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The Italian Connection (part 2) - Elvis and Rudolph Valentino

This is part of a series of posts about connections between Elvis and Italy, of which there are a few. The reason why I want to write this is because I’m an Italian fan and it gives me pleasure to know that Elvis appreciated something Italian or that Italy appreciated him. I haven’t written one of these posts in a very long time and I’m sorry. The topic of this post has been suggested by @deke-rivers-1957. If you want to suggest a topic for the next post, please go ahead.

Elvis Presley and Rudolph Valentino were two of the greatest sex symbols of the 20th century, both wrapped in an alluring mystique that has stood the test of time. Both were cultural phenomena with legions of swooning fans, and are remembered not only for their fame but also for the tragic, early deaths that helped cement their mythic status. But the parallels between them go deeper than that.

If you're unfamiliar with Hollywood’s Golden Age, here's the gist: Rudolph Valentino — born Rodolfo Pietro Filiberto Raffaello Guglielmi in 1895 in Castellaneta, a small town in Southern Italy — was silent cinema’s first male superstar. After emigrating to the United States, his striking good looks and magnetic presence helped him break into the nascent Hollywood film industry. He became a sensation in 1921 with box office hits like “The Four Horsemen of the Apocalypse” and “The Sheik”, introducing a new kind of leading man to the silver screen: the Latin Lover — a handsome, dark-haired Southern European who seduces women with his intensity, passion and sensual dances. Valentino was virile, yes, but there was also a certain sadness and softness about him. His foreignness was heightened by roles where he was cast as “the exotic lover”: an Arab sheik who falls in love with an Englishwoman, an Argentine nobleman whose passionate tango causes a stir, or a young Spanish matador with a troubled love life. Women swooned over him with a fervor that was completely new at the time.

In a reaction pattern that will be very familiar to Elvis fans, Valentino was adored by many — but just as many hated him. The press called him effeminate, mocking a model of masculinity that differed sharply from the rugged, stoic, all-American hero popular at the time. Gossip columns and tabloids ridiculed his refined and stylish image, and even the slave bracelet he liked to wear became a subject of speculation about his sexuality. Yet despite the backlash, men copied his slicked-back hair and wanted to emulate his look. It all culminated in 1926 with the infamous "pink powder puff editorial”, where the presence of a powder puff dispenser in a men's public restroom was implicitly blamed on men like Valentino and their supposed lack of manliness. Three decades later, in the 1950s, Elvis would cause a strikingly similar controversy with his hip movements, flashy clothes, stage makeup, sideburns, and of course, his performance style, deeply inspired by black musicