00:45:56,684 --> 00:45:59,814
when it came
to merchandising records
and this sort of thing.
867
00:45:59,814 --> 00:46:04,144
The main thing that
did more for us
than anything else
868
00:46:04,144 --> 00:46:08,854
was it created excitement
amongst the major labels.
869
00:46:08,854 --> 00:46:11,313
A lot of hard work
went into this thing,
870
00:46:11,313 --> 00:46:12,604
both on the part of Elvis
871
00:46:12,604 --> 00:46:15,644
and the part of Scotty,
and Bill, and myself.
872
00:46:15,644 --> 00:46:18,974
Schilling:
Elvis, when he was
19 years old,
873
00:46:18,974 --> 00:46:22,104
he knew what he had to do
874
00:46:22,104 --> 00:46:23,773
to get where he wanted to.
875
00:46:23,773 --> 00:46:25,524
He was a very driven man.
876
00:46:25,524 --> 00:46:27,183
Every two months,
he was releasing
877
00:46:27,183 --> 00:46:30,523
another single
at Sun Records.
878
00:46:30,523 --> 00:46:33,603
Robertson:
Sam knew what to ask for,
what to push for,
879
00:46:33,603 --> 00:46:36,523
and all of those pieces,
the way they fit together,
880
00:46:36,523 --> 00:46:40,854
it was like Sam Phillips
was the other member
of that group.
881
00:46:43,563 --> 00:46:45,723
Springsteen:
The Sun space was
pretty indicative
882
00:46:45,723 --> 00:46:49,353
of most small recording
studios of the era.
883
00:46:49,353 --> 00:46:51,104
You know, they were intimate.
884
00:46:51,104 --> 00:46:53,023
They were small.
885
00:46:53,023 --> 00:46:56,023
You were up close
with everybody and everything.
886
00:46:57,064 --> 00:46:59,023
Harris:
And those early records,
887
00:46:59,023 --> 00:47:00,973
they almost knock you
off your heels,
888
00:47:00,973 --> 00:47:05,523
because all that big sound
is coming from so little.
889
00:47:07,273 --> 00:47:08,893
Springsteen:
I think people
make the mistake
890
00:47:08,893 --> 00:47:11,933
that when they think
of rock and roll,
they think of drums.
891
00:47:11,933 --> 00:47:13,523
Elvis:
? Oh, baby, baby, baby ?
892
00:47:13,523 --> 00:47:15,724
Springsteen:
If you listen to a lot
of the early rock and roll,
893
00:47:15,724 --> 00:47:17,223
rhythm came out
of the slap bass,
894
00:47:17,223 --> 00:47:19,223
rhythmic hitting
of the guitar,
895
00:47:19,223 --> 00:47:21,523
and the swing
of the singer's voice.
896
00:47:21,523 --> 00:47:24,273
Come back, baby,
I wanna play house with you
897
00:47:26,103 --> 00:47:28,564
Jon Landau:
There was only a couple
of microphones.
898
00:47:28,564 --> 00:47:30,723
It was-- it was pretty
straightforward.
899
00:47:30,723 --> 00:47:32,773
You may have
a pink Cadillac
900
00:47:32,773 --> 00:47:34,724
But don't you be
nobody's fool
901
00:47:34,724 --> 00:47:36,183
Now, baby, come back
902
00:47:36,183 --> 00:47:38,893
Porter:
You could feel the true
artistry in that period,
903
00:47:38,893 --> 00:47:41,063
because there was not
a lot of recording equipment
904
00:47:41,063 --> 00:47:43,773
to sonically make records
sound a certain kind of way.
905
00:47:45,853 --> 00:47:48,893
Elvis:
I say meet me in a hurry
behind the barn
906
00:47:48,893 --> 00:47:51,563
Lauterbach:
Elvis listened to everything
that came his way.
907
00:47:51,563 --> 00:47:53,603
Sam was the same way,
only he was...
908
00:47:53,603 --> 00:47:55,723
he was into
the technical aspect of it,
909
00:47:55,723 --> 00:47:57,563
but very much a natural.
910
00:47:57,563 --> 00:47:59,273
Elvis:
I heard the news
911
00:47:59,273 --> 00:48:01,563
Lauterbach:
He didn't want to
overproduce anything.
912
00:48:01,563 --> 00:48:03,893
He wanted to capture raw sound.
913
00:48:12,933 --> 00:48:16,433
In Elvis, he found
a combination
914
00:48:16,433 --> 00:48:19,643
of rawness with that vision.
915
00:48:19,643 --> 00:48:22,273
The drive of the black music,
916
00:48:22,273 --> 00:48:23,473
you can hear just as well,
917
00:48:23,473 --> 00:48:26,723
the twang on the
white side of music.
918
00:48:29,273 --> 00:48:32,023
Landau:
Scotty Moore,
he and Bill Black
919
00:48:32,023 --> 00:48:33,813
and DJ Fontana
920
00:48:33,813 --> 00:48:36,683
were an enormous
blessing for Elvis
921
00:48:36,683 --> 00:48:40,143
and the coherence of the
records they made together.
922
00:48:41,773 --> 00:48:45,973
Elvis:
Well, if I had
to do it over
923
00:48:45,973 --> 00:48:48,143
Moore:
I tried to play what
I thought would fit
924
00:48:48,143 --> 00:48:50,392
the way he was
singing the song.
925
00:48:50,392 --> 00:48:52,892
Tried to do solos
and fills that--
926
00:48:52,892 --> 00:48:55,933
that made sense
on that song.
927
00:48:55,933 --> 00:48:58,813
Elvis:
Baby, trying to get to you
928
00:49:00,023 --> 00:49:01,183
Petty:
Scotty is brilliant,
929
00:49:01,183 --> 00:49:03,393
one of the great
musicians of all time.
930
00:49:03,393 --> 00:49:05,772
Never plays
unless it's necessary.
931
00:49:05,772 --> 00:49:09,773
Elvis:
Could keep me
away from you
932
00:49:09,773 --> 00:49:13,683
When your
loving letter told me
933
00:49:13,683 --> 00:49:17,023
Petty:
Bill Black, the bassist,
the way he pops the strings,
934
00:49:17,023 --> 00:49:19,473
it's him plucking
the bass string,
935
00:49:19,473 --> 00:49:21,022
rather than just striking it.
936
00:49:25,182 --> 00:49:27,932
Elvis:
Brought me through
937
00:49:27,932 --> 00:49:29,813
Robertson:
But the basic setup,
938
00:49:29,813 --> 00:49:33,063
when it was just
Elvis, Scotty, Bill
939
00:49:33,063 --> 00:49:36,682
and a beautiful
echo tape delay,
940
00:49:36,682 --> 00:49:38,023
it was all you needed.
941
00:49:38,023 --> 00:49:40,642
With that voice,
you could do anything.
942
00:49:53,933 --> 00:49:57,433
Elvis
Blue moon
943
00:49:57,433 --> 00:50:02,972
You saw me standing alone
944
00:50:02,972 --> 00:50:06,102
Without a dream in my heart
945
00:50:06,102 --> 00:50:09,893
Elvis's early recordings are
marked by, one of the things,
946
00:50:09,893 --> 00:50:13,723
the freedom of not having
heard yourself very often.
947
00:50:13,723 --> 00:50:15,722
So, they're very,
very un-self-conscious.
948
00:50:15,722 --> 00:50:19,223
Blue moon
949
00:50:19,223 --> 00:50:24,772
You knew just
what I was there for
950
00:50:24,772 --> 00:50:26,522
You heard me saying...
951
00:50:26,522 --> 00:50:29,063
Springsteen:
Elvis's voice has
plenty of space
952
00:50:29,063 --> 00:50:31,272
and beautiful
geography to it.
953
00:50:31,272 --> 00:50:33,432
Elvis:
Someone I really
could care for
954
00:50:33,432 --> 00:50:35,972
Springsteen:
And the way he was
recorded by Sam Phillips
955
00:50:35,972 --> 00:50:38,102
is tremendously pure.
956
00:50:44,893 --> 00:50:46,892
You know, there's a looseness,
957
00:50:46,892 --> 00:50:50,062
as there usually is,
in your early recordings.
958
00:50:51,273 --> 00:50:55,602
You're excited about
a sudden discovery of self...
959
00:50:57,062 --> 00:50:59,522
of your powers,
your abilities,
960
00:50:59,522 --> 00:51:01,602
and what you can
do with them.
961
00:51:02,892 --> 00:51:08,432
Elvis:
You saw me standing alone
962
00:51:08,432 --> 00:51:13,932
Without a dream
in my heart
963
00:51:13,932 --> 00:51:19,642
Without a love of my own
964
00:51:19,642 --> 00:51:21,972
Springsteen:
I hear all that on
the Sun sessions.
965
00:51:36,102 --> 00:51:40,182
Elvis:
Without a love of my own
966
00:52:20,472 --> 00:52:22,021
Vernon Presley:
In 1955,
967
00:52:22,021 --> 00:52:24,562
Colonel Parker was booking
shows down through Florida.
968
00:52:24,562 --> 00:52:27,682
People like Hank Snow,
Marty Robbins.
969
00:52:41,772 --> 00:52:44,721
Mike Stoller:
He knew he had
something very special
970
00:52:44,721 --> 00:52:47,061
and he knew from
the audience reaction.
971
00:52:47,061 --> 00:52:50,601
He promoted him.
He dropped his other artists
972
00:52:50,601 --> 00:52:53,641
and devoted himself
entirely to Elvis.
973
00:52:53,641 --> 00:52:55,222
Elvis:
Keep my eyes on you
974
00:52:55,222 --> 00:53:00,181
Schilling:
The Colonel, he's a very
hard guy to understand.
975
00:53:00,181 --> 00:53:02,721
His past was complicated.
976
00:53:02,721 --> 00:53:05,062
I think there was
a real respect
977
00:53:05,062 --> 00:53:06,971
between Elvis
and the Colonel,
978
00:53:06,971 --> 00:53:09,771
but he was a promoter,
he wasn't a creative guy.
979
00:53:09,771 --> 00:53:11,562
He was a brilliant promoter.
980
00:53:14,472 --> 00:53:17,272
Jorgensen:
There was a big tour
in February '55.
981
00:53:17,272 --> 00:53:19,021
Hank Snow was the headliner,
982
00:53:19,021 --> 00:53:20,602
and Colonel Parker
had managed
983
00:53:20,602 --> 00:53:22,351
as a favor and a plot,
984
00:53:22,351 --> 00:53:25,971
to get Elvis on as
an extra added thing.
985
00:53:25,971 --> 00:53:29,772
Being on a Hank Snow show
was a real big step forward.
986
00:53:29,772 --> 00:53:32,351
The Colonel planned it
to be a big step forward.
987
00:53:32,351 --> 00:53:34,851
He wanted to see
how far Elvis could go.
988
00:53:34,851 --> 00:53:37,721
Elvis:
? Gimme, gimme, gimme
all the love you got ?
989
00:53:37,721 --> 00:53:39,182
Jorgensen:
Just three months later,
990
00:53:39,182 --> 00:53:41,972
they realized that
the star, Hank Snow,
991
00:53:41,972 --> 00:53:44,681
couldn't close
the show anymore.
992
00:53:44,681 --> 00:53:47,931
After Elvis had performed,
people left.
993
00:53:50,271 --> 00:53:51,772
From June of '55,
994
00:53:51,772 --> 00:53:54,431
you know, basically a year
into Elvis's stay at Sun,
995
00:53:54,431 --> 00:53:57,601
people are making offers
to buy Elvis's contract.
996
00:53:57,601 --> 00:53:59,221
The Colonel was afraid
997
00:53:59,221 --> 00:54:02,311
that if Elvis became
much more successful
998
00:54:02,311 --> 00:54:03,811
than he already was,
999
00:54:03,811 --> 00:54:05,851
that he was eventually
not gonna be able
1000
00:54:05,851 --> 00:54:07,472
to take over his management.
1001
00:54:07,472 --> 00:54:08,721
He would be so big
1002
00:54:08,721 --> 00:54:12,641
that he was no longer needed
to bring it further.
1003
00:54:12,641 --> 00:54:14,311
So over the next month,
1004
00:54:14,311 --> 00:54:16,972
he actually starts
manipulating everything.
1005
00:54:17,971 --> 00:54:20,721
And after that,
it became obvious
1006
00:54:20,721 --> 00:54:22,931
between the management
of Bob Neal
1007
00:54:22,931 --> 00:54:25,931
and Sam's little independent
record company,
1008
00:54:25,931 --> 00:54:28,101
they couldn't
push a record
1009
00:54:28,101 --> 00:54:30,931
the way the big
companies could.
1010
00:54:30,931 --> 00:54:34,181
Elvis starts worrying
about that element.
1011
00:54:34,181 --> 00:54:36,811
Mae Axton:
A lot of my listeners
have seen you
1012
00:54:36,811 --> 00:54:37,971
and they've heard
your records,
1013
00:54:37,971 --> 00:54:39,271
and they think
they're very wonderful.
1014
00:54:39,271 --> 00:54:40,971
And of course, you really
skyrocketed to fame
1015
00:54:40,971 --> 00:54:42,771
on "That's All right, Mama,"
wasn't that the one?
1016
00:54:42,771 --> 00:54:44,311
Elvis:
Well, yes, ma'am.
That was the one
1017
00:54:44,311 --> 00:54:45,851
that got me on my way
and everything.
1018
00:54:45,851 --> 00:54:47,351
I wasn't very
well-known down here.
1019
00:54:47,351 --> 00:54:49,181
I mean, you know,
I'm just with a small company,
1020
00:54:49,181 --> 00:54:51,811
and, uh, my records
don't have the distribution
1021
00:54:51,811 --> 00:54:53,431
that they should have,
but, uh...
1022
00:54:53,431 --> 00:54:55,351
Axton:
Oh, of course that--
that's coming, you know.
1023
00:54:55,351 --> 00:54:56,681
It takes a little bit
of time for that
1024
00:54:56,681 --> 00:54:58,471
and to get distribution
all over the United States,
1025
00:54:58,471 --> 00:55:01,181
but I think you are one of
the fastest rising young stars
1026
00:55:01,181 --> 00:55:02,471
perhaps in the field.
1027
00:55:02,471 --> 00:55:03,851
Do you know what
I can't understand,
1028
00:55:03,851 --> 00:55:06,971
is how you keep that leg
shaking just as-- just at...
1029
00:55:06,971 --> 00:55:10,430
Schilling:
Elvis, he knew,
I've got to make a choice.
1030
00:55:10,430 --> 00:55:14,351
He and Sam spoke the same
language creatively.
1031
00:55:14,351 --> 00:55:16,471
And they loved each other.
1032
00:55:16,471 --> 00:55:20,561
But he knew
that Colonel Parker
1033
00:55:20,561 --> 00:55:21,971
was about national,
1034
00:55:21,971 --> 00:55:24,521
about movies,
and about television.
1035
00:55:26,020 --> 00:55:28,101
And that if he chose
Colonel Parker,
1036
00:55:28,101 --> 00:55:29,931
Sam would be gone.
1037
00:55:30,971 --> 00:55:33,641
Priscilla:
Sam Phillips saw in Elvis
1038
00:55:33,641 --> 00:55:35,970
what Elvis dreamed of
1039
00:55:35,970 --> 00:55:37,891
and no one else
could understand.
1040
00:55:39,641 --> 00:55:41,930
West:
Elvis was still underage,
1041
00:55:41,930 --> 00:55:43,391
under 21.
1042
00:55:43,391 --> 00:55:45,220
The Colonel set up
an appointment
1043
00:55:45,220 --> 00:55:48,180
with Vernon Presley
and Gladys and talked to 'em.
1044
00:55:48,180 --> 00:55:51,060
"I'd like to buy
his contract from Bob.
1045
00:55:51,060 --> 00:55:53,061
I think he has
a lot of potential.
1046
00:55:54,720 --> 00:55:56,521
They were suspicious
of everybody,
1047
00:55:56,521 --> 00:55:58,811
and they should've been
suspicious of the Colonel,
1048
00:55:58,811 --> 00:56:02,101
but the Colonel filled 'em
with all kinda hope.
1049
00:56:02,101 --> 00:56:04,851
They said, Well, okay.
1050
00:56:04,851 --> 00:56:06,890
Jorgensen:
In that whole
scenario here,
1051
00:56:06,890 --> 00:56:09,521
we have the Colonel
locked in on the idea
1052
00:56:09,521 --> 00:56:11,271
that he wanted RCA.
1053
00:56:11,271 --> 00:56:13,890
Because he knew RCA
from Hank Snow,
1054
00:56:13,890 --> 00:56:16,600
and he even puts up
money of his own
1055
00:56:16,600 --> 00:56:19,430
as an opening
to the dealings with RCA,
1056
00:56:19,430 --> 00:56:24,021
which he would lose
if he didn't bring in
the RCA contract.
1057
00:56:24,021 --> 00:56:26,811
He really believed
in Elvis's potential.
1058
00:56:32,430 --> 00:56:34,600
Linn:
When I got into
the music business
1059
00:56:34,600 --> 00:56:37,810
in, uh, November of 1956,
1060
00:56:37,810 --> 00:56:41,470
in those days,
most of the-- most, not all,
1061
00:56:41,470 --> 00:56:44,930
but most of the records
that were being recorded
were ballads.
1062
00:56:44,930 --> 00:56:48,100
Just walkin' in the rain
1063
00:56:50,640 --> 00:56:53,350
Getting soaking wet
1064
00:56:55,060 --> 00:56:57,810
Torture in my heart
1065
00:56:57,810 --> 00:57:01,100
Linn:
You know, they weren't stuff
like Elvis was doing.
1066
00:57:01,100 --> 00:57:03,430
It wasn't what, unfortunately,
1067
00:57:03,430 --> 00:57:07,310
had the nomer of "race music"
and rock and roll,
1068
00:57:07,310 --> 00:57:10,640
and they released as little
of it as they possibly could.
1069
00:57:10,640 --> 00:57:12,430
They felt they had
the shareholders
1070
00:57:12,430 --> 00:57:13,810
of the company
to worry about.
1071
00:57:13,810 --> 00:57:15,640
They had distributors
to worry about.
1072
00:57:15,640 --> 00:57:17,270
They had stores
to worry about.
1073
00:57:17,270 --> 00:57:19,180
They had radio stations
to worry about.
1074
00:57:19,180 --> 00:57:22,600
They said, "Our whole world
is tied up in white music."
1075
00:57:22,600 --> 00:57:27,021
People come to their windows
1076
00:57:27,021 --> 00:57:28,350
They always...
1077
00:57:28,350 --> 00:57:30,561
Linn:
They were very,
very reluctant
1078
00:57:30,561 --> 00:57:32,680
to expose black music
1079
00:57:32,680 --> 00:57:35,810
until such times they
couldn't avoid it anymore.
1080
00:57:35,810 --> 00:57:39,140
Elvis:
You know what it takes,
you got it, baby
1081
00:57:41,270 --> 00:57:45,520
? You are the only one
I've chose ?
1082
00:57:45,520 --> 00:57:49,351
Don't leave me here
with all these heartaches
1083
00:57:49,351 --> 00:57:51,350
Jorgensen:
After a lot of going
back and forth,
1084
00:57:51,350 --> 00:57:54,020
eventually the Colonel
pushes RCA
1085
00:57:54,020 --> 00:57:55,521
to buy the contract,
1086
00:57:55,521 --> 00:57:57,680
and all the recordings
that were made,
1087
00:57:57,680 --> 00:58:00,770
both that were released
and those that weren't.
1088
00:58:00,770 --> 00:58:03,640
Elvis:
When it rains,
it really pours
1089
00:58:03,640 --> 00:58:05,810
Linn:
I think he's the test object
1090
00:58:05,810 --> 00:58:08,220
for the majors to really
get in the game,
1091
00:58:08,220 --> 00:58:09,810
and it worked.
1092
00:58:11,060 --> 00:58:13,430
Phillips:
People have asked
me repeatedly,
1093
00:58:13,430 --> 00:58:15,600
Do you regret
selling Elvis Presley?
1094
00:58:15,600 --> 00:58:18,270
Elvis:
I got a feeling
for you, baby
1095
00:58:18,270 --> 00:58:19,560
Phillips:
I do not.
1096
00:58:19,560 --> 00:58:24,390
Elvis:
And you're the only one
who knows
1097
00:58:24,390 --> 00:58:28,180
About my troubles,
troubles, troubles
1098
00:58:28,180 --> 00:58:30,390
Man: It'll just be
one second, Elvis.
All right.
1099
00:58:32,390 --> 00:58:34,220
Elvis:
My boy, my boy,
got my guitar.
1100
00:58:34,220 --> 00:58:36,060
Man:
Uh, Steve?
1101
00:58:36,060 --> 00:58:38,060
Can we have a lot of gain
on this playback?
1102
00:58:38,060 --> 00:58:39,719
Steve: More gain.
Man: Right.
1103
00:58:44,100 --> 00:58:46,220
Are we on television?
1104
00:58:46,220 --> 00:58:47,890
Binder: Huh?
Are we on television?
1105
00:58:47,890 --> 00:58:49,350
Just a minute.
1106
00:58:49,350 --> 00:58:52,309
Binder: One day
in the middle of taping
a production number...
1107
00:58:52,309 --> 00:58:55,640
...we're called into
Colonel Parker's office.
1108
00:58:55,640 --> 00:58:59,430
Elvis:
I'll have a blue
1109
00:58:59,430 --> 00:59:01,309
Christmas
Binder: Colonel says,
1110
00:59:01,309 --> 00:59:03,600
It's been called
to my attention
1111
00:59:03,600 --> 00:59:05,890
that we don't have a
Christmas song in the show.
1112
00:59:05,890 --> 00:59:09,850
And when those blue
1113
00:59:09,850 --> 00:59:13,350
Binder:
Elvis wants a Christmas
song in the show.
1114
00:59:13,350 --> 00:59:14,930
Don't you, Elvis?
1115
00:59:14,930 --> 00:59:17,269
Man: Aw, yeah!
You'll be doing...
1116
00:59:17,269 --> 00:59:19,100
His hands cross,
1117
00:59:19,100 --> 00:59:21,640
his head goes down,
1118
00:59:21,640 --> 00:59:24,140
and I hear Elvis
mumble, Yes, sir.
1119
00:59:26,140 --> 00:59:30,179
I watched Elvis
cower to Parker.
1120
00:59:30,179 --> 00:59:34,060
Elvis:
Blue, blue Christmas
1121
00:59:34,060 --> 00:59:36,059
I said, If that's
what Elvis wants,
1122
00:59:36,059 --> 00:59:37,600
that's what I'll do.
1123
00:59:37,600 --> 00:59:40,640
The Colonel says, Okay,
then we're all in agreement.
1124
00:59:40,640 --> 00:59:42,809
Elvis walks out the door.
1125
00:59:43,970 --> 00:59:46,310
Head goes up, lot of energy,
1126
00:59:46,310 --> 00:59:48,139
and he jams me in the ribs,
1127
00:59:48,139 --> 00:59:50,140
and says, Fuck him.
1128
00:59:50,130 --> 00:59:53,460
Blue, blue, blue Christmas
1129
00:59:55,469 --> 01:00:00,100
Decorations of red
1130
01:00:00,100 --> 01:00:04,139
On a green Christmas tree
1131
01:00:06,640 --> 01:00:09,810
Won't be the same dear
1132
01:00:09,810 --> 01:00:13,559
If you're not here with me
1133
01:00:13,559 --> 01:00:17,639
And when those blue
1134
01:00:17,639 --> 01:00:22,220
Snowflakes start fallin'
1135
01:00:23,469 --> 01:00:27,389
That's when those blue
1136
01:00:27,389 --> 01:00:31,680
Memories start callin'
1137
01:00:33,930 --> 01:00:38,769
You'll be doin' all right
1138
01:00:38,769 --> 01:00:42,179
With your Christmas of white
1139
01:00:44,060 --> 01:00:46,179
Petty:
Elvis was one of
the first artists
1140
01:00:46,179 --> 01:00:48,849
that actually
produced himself.
1141
01:00:48,849 --> 01:00:51,019
By the time he lands at RCA,
1142
01:00:51,019 --> 01:00:52,519
he's in charge.
1143
01:00:52,519 --> 01:00:54,019
They're a rock and roll band,
1144
01:00:54,019 --> 01:00:55,929
and Steve Sholes
didn't know
1145
01:00:55,929 --> 01:00:57,679
how to make
one of those records.
1146
01:00:57,679 --> 01:00:59,390
Elvis did.
1147
01:00:59,390 --> 01:01:01,559
Light:
Elvis was a very
different person
1148
01:01:01,559 --> 01:01:02,680
and a very different artist
1149
01:01:02,680 --> 01:01:05,389
going in to make
the first RCA record
1150
01:01:05,389 --> 01:01:08,890
than he was walking in
as an absolute rookie at Sun.
1151
01:01:08,890 --> 01:01:12,180
He'd been out touring
and playing in front of people
1152
01:01:12,180 --> 01:01:14,059
for those months in-between.
1153
01:01:14,059 --> 01:01:15,889
He had experience
in the studio.
1154
01:01:15,889 --> 01:01:18,849
He had had the inspiration
of Sam Phillips,
1155
01:01:18,849 --> 01:01:21,889
watching, pick the songs
and the arrangements
and all of that.
1156
01:01:21,889 --> 01:01:23,929
Petty:
You can hear
Heartbreak Hotel
1157
01:01:23,929 --> 01:01:25,429
has got echo chamber,
1158
01:01:25,429 --> 01:01:27,810
because he's clearly
asking for echo.
1159
01:01:27,810 --> 01:01:31,219
And they don't know
how to give him the slapbacks,
1160
01:01:31,219 --> 01:01:32,809
so they're turning up
the chamber,
1161
01:01:32,809 --> 01:01:35,349
and he's just like,
Okay, I'll make this work.
1162
01:01:35,349 --> 01:01:37,719
And he does.
1163
01:01:37,719 --> 01:01:40,679
Petty (imitating Elvis):
Heartbreak Hotel,
where I will be
1164
01:01:40,679 --> 01:01:43,269
So lonesome, baby
1165
01:01:43,269 --> 01:01:45,429
I'll be so lonely, baby
1166
01:01:45,429 --> 01:01:49,429
Elvis:
They're so lonely,
they could die
1167
01:01:49,429 --> 01:01:52,719
Now, the bellhop's
tears keep flowing
1168
01:01:52,719 --> 01:01:55,849
Howe:
My function was in the booth.
1169
01:01:55,849 --> 01:01:59,349
But I always spent a lot
of time out in the studio.
1170
01:01:59,349 --> 01:02:00,969
What you saw from Elvis
1171
01:02:00,969 --> 01:02:02,969
was that being in
a recording studio
1172
01:02:02,969 --> 01:02:05,638
or being on stage was
exactly the same thing to him.
1173
01:02:05,638 --> 01:02:07,719
Elvis:
They're so lonely
1174
01:02:07,719 --> 01:02:09,179
Howe:
He was always a real
1175
01:02:09,179 --> 01:02:12,809
organic part
of the music physically.
1176
01:02:12,809 --> 01:02:14,968
Extremely animated
when he sang.
1177
01:02:14,968 --> 01:02:16,429
He never stood still.
1178
01:02:16,429 --> 01:02:18,429
Elvis:
Take a walk down
Lonely Street to
1179
01:02:18,429 --> 01:02:19,889
Heartbreak Hotel
1180
01:02:19,889 --> 01:02:22,269
Where you will be,
you will be so lonely
1181
01:02:22,269 --> 01:02:26,309
And the guys, they just
shifted right into that mode
1182
01:02:26,309 --> 01:02:27,518
that Elvis was in.
1183
01:02:27,518 --> 01:02:29,679
Elvis:
So lonely, you could die
1184
01:02:32,519 --> 01:02:33,968
Howe:
If something wasn't
working right
1185
01:02:33,968 --> 01:02:35,639
or it was too slow
or too fast,
1186
01:02:35,639 --> 01:02:37,809
they all looked to him,
1187
01:02:39,019 --> 01:02:40,929
and then he would
move to the music.
1188
01:02:40,929 --> 01:02:42,519
If the music was right,
1189
01:02:42,519 --> 01:02:43,929
he was a show out there.
1190
01:02:43,929 --> 01:02:45,968
He was a captivating person,
1191
01:02:45,968 --> 01:02:48,929
and nobody made
suggestions to Elvis.
1192
01:02:50,719 --> 01:02:53,809
Elvis:
Although it's always crowded
1193
01:02:53,809 --> 01:02:56,348
You still can find some room
1194
01:02:56,348 --> 01:03:00,809
For brokenhearted lovers
to cry when they're blue
1195
01:03:00,809 --> 01:03:02,138
Where they'll be so
1196
01:03:02,138 --> 01:03:04,469
They'll be so lonely, baby
1197
01:03:04,469 --> 01:03:07,139
Well, they're so lonely ?
1198
01:03:07,139 --> 01:03:12,349
? They'll be so lonely
they could die
1199
01:03:15,679 --> 01:03:18,518
Springsteen:
Elvis's music was shot
through with the blues,
1200
01:03:18,518 --> 01:03:20,218
which he played
quite a bit of.
1201
01:03:20,218 --> 01:03:22,469
But he was always
mixing genres.
1202
01:03:24,638 --> 01:03:27,808
Zanes:
Elvis, by the
first RCA record,
1203
01:03:27,808 --> 01:03:31,349
is already showing
that he can pull in
1204
01:03:31,349 --> 01:03:33,558
a wide range of genres,
1205
01:03:33,558 --> 01:03:36,848
but they all come out Elvis.
1206
01:03:36,848 --> 01:03:40,308
Petty:
He didn't invent
rock and roll, per se.
1207
01:03:40,308 --> 01:03:42,718
I mean, you've got
Little Richard and Joe Turner
1208
01:03:42,718 --> 01:03:45,059
and all these people
on that tip,
1209
01:03:45,059 --> 01:03:48,219
but what Elvis did isn't that.
1210
01:03:48,219 --> 01:03:50,058
You know what--
1211
01:03:50,058 --> 01:03:52,308
What he did is different.
1212
01:03:52,308 --> 01:03:54,389
It's bringing
the country music in,
1213
01:03:54,389 --> 01:03:57,848
bringing white
gospel music in,
1214
01:03:57,848 --> 01:04:00,519
and it becomes pop music.
1215
01:04:00,519 --> 01:04:02,718
Maultsby:
Most of Presley's
first recordings
1216
01:04:02,718 --> 01:04:06,349
were basically covers
of black singers.
(piano playing)
1217
01:04:06,349 --> 01:04:10,348
Little Richard, Arthur Crudup,
Joe Turner, Lloyd Price.
1218
01:04:11,888 --> 01:04:16,518
Lloyd Price:
Well, now, lawdy,
lawdy, lawdy, Miss Clawdy
1219
01:04:16,518 --> 01:04:20,718
Girl, you sure
look good to me
1220
01:04:22,349 --> 01:04:25,559
Please don't
excite me, baby
1221
01:04:25,559 --> 01:04:28,599
Know it can't be me
1222
01:04:31,599 --> 01:04:35,388
Elvis:
Because I give you
all of my money
1223
01:04:35,388 --> 01:04:39,928
Yeah, but you just
won't treat me right
1224
01:04:39,928 --> 01:04:41,598
Springsteen:
Elvis and Elvis's music
1225
01:04:41,598 --> 01:04:43,388
pointed to black culture
and said,
1226
01:04:43,388 --> 01:04:47,098
This is something that's
filled with the force of life.
1227
01:04:47,098 --> 01:04:51,268
If you want to be a complete
and fulfilled person,
1228
01:04:51,268 --> 01:04:54,058
if you want to be
an American,
1229
01:04:54,058 --> 01:04:57,138
this is something
you need to pay attention to.
1230
01:05:02,718 --> 01:05:05,638
Petty:
The American teen
just knew it rocked.
1231
01:05:05,638 --> 01:05:07,888
No white music
had ever done that.
1232
01:05:07,888 --> 01:05:09,638
Plenty of black music had.
1233
01:05:09,638 --> 01:05:11,558
Tell my mama
1234
01:05:11,558 --> 01:05:17,098
Lord, I swear to God,
what you been doin' to me
1235
01:05:17,098 --> 01:05:19,428
I'm gonna tell everybody...
1236
01:05:19,428 --> 01:05:21,678
Porter:
Elvis was able
to bring a value
1237
01:05:21,678 --> 01:05:24,268
to the presentation
of black music,
1238
01:05:24,268 --> 01:05:25,598
African-American artists,
1239
01:05:25,598 --> 01:05:27,268
at a period that
they were being ignored
1240
01:05:27,268 --> 01:05:29,808
by the great artists,
in a credible way,
1241
01:05:29,808 --> 01:05:32,308
because he learned it
from the source.
1242
01:05:32,308 --> 01:05:36,428
Girl, I don't be
comin' no more
1243
01:05:37,927 --> 01:05:41,057
Goodbye to little darlin'
1244
01:05:41,057 --> 01:05:43,767
Down the road I go
1245
01:05:43,767 --> 01:05:45,638
Can't stop me now, man.
We can't stop.
1246
01:05:45,638 --> 01:05:47,347
Man:
All right, all right.
1247
01:05:47,347 --> 01:05:49,808
I said, bye
1248
01:05:49,808 --> 01:05:50,928
Bye, bye, baby
1249
01:05:50,928 --> 01:05:53,018
Girl, I won't...
1250
01:05:53,018 --> 01:05:54,808
In the Colonel's view,
1251
01:05:54,808 --> 01:05:56,018
whatever the songs were,
1252
01:05:56,018 --> 01:05:57,808
whoever played on it
didn't matter.
1253
01:05:57,808 --> 01:05:59,098
It was Elvis.
1254
01:05:59,098 --> 01:06:02,218
It was, in his mind,
about the merchandise.
1255
01:06:02,218 --> 01:06:04,518
He always called it
the merchandise.
1256
01:06:04,518 --> 01:06:08,218
And that's what it was
to him and to RCA.
1257
01:06:13,018 --> 01:06:14,967
Announcer:
We think tonight
that he's going to make
1258
01:06:14,967 --> 01:06:16,308
television history for you.
1259
01:06:16,308 --> 01:06:18,267
We'd like you
to meet him now.
Elvis Presley!
1260
01:06:18,267 --> 01:06:20,178
West:
Colonel knew how to do it,
1261
01:06:20,178 --> 01:06:22,137
and had the contacts
with the--
1262
01:06:22,137 --> 01:06:23,518
the show in New York,
1263
01:06:23,518 --> 01:06:25,137
the Tommy Dorsey Show.
1264
01:06:25,137 --> 01:06:28,848
Jorgensen:
RCA didn't seem to be able
to secure TV performances,
1265
01:06:28,848 --> 01:06:31,557
and eventually,
Colonel Parker secures
Elvis for shows
1266
01:06:31,557 --> 01:06:34,887
to coincide with the release
of the record in January.
1267
01:06:37,717 --> 01:06:39,138
Light:
The earliest shows,
1268
01:06:39,138 --> 01:06:41,888
he doesn't have that much
material to draw from.
1269
01:06:41,888 --> 01:06:44,968
What he's doing really
are the-- the covers.
1270
01:06:44,968 --> 01:06:46,637
These songs
initially recorded
1271
01:06:46,637 --> 01:06:49,098
by black songwriters,
black performers:
1272
01:06:49,098 --> 01:06:51,058
Shake, Rattle, and Roll"
and "Money Honey
1273
01:06:51,058 --> 01:06:52,597
and Flip, Flop and Fly.
1274
01:06:56,307 --> 01:06:58,348
Petty:
He was an
incredible performer
1275
01:06:58,348 --> 01:07:01,678
in that his body
really picked up
1276
01:07:01,678 --> 01:07:04,678
all the intricacies
of the rhythm.
1277
01:07:04,678 --> 01:07:06,217
It's so lighthearted,
1278
01:07:06,217 --> 01:07:09,767
but it's so deep
and meaningful
at the same time.
1279
01:07:17,517 --> 01:07:20,098
It's such a magical
thing to see.
1280
01:07:21,347 --> 01:07:24,217
He looks really supernatural,
1281
01:07:24,217 --> 01:07:25,928
'cause of the kinescopes,
1282
01:07:25,928 --> 01:07:28,597
just the way
it distorts the image.
1283
01:07:30,217 --> 01:07:32,428
There's some beautiful thing
going down there,
1284
01:07:32,428 --> 01:07:36,267
you know, and it must
have been really incredible
1285
01:07:36,267 --> 01:07:38,388
to see it with no warning.
1286
01:07:55,017 --> 01:07:56,767
I'm like
a Mississippi bullfrog
1287
01:07:56,767 --> 01:07:58,427
Sittin' on a hollow stump
1288
01:07:59,677 --> 01:08:01,217
I'm like
a Mississippi bullfrog
1289
01:08:01,217 --> 01:08:02,807
Sittin' on a hollow stump
1290
01:08:04,137 --> 01:08:05,307
I got so many women
1291
01:08:05,307 --> 01:08:07,267
I don't know
which way to jump
1292
01:08:07,267 --> 01:08:10,557
Well, I said
flip, flop and fly
1293
01:08:10,557 --> 01:08:12,427
I don't care if I die
1294
01:08:12,427 --> 01:08:15,097
I said flip, flop and fly
1295
01:08:15,097 --> 01:08:17,057
Don't care if I die
1296
01:08:17,057 --> 01:08:20,767
Don't ever leave me,
don't ever say goodbye
1297
01:08:26,307 --> 01:08:29,217
West:
He just did all those
Tommy and Jimmy Dorsey shows.
1298
01:08:29,217 --> 01:08:31,427
That was nationwide TV.
1299
01:08:31,427 --> 01:08:34,807
And it all went through
the roof from then on.
1300
01:08:34,807 --> 01:08:37,097
Robertson:
That's when
we saw somebody
1301
01:08:37,097 --> 01:08:39,887
that could sing better
than other people,
1302
01:08:39,887 --> 01:08:42,017
could move better
than other people,
1303
01:08:42,017 --> 01:08:45,347
had style that was better
than other people.
1304
01:08:45,347 --> 01:08:47,097
In the pop world,
1305
01:08:47,097 --> 01:08:49,677
when this came along
it broke glass.
1306
01:08:49,677 --> 01:08:52,557
Elvis:
You ain't nothin'
but a hound dog
1307
01:08:52,557 --> 01:08:54,767
Cryin' all the time
1308
01:08:54,767 --> 01:08:57,516
You ain't nothin'
but a hound dog
1309
01:08:57,516 --> 01:08:59,967
Springsteen:
When you look at those
television performances,
1310
01:08:59,967 --> 01:09:01,677
you see the band
watching Elvis.
1311
01:09:01,677 --> 01:09:03,516
They all got their
eyes on Elvis.
1312
01:09:04,637 --> 01:09:07,347
Well, they said
you was high class
1313
01:09:07,347 --> 01:09:10,677
Springsteen:
That was essential
to the way the band swung.
1314
01:09:10,677 --> 01:09:13,306
Elvis is simply
swinging your world
1315
01:09:13,306 --> 01:09:15,057
with the way
he's swinging his hips
1316
01:09:15,057 --> 01:09:17,387
and moving his legs
and his shoulders.
1317
01:09:17,387 --> 01:09:19,676
He's pushing and pushing
his musicians.
1318
01:09:19,676 --> 01:09:22,596
? You ain't nothin'
but a hound dog ?
1319
01:09:22,596 --> 01:09:24,767
Cryin' all the time
1320
01:09:24,767 --> 01:09:26,427
You ain't nothin'
but a hound dog
1321
01:09:26,427 --> 01:09:28,057
Fontana:
We were doing
The Milton Berle Show,
1322
01:09:28,057 --> 01:09:29,807
and we was doing "Hound Dog."
1323
01:09:29,807 --> 01:09:31,966
Right at the end,
we usually go out.
1324
01:09:31,966 --> 01:09:34,097
You ain't
no friend of mine
1325
01:09:34,097 --> 01:09:37,267
Fontana:
All of a sudden, he went
into this half-time bluesy
1326
01:09:37,267 --> 01:09:39,177
You ain't nothin'
but a hound dog, slow.
1327
01:09:39,177 --> 01:09:41,346
And we had never
did it that way.
1328
01:09:41,346 --> 01:09:44,096
We all looked at each other.
What do we do now?
1329
01:09:44,096 --> 01:09:45,767
We'd better follow him.
1330
01:09:45,767 --> 01:09:47,846
You ain't nothin' but a...
1331
01:09:47,846 --> 01:09:50,017
I just figured, well,
I better catch his blues licks
1332
01:09:50,017 --> 01:09:51,967
and his legs and arms
and do everything I can.
1333
01:09:51,967 --> 01:09:54,887
It was like every man
for himself, actually.
1334
01:09:54,887 --> 01:09:56,177
Well
1335
01:09:56,177 --> 01:09:58,467
Fontana:
Everytime he'd move
a finger, a leg, an arm,
1336
01:09:58,467 --> 01:10:00,716
or run across the stage
like a machine gun.
1337
01:10:03,096 --> 01:10:05,307
Just every lick
I could catch, you know?
1338
01:10:06,766 --> 01:10:09,176
Priscilla:
My parents are watching it.
1339
01:10:09,176 --> 01:10:11,557
They don't know
I'm watching it.
1340
01:10:11,557 --> 01:10:14,097
They're looking,
and...
1341
01:10:14,097 --> 01:10:16,766
My mother's saying,
That's disgusting!
1342
01:10:16,766 --> 01:10:18,426
Crying all the time
1343
01:10:20,097 --> 01:10:23,767
Well, you ain't never
caught a rabbit
1344
01:10:23,767 --> 01:10:25,216
You ain't no...
1345
01:10:25,216 --> 01:10:26,967
Petty:
As a little kid,
I can remember
1346
01:10:26,967 --> 01:10:28,806
the living room discussion.
1347
01:10:28,806 --> 01:10:33,097
His appearances on TV
were of a sexual nature.
1348
01:10:33,097 --> 01:10:36,427
He had really
stepped over the line
1349
01:10:36,427 --> 01:10:39,307
of what's decent
on television.
1350
01:10:39,307 --> 01:10:42,267
Priscilla:
After that, our parents
wouldn't let us see him.
1351
01:10:42,267 --> 01:10:45,056
The ministers, reverends
told our parents,
1352
01:10:45,056 --> 01:10:47,716
Keep him away
from your children.
1353
01:10:47,716 --> 01:10:49,307
He's the devil.
1354
01:10:49,307 --> 01:10:51,967
So, he's forbidden fruit.
1355
01:10:52,966 --> 01:10:54,556
On your personal
appearances,
1356
01:10:54,556 --> 01:10:56,056
you create
a sort of mass hysteria
1357
01:10:56,056 --> 01:10:57,806
amongst your audiences
of teenagers.
1358
01:10:57,806 --> 01:10:59,346
Is your shaking
and quaking in the nature
1359
01:10:59,346 --> 01:11:02,216
of an involuntary response
to this hysteria?
1360
01:11:02,216 --> 01:11:03,886
Elvis: Involuntary?
Man: Yeah.
1361
01:11:03,886 --> 01:11:06,966
Uh, well, I'm aware
of everything I do at all times,
1362
01:11:06,966 --> 01:11:09,426
but, uh, it's just
the way I feel.
1363
01:11:09,426 --> 01:11:11,017
Man:
And do you think
you've learned anything
1364
01:11:11,017 --> 01:11:12,386
from the criticism
leveled at you?
1365
01:11:12,386 --> 01:11:14,017
Elvis: No, I haven't.
Man: You haven't, huh?
1366
01:11:14,017 --> 01:11:16,636
Because, uh, I don't--
I don't feel I'm doing
anything wrong.
1367
01:11:16,636 --> 01:11:18,306
Man:
Do you read the stuff?
1368
01:11:18,306 --> 01:11:21,096
Nik Cohn:
One of the paradoxes
with Elvis is
1369
01:11:21,096 --> 01:11:24,766
how could a boy
so in love with God,
1370
01:11:24,766 --> 01:11:27,766
so obsessively in love
with his mother,
1371
01:11:27,766 --> 01:11:29,096
so decent,
1372
01:11:29,096 --> 01:11:31,806
and yes, ma'am,
and yes, sir
and all of that,
1373
01:11:31,806 --> 01:11:34,676
how could he be so
unconfined on the stage?
1374
01:11:34,676 --> 01:11:36,596
How could he do this?
1375
01:11:36,596 --> 01:11:38,516
Maultsby:
That was just totally
unacceptable,
1376
01:11:38,516 --> 01:11:40,266
because the mid '50s being
1377
01:11:40,266 --> 01:11:42,886
the beginning of the
civil rights movement,
1378
01:11:42,886 --> 01:11:46,016
the biggest fear that
most Southerners had
1379
01:11:46,016 --> 01:11:48,306
was so-called race mixing.
1380
01:11:55,386 --> 01:11:58,346
Elvis's first television
appearances
1381
01:11:58,346 --> 01:12:01,676
were earth-shattering.
1382
01:12:01,676 --> 01:12:05,016
He sang at a moment
in the history of the South
1383
01:12:05,016 --> 01:12:06,466
in the early '50s,
1384
01:12:06,466 --> 01:12:11,266
when his music was truly
a revolutionary sound
1385
01:12:11,266 --> 01:12:15,766
that bridged the black
and white musics
of Southern worlds
1386
01:12:15,766 --> 01:12:19,806
in a way that had
never been heard before.
1387
01:12:19,806 --> 01:12:21,886
Petty:
I don't think
he was, necessarily,
1388
01:12:21,886 --> 01:12:25,266
trying to shake
the world in that sense,
1389
01:12:25,266 --> 01:12:28,056
but I think he...
he knew what he was onto.
1390
01:12:28,056 --> 01:12:29,675
He knew it
made him feel great,
1391
01:12:29,675 --> 01:12:32,715
and he knew there was
a rebellious streak in it.
1392
01:12:32,715 --> 01:12:33,966
He had to know that,
1393
01:12:33,966 --> 01:12:35,635
and it made him powerful.
1394
01:12:35,635 --> 01:12:37,636
They're clearly
afraid of him...
1395
01:12:39,556 --> 01:12:41,386
...to some degree.
1396
01:12:41,386 --> 01:12:45,766
Zanes:
If you see a large social
anxiety on the horizon,
1397
01:12:45,766 --> 01:12:50,136
there's probably issues
of bodies in control involved.
1398
01:12:50,136 --> 01:12:51,515
Young people,
1399
01:12:51,515 --> 01:12:53,516
whether they were
physically mixing
1400
01:12:53,516 --> 01:12:55,266
black and white or not,
1401
01:12:55,266 --> 01:12:58,516
they were culturally
mixing black and white,
1402
01:12:58,516 --> 01:13:00,715
the way they were
expressing themselves,
1403
01:13:00,715 --> 01:13:04,766
the movements in space
as that mixing happened
1404
01:13:04,766 --> 01:13:06,596
were sexual in nature.
1405
01:13:13,765 --> 01:13:15,966
Zanes:
And I think,
in the case of Elvis,
1406
01:13:15,966 --> 01:13:18,096
the fearful response,
1407
01:13:18,096 --> 01:13:21,016
it had a racial component
1408
01:13:21,016 --> 01:13:23,055
and a sexual component.
1409
01:13:23,055 --> 01:13:25,885
You know, it's all about
fear and the body.
1410
01:13:27,426 --> 01:13:31,016
Cohn:
I and millions of other
kids growing up,
1411
01:13:31,016 --> 01:13:33,516
we all had this feeling
1412
01:13:33,516 --> 01:13:36,055
that Elvis was,
sort of, sent to us,
1413
01:13:36,055 --> 01:13:39,425
to lead us out of the darkness
of our own confusion,
1414
01:13:39,425 --> 01:13:41,135
sexual confusion,
1415
01:13:41,135 --> 01:13:42,846
social confusion,
1416
01:13:42,846 --> 01:13:44,465
ineptitude.
1417
01:13:51,175 --> 01:13:53,136
Robertson:
Here's what it was for me.
1418
01:13:53,136 --> 01:13:54,765
Elvis came along,
1419
01:13:54,765 --> 01:13:57,885
and this soundwave came out
1420
01:13:57,885 --> 01:14:00,015
that ran right through me.
1421
01:14:02,136 --> 01:14:03,885
Priscilla:
You felt like
he was looking at you.
1422
01:14:03,885 --> 01:14:04,926
I mean, he had these eyes,
1423
01:14:04,926 --> 01:14:07,515
and he was connecting
with his audience.
1424
01:14:07,515 --> 01:14:08,966
As teenagers,
it was liberating.
1425
01:14:08,966 --> 01:14:11,306
Now we had something
to claim for ours.
1426
01:14:13,765 --> 01:14:15,635
Light:
I don't think there
was any context
1427
01:14:15,635 --> 01:14:20,095
for the kind of shift
that Elvis represented.
1428
01:14:20,095 --> 01:14:22,175
I don't think there was
any-- any possible way
1429
01:14:22,175 --> 01:14:24,136
to know that that
was going to resonate
1430
01:14:24,136 --> 01:14:27,556
and shake young people
to their core
1431
01:14:27,556 --> 01:14:29,675
in such a profound way.
1432
01:14:32,015 --> 01:14:35,345
Steve Allen:
The reason I booked him,
I recognized right away
1433
01:14:35,345 --> 01:14:37,925
that he had something,
a cuteness.
1434
01:14:37,925 --> 01:14:39,265
It was chiefly his face,
1435
01:14:39,265 --> 01:14:41,845
but a beautiful sound,
he really never had.
1436
01:14:41,845 --> 01:14:45,465
Landau:
The thing is that it was
well-known that Steve Allen,
1437
01:14:45,465 --> 01:14:48,845
who fancied himself
a major songwriter,
1438
01:14:48,845 --> 01:14:50,425
hated rock and roll.
1439
01:14:50,425 --> 01:14:52,806
And his purpose
in having Elvis was,
1440
01:14:52,806 --> 01:14:55,555
first and foremost,
he needed the ratings,
1441
01:14:55,555 --> 01:14:58,515
but secondly,
to be sarcastic
1442
01:14:58,515 --> 01:15:01,015
and condescending to Elvis
1443
01:15:01,015 --> 01:15:04,715
and to the music
he openly despised.
1444
01:15:04,715 --> 01:15:08,215
Elvis:
? You ain't nothin'
but a hound dog ?
1445
01:15:08,215 --> 01:15:10,635
? Cryin' all the time ?
1446
01:15:10,635 --> 01:15:13,385
? You ain't nothin'
but a hound dog ?
1447
01:15:13,385 --> 01:15:15,265
? Cryin' all the time ?
1448
01:15:15,265 --> 01:15:19,385
Dave Marsh:
Steve Allen, he was out
to humiliate an entire culture
1449
01:15:19,385 --> 01:15:21,765
of what he would've
called hillbillies.
1450
01:15:21,765 --> 01:15:23,555
It was all a sneer.
1451
01:15:23,555 --> 01:15:25,215
It's a control thing.
1452
01:15:25,215 --> 01:15:26,465
It was humiliating.
1453
01:15:26,465 --> 01:15:28,845
After that, he didn't
like Steve Allen at all.
1454
01:15:28,845 --> 01:15:30,215
Well, that was just a lie
1455
01:15:30,215 --> 01:15:33,215
Marsh:
As a child,
I was deeply offended.
1456
01:15:33,215 --> 01:15:34,465
There was something
wrong there.
1457
01:15:34,465 --> 01:15:37,135
Elvis, why are you
letting him do this to you?
1458
01:15:39,804 --> 01:15:43,885
Ferris:
We can look at Elvis
as a Southern trickster figure.
1459
01:15:43,885 --> 01:15:47,305
You deal with power
by yes-ing them to death,
1460
01:15:47,305 --> 01:15:49,765
and that's what Elvis did.
1461
01:15:49,765 --> 01:15:52,925
Very polite, very deferential,
1462
01:15:52,925 --> 01:15:55,594
but with his eye
on the sparrow.
1463
01:15:55,594 --> 01:15:59,765
He was basically
a good-natured Southern kid,
1464
01:15:59,765 --> 01:16:04,844
but he was on a mission
to deliver this music.
1465
01:16:04,844 --> 01:16:06,675
Schilling:
By 1956,
1466
01:16:06,675 --> 01:16:09,715
Elvis was coming
into his own.
1467
01:16:09,715 --> 01:16:12,265
The RCA singles were enormous.
1468
01:16:12,265 --> 01:16:14,304
Hound Dog,
Don't Be Cruel.
1469
01:16:14,304 --> 01:16:17,094
They sold
three million copies.
1470
01:16:17,094 --> 01:16:19,215
Light:
When Elvis's
first album came out,
1471
01:16:19,215 --> 01:16:21,134
that sold 300,000 copies.
1472
01:16:21,134 --> 01:16:24,134
Heartbreak Hotel topped
all three Billboard charts:
1473
01:16:24,134 --> 01:16:26,135
country, pop, and R&B.
1474
01:16:27,134 --> 01:16:28,345
This was now a career
1475
01:16:28,345 --> 01:16:32,595
that was going to these
unimaginable heights.
1476
01:16:33,885 --> 01:16:35,305
Petty:
I often wonder
1477
01:16:35,305 --> 01:16:38,345
if there had ever
been a 21-year-old
1478
01:16:38,345 --> 01:16:40,054
that had that power,
1479
01:16:40,054 --> 01:16:43,134
that could mobilize
millions of youths
1480
01:16:43,134 --> 01:16:45,424
with the wave of his hand.
1481
01:16:54,055 --> 01:16:56,175
Priscilla:
His mother worried
so much about him.
1482
01:16:56,175 --> 01:16:57,964
He always wanted
to be a good son,
1483
01:16:57,964 --> 01:16:59,215
mostly to his mom,
1484
01:16:59,215 --> 01:17:01,264
and didn't want
to give her fears.
1485
01:17:01,264 --> 01:17:03,015
They would talk
every single day,
1486
01:17:03,015 --> 01:17:04,464
and he was comforting her
1487
01:17:04,464 --> 01:17:07,014
that he'd be okay
and not to worry so much.
1488
01:17:12,345 --> 01:17:15,595
Light:
By the time Elvis made
the first appearance
1489
01:17:15,595 --> 01:17:17,174
on The Ed Sullivan Show,
1490
01:17:17,174 --> 01:17:20,674
it was already something
everybody was waiting for,
watching for.
1491
01:17:20,674 --> 01:17:21,965
There was all kinds
of pressure
1492
01:17:21,965 --> 01:17:23,514
and all kinds of expectation.
1493
01:17:23,514 --> 01:17:25,595
The Sullivan Show
was the crown jewel,
1494
01:17:25,595 --> 01:17:28,635
that was the biggest
game in town.
1495
01:17:28,635 --> 01:17:31,215
Priscilla:
It was almost like,
okay, you know,
1496
01:17:31,215 --> 01:17:34,345
I'll do these shows,
I'm doing my song,
I'm doing my thing.
1497
01:17:34,345 --> 01:17:38,514
But he's not letting go
of his roots.
1498
01:17:38,514 --> 01:17:43,965
Well, the morning'
so bright
1499
01:17:43,965 --> 01:17:45,554
And the lamp...
1500
01:17:45,554 --> 01:17:47,465
He wanted to do
Peace in the Valley
1501
01:17:47,465 --> 01:17:49,054
on The Ed Sullivan Show.
1502
01:17:49,054 --> 01:17:51,764
They said, No, we've
never had a religious song
on this show,
1503
01:17:51,764 --> 01:17:54,054
and you're not going
to sing one now.
1504
01:17:54,054 --> 01:17:56,555
That's one of the songs
his mother loved
1505
01:17:56,555 --> 01:17:58,764
was Peace in the Valley.
1506
01:17:58,764 --> 01:18:00,264
He fought for that song.
1507
01:18:00,264 --> 01:18:02,264
No one wanted him
to do that song.
1508
01:18:02,264 --> 01:18:05,174
Elvis:
There will be peace
1509
01:18:05,174 --> 01:18:07,964
In the valley
1510
01:18:07,964 --> 01:18:09,634
For me
1511
01:18:09,634 --> 01:18:12,465
Priscilla:
But it was important for him
to sing it for his mother,
1512
01:18:12,465 --> 01:18:15,515
to his mother,
and keep his roots intact.
1513
01:18:15,515 --> 01:18:19,344
Elvis:
Peace in the valley
1514
01:18:19,344 --> 01:18:20,764
For me
1515
01:18:20,764 --> 01:18:23,764
Schilling:
If you really look at Elvis
on the Dorsey shows,
1516
01:18:23,764 --> 01:18:25,134
that's the rebel.
1517
01:18:25,134 --> 01:18:28,464
But then you see him
doing Peace in the Valley
1518
01:18:28,464 --> 01:18:30,264
on The Sullivan Show,
1519
01:18:30,264 --> 01:18:32,884
that's the good-natured
Southern kid.
1520
01:18:32,884 --> 01:18:35,764
Trouble I see
1521
01:18:35,764 --> 01:18:38,554
There will be peace
1522
01:18:38,554 --> 01:18:41,424
In the valley
1523
01:18:41,424 --> 01:18:45,264
For me
1524
01:18:45,264 --> 01:18:47,134
Okay, Elvis, this is
sort of off-the-cuff,
1525
01:18:47,134 --> 01:18:49,304
but how does it feel to be
right up there on top,
1526
01:18:49,304 --> 01:18:50,764
right with the best of 'em,
1527
01:18:50,764 --> 01:18:52,514
since you are
one of that class,
how does that feel?
1528
01:18:52,514 --> 01:18:55,424
Elvis:
Uh, it all happened so fast,
so I don't know.
1529
01:18:55,424 --> 01:18:58,174
I'm afraid to wake up,
afraid it's liable to be
a dream, you know?
1530
01:18:58,174 --> 01:18:59,264
Man:
Mm-hmm.
1531
01:19:31,764 --> 01:19:34,634
Elvis:
We got a seven-year contract
with Paramount Pictures.
1532
01:19:36,963 --> 01:19:39,214
It's a dream come true,
you know?
1533
01:19:39,214 --> 01:19:41,054
I've had people ask me
was I gonna sing
1534
01:19:41,054 --> 01:19:43,093
in the movies, I'm-- I'm not.
1535
01:19:45,214 --> 01:19:48,094
Man: I see you're signed
by Hal Wallis and company,
out of Paramount.
1536
01:19:48,094 --> 01:19:49,633
Yes.
Can you
tell us anything
1537
01:19:49,633 --> 01:19:51,514
about the first movie
that will be made?
1538
01:19:51,514 --> 01:19:53,013
We'll have
a movie coming out,
1539
01:19:53,013 --> 01:19:55,633
uh, we start making it
in June. It's, uh...
1540
01:19:55,633 --> 01:19:57,714
It's a movie
with Burt Lancaster
and Katharine Hepburn
1541
01:19:57,714 --> 01:19:59,173
called The Rainmaker.
1542
01:20:01,174 --> 01:20:03,014
Schilling:
He didn't get
The Rainmaker.
1543
01:20:03,014 --> 01:20:06,844
They talked him into
doing Love Me Tender.
1544
01:20:06,844 --> 01:20:09,053
And then talked him
into four songs.
1545
01:20:10,554 --> 01:20:15,674
Jorgensen:
I think that Elvis brought
a lot of insecurity with him.
1546
01:20:15,674 --> 01:20:17,214
He wanted to be a movie star,
1547
01:20:17,214 --> 01:20:20,513
that was much bigger
than being a recording star,
1548
01:20:20,513 --> 01:20:23,054
and he was fairly disheartened
when he learned
1549
01:20:23,054 --> 01:20:26,014
that he had to sing
for these movies.
1550
01:20:26,014 --> 01:20:27,463
Priscilla:
In the first four movies,
1551
01:20:27,463 --> 01:20:29,304
you see him so into the part,
1552
01:20:29,304 --> 01:20:32,304
and you see him really
taking the role seriously.
1553
01:20:32,304 --> 01:20:33,803
He learned everyone's lines.
1554
01:20:33,803 --> 01:20:37,213
He thought that's
what an actor did.
1555
01:20:37,213 --> 01:20:39,963
Training himself to be
more like a Marlon Brando
1556
01:20:39,963 --> 01:20:42,803
or a James Dean
or a Humphrey Bogart.
1557
01:20:42,803 --> 01:20:44,554
He respected
these actors very much,
1558
01:20:44,554 --> 01:20:47,344
and this is where he thought
his future was going.
1559
01:20:49,133 --> 01:20:52,513
Landau:
The movie people
took him very seriously.
1560
01:20:52,513 --> 01:20:55,213
These were
carefully made films.
1561
01:20:55,213 --> 01:20:56,513
They had scripts.
1562
01:20:56,513 --> 01:20:58,213
They had emotion.
1563
01:20:58,213 --> 01:21:02,213
King Creole,
Love Me Tender,
Jailhouse Rock.
1564
01:21:02,213 --> 01:21:05,763
They assigned him
stellar people.
1565
01:21:05,763 --> 01:21:09,213
Michael Curtiz,
who directed King Creole,
1566
01:21:09,213 --> 01:21:13,264
is the same Michael Curtiz
who directed Casablanca.
1567
01:21:13,264 --> 01:21:16,094
So they treated him
with respect.
1568
01:21:17,673 --> 01:21:22,053
Schilling:
King Creole, it was being
prepped for James Dean...
1569
01:21:22,053 --> 01:21:24,093
before the fatal crash.
1570
01:21:24,093 --> 01:21:27,343
Woman:
Crawfish
1571
01:21:27,343 --> 01:21:31,423
Fresh and ready ?
1572
01:21:31,423 --> 01:21:33,763
To cook
1573
01:21:36,383 --> 01:21:40,013
Elvis:
Crawfish
1574
01:21:40,013 --> 01:21:43,593
Crawfish
1575
01:21:43,593 --> 01:21:46,383
See, I got 'em
1576
01:21:46,383 --> 01:21:48,513
See the size
1577
01:21:48,513 --> 01:21:50,343
Stripped and cleaned ?
1578
01:21:50,343 --> 01:21:52,843
Before your eyes
1579
01:21:52,843 --> 01:21:56,843
Sweet meat, look
Sweet meat, look
1580
01:21:56,843 --> 01:22:00,463
Fresh and ready to cook
Fresh and ready to cook
1581
01:22:00,463 --> 01:22:08,133
Crawfish
1582
01:22:08,133 --> 01:22:12,133
Now take Mr. Crawfish
in your hand
1583
01:22:12,133 --> 01:22:15,962
He's gonna look good
in your frying pan
1584
01:22:15,962 --> 01:22:18,053
If you fry him crisp
1585
01:22:18,053 --> 01:22:19,803
? Or you boil him right ?
1586
01:22:19,803 --> 01:22:24,303
? He'll be sweeter than sugar
with every bite ?
1587
01:22:24,303 --> 01:22:31,463
Crawfish
1588
01:22:32,383 --> 01:22:34,513
See I got 'em
1589
01:22:34,513 --> 01:22:36,173
See the size
1590
01:22:36,173 --> 01:22:38,263
Stripped and cleaned
Stripped and cleaned
1591
01:22:38,263 --> 01:22:40,713
Before your eyes
1592
01:22:40,713 --> 01:22:44,633
Sweet meat, look
Sweet meat, look
1593
01:22:44,633 --> 01:22:47,262
Fresh and ready to cook
Fresh and ready to cook
1594
01:22:47,262 --> 01:22:50,802
Crawfish...
1595
01:22:50,802 --> 01:22:52,383
Priscilla:
Out of all those movies,
1596
01:22:52,383 --> 01:22:54,463
King Creole was
really his favorite.
1597
01:22:54,463 --> 01:22:56,462
It was Leiber
and Stoller songs.
1598
01:22:56,462 --> 01:22:59,343
It was songs that he loved.
1599
01:22:59,343 --> 01:23:00,963
Jerry Leiber and Mike Stoller,
1600
01:23:00,963 --> 01:23:04,093
they were two of the greatest
songwriters in Americas
1601
01:23:04,093 --> 01:23:06,963
during the late '50s
and early '60s.
1602
01:23:06,963 --> 01:23:08,513
If you're lookin'
for trouble
1603
01:23:09,672 --> 01:23:11,343
You came to
the right place
1604
01:23:12,422 --> 01:23:13,883
If you're lookin'
for trouble
1605
01:23:15,302 --> 01:23:16,803
Just look right in my face
1606
01:23:16,803 --> 01:23:19,052
Stoller:
When we first met him,
we hit it off.
1607
01:23:19,052 --> 01:23:22,883
We were talking
about different records
that we knew.
1608
01:23:22,883 --> 01:23:27,882
My daddy was a green-eyed
mountain jack
1609
01:23:27,882 --> 01:23:31,262
That's why I'm evil
1610
01:23:31,262 --> 01:23:33,593
Stoller:
Elvis was into blues.
1611
01:23:33,593 --> 01:23:37,052
We thought we were
the only white guys
who were into blues.
1612
01:23:38,963 --> 01:23:41,883
Well, I'm evil
1613
01:23:43,013 --> 01:23:46,093
So don't you
mess around with me
1614
01:23:46,093 --> 01:23:48,263
Jorgensen:
In order to control music,
1615
01:23:48,263 --> 01:23:49,922
and in order
to make more money,
1616
01:23:49,922 --> 01:23:51,803
Colonel Parker set up
music companies
1617
01:23:51,803 --> 01:23:54,212
that would deliver songs.
1618
01:23:54,212 --> 01:23:56,212
Stoller:
We were given assignments,
1619
01:23:56,212 --> 01:23:58,803
but they also went
to all the other writers
1620
01:23:58,803 --> 01:24:01,303
who were assigned
to Hill & Range Songs.
1621
01:24:01,303 --> 01:24:03,262
Thus the owners
of Hill & Range
1622
01:24:03,262 --> 01:24:05,172
controlled
Elvis Presley music.
1623
01:24:05,172 --> 01:24:06,923
Elvis:
Flesh, blood and bone
1624
01:24:06,923 --> 01:24:09,632
Stoller: Hill & Range was
one of the biggest publishers
in the United States.
1625
01:24:09,632 --> 01:24:13,513
And if you wanted
to be on an Elvis record,
1626
01:24:13,513 --> 01:24:15,092
you were gonna play ball.
1627
01:24:15,092 --> 01:24:18,422
The publisher gets half,
and the writer gets half.
1628
01:24:22,052 --> 01:24:26,803
Light:
As Elvis is becoming
an A-list superstar,
1629
01:24:26,803 --> 01:24:29,423
he's reaching
a level of success
1630
01:24:29,423 --> 01:24:31,712
that nobody had
ever had before.
1631
01:24:31,712 --> 01:24:35,593
In fact, several big pop hits
into his career,
1632
01:24:35,593 --> 01:24:37,922
he makes a feature film,
1633
01:24:37,922 --> 01:24:40,882
and then, very soon
signs a contract
1634
01:24:40,882 --> 01:24:43,632
for a bunch of feature films.
1635
01:24:43,632 --> 01:24:44,963
Nobody had ever done that.
1636
01:24:44,963 --> 01:24:48,423
There's nobody, who
this early in their career,
1637
01:24:48,423 --> 01:24:51,843
is given all
of this territory
1638
01:24:51,843 --> 01:24:53,762
between the radio,
1639
01:24:53,762 --> 01:24:56,632
the television
and the movie screen.
1640
01:24:59,422 --> 01:25:00,883
There was no blueprint
1641
01:25:00,883 --> 01:25:03,462
for how you navigate
something like that.
1642
01:25:26,342 --> 01:25:28,512
Actually, it was
Vernon and Gladys
1643
01:25:28,512 --> 01:25:32,262
that found Graceland
and showed it to him.
1644
01:25:32,262 --> 01:25:34,512
He fell in love with it,
but more than that,
1645
01:25:34,512 --> 01:25:37,512
it was to give
a beautiful home to his mom.
1646
01:25:37,512 --> 01:25:40,262
And of course, his father too,
but really for his mother,
1647
01:25:40,262 --> 01:25:42,882
because he saw her
working so hard.
1648
01:25:42,882 --> 01:25:46,132
He wanted to be a great son.
1649
01:25:46,132 --> 01:25:51,552
Schilling: He was living
the most hectic time
of his life, career-wise.
1650
01:25:53,462 --> 01:25:57,012
This was his
controlled escape.
1651
01:25:58,172 --> 01:25:59,672
Springsteen:
Graceland.
1652
01:25:59,672 --> 01:26:01,012
Just the name of it itself
1653
01:26:01,012 --> 01:26:04,212
pulled directly out
of gospel tradition.
1654
01:26:04,212 --> 01:26:06,382
It's an idealized home.
1655
01:26:06,382 --> 01:26:09,382
The perfect symbol of someone
who's come up from the bottom
1656
01:26:09,382 --> 01:26:12,342
and-- and enjoyed the best
the country has to offer.
1657
01:26:14,382 --> 01:26:18,382
It was a huge moment for Elvis
to walk through those doors
1658
01:26:18,382 --> 01:26:20,762
and call that place his home.
1659
01:26:20,762 --> 01:26:23,382
Ferris:
It had all of the things
1660
01:26:23,382 --> 01:26:26,592
that Elvis had never
known as a kid.
1661
01:26:27,802 --> 01:26:29,512
It's not a lavish home.
1662
01:26:29,512 --> 01:26:31,512
It's not Tara.
1663
01:26:31,512 --> 01:26:35,461
But it is everything
that money and fame
1664
01:26:35,461 --> 01:26:40,132
could deliver according
to his specifications.
1665
01:26:40,132 --> 01:26:42,632
Man:
Yeah, I understand that you
bought a home for your folks.
1666
01:26:42,632 --> 01:26:44,301
And even though
your father is only 39,
1667
01:26:44,301 --> 01:26:46,922
you've insisted
that he retire.
Is that true?
1668
01:26:46,922 --> 01:26:48,341
Uh, yes.
1669
01:26:48,341 --> 01:26:50,461
Well, he's more help, I mean,
1670
01:26:50,461 --> 01:26:52,462
he's more help at home
than he is anywhere else,
1671
01:26:52,462 --> 01:26:53,921
because, uh...
1672
01:26:53,921 --> 01:26:55,212
he can take care
of all my business.
1673
01:26:55,212 --> 01:26:57,591
He can, uh, look after
things when I'm gone.
1674
01:26:57,591 --> 01:26:59,712
Man:
Well, I think that's--
I think that's very smart.
1675
01:26:59,712 --> 01:27:00,921
I, of course...
1676
01:27:00,921 --> 01:27:03,131
Priscilla:
Elvis gave Vernon
a huge obligation.
1677
01:27:03,131 --> 01:27:04,422
Take care of me.
1678
01:27:05,802 --> 01:27:07,131
He had an office.
1679
01:27:07,131 --> 01:27:08,382
It gave him a job.
1680
01:27:08,382 --> 01:27:09,881
It gave him something to do,
1681
01:27:09,881 --> 01:27:11,462
and it was for his son.
1682
01:27:11,462 --> 01:27:14,092
They made sure that
they kept everything in order,
1683
01:27:14,092 --> 01:27:18,012
because he was really in fear
of not doing the right thing.
1684
01:27:18,012 --> 01:27:20,592
Schilling:
Vernon's office,
you can tell,
1685
01:27:20,592 --> 01:27:24,801
didn't come from
a sophisticated
business manager.
1686
01:27:24,801 --> 01:27:29,261
It came from a poor man
from Tupelo, Mississippi.
1687
01:27:29,261 --> 01:27:31,461
Harris:
Elvis had all the
money in the world.
1688
01:27:31,461 --> 01:27:33,132
He had anything he wanted.
1689
01:27:33,132 --> 01:27:34,961
He built Graceland,
1690
01:27:34,961 --> 01:27:37,711
and yet, he had
some sweetness about him
1691
01:27:37,711 --> 01:27:39,212
that kind of
breaks your heart.
1692
01:27:39,212 --> 01:27:41,881
I mean, really.
I don't think he--
he ever lost that.
1693
01:28:08,012 --> 01:28:09,841
Elvis never wanted to go back
1694
01:28:09,841 --> 01:28:11,422
to the days
where they struggled,
1695
01:28:11,422 --> 01:28:12,711
the days of poverty.
1696
01:28:36,511 --> 01:28:39,841
Light:
In 1958, Elvis was
drafted into the Army.
1697
01:28:39,841 --> 01:28:42,131
And no matter how much
he'd been through
1698
01:28:42,131 --> 01:28:44,171
on the road
and making movies,
1699
01:28:44,171 --> 01:28:46,591
the notion of going
to another continent
1700
01:28:46,591 --> 01:28:47,711
away from his family,
1701
01:28:47,711 --> 01:28:51,631
was a difficult thing
for him to consider.
1702
01:28:51,631 --> 01:28:54,761
Jorgensen:
The idea was, of course,
that Elvis would do his duty,
1703
01:28:54,761 --> 01:28:57,591
so he could come back
and be respectable
1704
01:28:57,591 --> 01:29:01,301
in the Colonel's new vision
of the future Elvis Presley,
1705
01:29:01,301 --> 01:29:03,211
which was a brilliant vision.
1706
01:29:03,211 --> 01:29:06,261
He knew exactly where
he wanted to take Elvis.
1707
01:29:06,261 --> 01:29:08,341
West:
Colonel said,
We don't want any favors.
1708
01:29:08,341 --> 01:29:09,881
He's not gonna be
in entertainment.
1709
01:29:09,881 --> 01:29:11,711
He's gonna be a soldier.
1710
01:29:11,711 --> 01:29:14,961
Reporter:
Elvis, you don't get out
of the Army until 1960.
1711
01:29:14,961 --> 01:29:17,170
If rock and roll should
diminish in popularity,
1712
01:29:17,170 --> 01:29:19,671
or even disappear,
what would you do?
1713
01:29:22,631 --> 01:29:24,461
Well, uh...
1714
01:29:24,461 --> 01:29:26,550
I would probably try acting.
1715
01:29:26,550 --> 01:29:28,171
I mean, you know, I, uh...
1716
01:29:28,171 --> 01:29:29,840
Being drafted
was something
1717
01:29:29,840 --> 01:29:32,511
he never thought
about happening to him.
1718
01:29:32,511 --> 01:29:34,761
Petty:
The Army, which is odd,
1719
01:29:34,761 --> 01:29:36,961
because there was no war on.
1720
01:29:36,961 --> 01:29:39,761
There's not a lot
of people being drafted.
1721
01:29:39,761 --> 01:29:43,261
But Elvis, he goes
along with it.
1722
01:29:43,261 --> 01:29:45,840
Zanes:
The biggest star in the world
1723
01:29:45,840 --> 01:29:47,591
going into the Army.
1724
01:29:47,591 --> 01:29:49,591
You know, from our
historical perspective,
1725
01:29:49,591 --> 01:29:53,011
that's a very
strange episode.
1726
01:29:53,011 --> 01:29:57,461
But then if you try
to get in to his experience,
1727
01:29:57,461 --> 01:30:02,881
having gone through this
profound rise to fame,
1728
01:30:02,881 --> 01:30:04,760
there's total uncertainty
1729
01:30:04,760 --> 01:30:07,460
as to what
he will return home to,
1730
01:30:07,460 --> 01:30:09,631
if he returns.
1731
01:30:09,631 --> 01:30:10,920
Springsteen:
Elvis in his 20s,
1732
01:30:10,920 --> 01:30:13,171
he was still inventing
all the rules.
1733
01:30:13,171 --> 01:30:15,801
In those days,
there was no perception
1734
01:30:15,801 --> 01:30:17,921
that a rock and roll musician
1735
01:30:17,921 --> 01:30:19,800
could have a long
and lasting career.
1736
01:30:19,800 --> 01:30:22,131
People expected
that kind of a career
1737
01:30:22,131 --> 01:30:24,051
to be over within moments.
1738
01:30:24,051 --> 01:30:26,300
Jorgensen:
RCA panicked.
1739
01:30:26,300 --> 01:30:29,300
The pushed the Colonel
to set up recording sessions
1740
01:30:29,300 --> 01:30:32,340
before Elvis left,
so they could record
a lot of material.
1741
01:30:32,340 --> 01:30:34,461
Light:
The impulse was
to flood the market,
1742
01:30:34,461 --> 01:30:36,090
give the fans
as much as possible,
1743
01:30:36,090 --> 01:30:38,550
and keep riding this
as hard as you can.
1744
01:30:38,550 --> 01:30:41,380
Jorgensen:
And the Colonel works it
the opposite way.
1745
01:30:41,380 --> 01:30:45,550
His idea was to have
just enough material
1746
01:30:45,550 --> 01:30:48,210
to keep Elvis's name alive.
1747
01:30:48,210 --> 01:30:50,840
Priscilla:
He wanted to keep the mystery.
1748
01:30:51,840 --> 01:30:53,840
He kept Elvis away
from performing,
1749
01:30:53,840 --> 01:30:56,801
serving for his country
like a good soldier.
1750
01:30:56,801 --> 01:30:59,671
He had fans waiting
for him to come back.
1751
01:31:00,670 --> 01:31:03,210
Man: I...
I, Elvis Presley...
1752
01:31:04,670 --> 01:31:06,340
do solemnly swear...
1753
01:31:06,340 --> 01:31:08,170
do solemnly swear...
1754
01:31:08,170 --> 01:31:10,510
that I will bear
true faith and allegiance,
1755
01:31:10,510 --> 01:31:13,210
that I will bear
true faith and allegiance,
1756
01:31:14,841 --> 01:31:16,920
to the United States
of America.
1757
01:31:16,920 --> 01:31:19,920
to the United States
of America.
1758
01:31:19,920 --> 01:31:22,510
Priscilla:
His mother was concerned
about him going to Germany,
1759
01:31:22,510 --> 01:31:24,801
'cause all they heard
at that time was Russia.
1760
01:31:24,801 --> 01:31:27,421
She thought
he was going to war.
1761
01:31:27,421 --> 01:31:29,130
Her son was leaving
for two years,
1762
01:31:29,130 --> 01:31:32,670
and he'd never been
out of the United States.
1763
01:31:32,670 --> 01:31:34,510
When he went
to basic training in Texas,
1764
01:31:34,510 --> 01:31:36,550
they talked every day.
1765
01:31:36,550 --> 01:31:40,211
And kept saying, Mama,
I'm gonna be okay.
I'm gonna be okay.
1766
01:31:40,211 --> 01:31:43,171
I'm gonna be fighting.
1767
01:31:43,171 --> 01:31:45,550
But she just couldn't
get it into her head.
1768
01:32:04,210 --> 01:32:10,170
Oh, by and by
1769
01:32:11,671 --> 01:32:16,420
Tempted and tried
1770
01:32:16,420 --> 01:32:20,960
We're oft made
1771
01:32:20,960 --> 01:32:25,800
To wonder
1772
01:32:25,800 --> 01:32:32,550
Why it should be thus
1773
01:32:32,550 --> 01:32:35,920
Before he left
to serve in Germany,
1774
01:32:35,920 --> 01:32:38,590
Gladys suddenly got sick
and she passed.
1775
01:32:41,630 --> 01:32:43,259
West:
When those things
happen like that,
1776
01:32:43,259 --> 01:32:45,010
you don't do
a lot of talking.
1777
01:32:45,010 --> 01:32:46,209
Elvis and his mother,
1778
01:32:46,209 --> 01:32:48,300
that's the closest
I've ever seen anybody
1779
01:32:48,300 --> 01:32:50,510
as far as that goes.
1780
01:32:50,510 --> 01:32:52,419
Sure was.
1781
01:32:52,419 --> 01:32:54,090
Priscilla:
She worried about him
night and day,
1782
01:32:54,090 --> 01:32:56,460
because he was
such a sensitive boy.
1783
01:32:56,460 --> 01:32:58,589
And yes, she was
overly protective,
1784
01:32:58,589 --> 01:33:01,340
but because of the loss
of the twin brother,
1785
01:33:01,340 --> 01:33:03,590
that protectiveness
really lingered
1786
01:33:03,590 --> 01:33:06,130
until the day she--
she passed.
1787
01:33:08,259 --> 01:33:13,300
Elvis:
Farther along
1788
01:33:13,300 --> 01:33:16,460
We'll know
1789
01:33:16,460 --> 01:33:22,550
All about it
1790
01:33:22,550 --> 01:33:26,959
Farther along
1791
01:33:26,959 --> 01:33:30,509
Easy to sneer that Elvis
was a mama's boy and so on,
1792
01:33:30,509 --> 01:33:31,710
but it wasn't that.
1793
01:33:31,710 --> 01:33:35,460
It was one of those relations
between a mother and son
1794
01:33:35,460 --> 01:33:38,300
where you could hardly say
where the mother ends
1795
01:33:38,300 --> 01:33:40,089
and where the son begins.
1796
01:33:40,089 --> 01:33:43,089
And when his mother died,
it left a hole in him.
1797
01:33:43,089 --> 01:33:45,170
He was never whole again
as it were.
1798
01:33:46,339 --> 01:33:50,380
He deeply feared
not being a good man,
1799
01:33:50,380 --> 01:33:52,009
being a godly man.
1800
01:33:52,009 --> 01:33:54,550
He needed her there
to say, I love you,
1801
01:33:54,550 --> 01:33:55,839
and you're doing
the right thing,
1802
01:33:55,839 --> 01:33:57,130
and I know you're good.
1803
01:33:57,130 --> 01:33:59,209
He needed her. Absolutely.
1804
01:33:59,209 --> 01:34:01,089
By and by
1805
01:34:01,089 --> 01:34:05,509
Priscilla:
The loss was the most
devastating time in his life.
1806
01:34:05,509 --> 01:34:08,379
It was all fun before that.
1807
01:34:08,379 --> 01:34:10,799
It was the skating rink,
it was the theater.
1808
01:34:10,799 --> 01:34:13,170
It was making a movie,
then going back to Memphis
1809
01:34:13,170 --> 01:34:15,460
being with his friends
and playing.
1810
01:34:15,460 --> 01:34:18,049
And then, of course,
having Graceland
as the center.
1811
01:34:18,049 --> 01:34:20,169
Fixing all that up
for the family,
1812
01:34:20,169 --> 01:34:22,170
and so, he matured a lot
1813
01:34:22,170 --> 01:34:24,009
because of the loss
of his mother.
1814
01:34:25,710 --> 01:34:28,670
It was unbearable
for him during that time.
1815
01:34:32,839 --> 01:34:36,009
Then do we...
1816
01:34:40,259 --> 01:34:41,879
Now, as we're getting
closer and closer
1817
01:34:41,879 --> 01:34:44,510
to the time that
they're gonna pull
that gangplank away,
1818
01:34:44,510 --> 01:34:45,839
and you'll be on your way.
1819
01:34:45,839 --> 01:34:48,049
Since this is probably
the last chance
1820
01:34:48,049 --> 01:34:50,510
that you'll have to say
something to your fans,
1821
01:34:50,510 --> 01:34:52,919
do you have any
particular message?
1822
01:34:55,299 --> 01:34:57,879
Elvis:
Well...
1823
01:34:57,879 --> 01:35:00,549
I'm gonna be very
honest about it.
1824
01:35:00,549 --> 01:35:02,760
Uh, in spite of the fact
that I am going away
1825
01:35:02,760 --> 01:35:06,260
and that I'll be
out of their eyes
for some time,
1826
01:35:06,260 --> 01:35:07,879
I hope that I'm not
out of their minds.
1827
01:35:07,879 --> 01:35:09,590
And, uh, I'll be
looking forward
1828
01:35:09,590 --> 01:35:11,009
to the time
when I can come back
1829
01:35:11,009 --> 01:35:14,669
and entertain
again like I did, and...
1830
01:35:14,669 --> 01:35:17,419
Man:
All we can do is
wish you a wonderful trip
1831
01:35:17,419 --> 01:35:19,879
and all the best
luck in the world
and come home soon.
1832
01:35:19,879 --> 01:35:21,960
Well, thank you very much.
I'll do my very best.
1833
01:35:23,339 --> 01:35:26,259
Jorgensen:
Elvis hadn't had
much time to himself
1834
01:35:26,259 --> 01:35:29,669
between that summer day when
he recorded "That's All Right"
1835
01:35:29,669 --> 01:35:32,209
and when he was
shipped to Germany.
1836
01:35:32,209 --> 01:35:34,959
Suddenly, on a boat
to Germany,
1837
01:35:34,959 --> 01:35:36,919
there was lots of time.
1838
01:35:36,919 --> 01:35:38,589
That's where he meets
Charlie Hodge,
1839
01:35:38,589 --> 01:35:41,009
and they start talking
about music together.
1840
01:35:41,009 --> 01:35:42,379
They start singing.
1841
01:35:42,379 --> 01:35:46,009
Mona Lisa
1842
01:35:46,009 --> 01:35:49,509
Mona Lisa,
men have named you
1843
01:35:49,509 --> 01:35:52,049
Charlie Hodge had
been a gospel singer,
1844
01:35:52,049 --> 01:35:54,299
who Elvis had heard sing.
1845
01:35:55,459 --> 01:35:56,919
He liked Charlie
1846
01:35:56,919 --> 01:35:59,049
because Charlie was
in the music business
1847
01:35:59,049 --> 01:36:01,919
and somebody he could
relate to that way.
1848
01:36:03,669 --> 01:36:07,089
Elvis was so down that
Charlie would tell jokes
1849
01:36:07,089 --> 01:36:09,168
and try to keep him up.
1850
01:36:10,959 --> 01:36:15,418
Elvis:
Do you smile to tempt
a lover, Mona Lisa
1851
01:36:15,418 --> 01:36:17,509
To have somebody who
he felt understood him,
1852
01:36:17,509 --> 01:36:18,708
that he could lean on,
1853
01:36:18,708 --> 01:36:21,878
and also to be able
to turn to that music
1854
01:36:21,878 --> 01:36:23,339
was tremendously important
1855
01:36:23,339 --> 01:36:25,259
for him to get
through that time
1856
01:36:25,259 --> 01:36:26,589
and everything
that was going on.
1857
01:36:26,589 --> 01:36:31,839
Brought to your doorstep
1858
01:36:31,839 --> 01:36:36,049
They just lie there
1859
01:36:36,049 --> 01:36:40,758
And they die
1860
01:36:40,758 --> 01:36:42,759
Are you warm?
1861
01:36:42,759 --> 01:36:48,299
Are you real, Mona Lisa?
1862
01:36:48,299 --> 01:36:52,339
Or just a cold and lonely
1863
01:36:52,339 --> 01:36:57,009
Lovely work of art?
1864
01:37:02,668 --> 01:37:04,879
Jorgensen:
When he gets to Germany,
yes, he's--
1865
01:37:04,879 --> 01:37:09,839
he's obviously, uh, committed
to, uh, the hours every day,
1866
01:37:09,839 --> 01:37:13,049
but there's, again,
a lot of spare time
1867
01:37:13,049 --> 01:37:15,378
in an apartment
or at a house in Germany
1868
01:37:15,378 --> 01:37:17,379
where he doesn't know anybody.
1869
01:37:17,379 --> 01:37:20,708
So there's a lot of time
for reflection.
1870
01:37:20,708 --> 01:37:22,209
Petty:
He goes into the Army,
1871
01:37:22,209 --> 01:37:24,048
which is where
he gets the, um,
1872
01:37:24,048 --> 01:37:27,088
the pep pills
for the first time,
the methadrine,
1873
01:37:27,088 --> 01:37:29,629
to stay up on watch.
1874
01:37:29,629 --> 01:37:31,048
That was the beginning.
1875
01:37:31,048 --> 01:37:33,758
He started with the uppers
to get him through the Army,
1876
01:37:33,758 --> 01:37:35,549
to get him through
the cold days,
1877
01:37:35,549 --> 01:37:37,548
to get him through
the lonely nights.
1878
01:37:40,798 --> 01:37:44,709
Man:
Do you have any time
for, uh, music anymore?
1879
01:37:44,709 --> 01:37:46,418
Elvis:
Well, uh, only at night.
1880
01:37:46,418 --> 01:37:49,458
You see, I get off work
at five o'clock
in the afternoon...
1881
01:37:49,458 --> 01:37:52,208
...and, uh, I have a guitar
up here in the room,
1882
01:37:52,208 --> 01:37:54,759
and I sit around,
and you know, up here.
1883
01:37:54,759 --> 01:37:57,089
I don't want to get out
of practice, you know,
if I can help it.
1884
01:37:57,089 --> 01:37:58,958
Man:
I sure hope not.
Let me tell you...
1885
01:37:58,958 --> 01:38:01,009
Light:
The struggle while
Elvis was in the Army
1886
01:38:01,009 --> 01:38:02,918
was a mandate
from Colonel Parker
145382
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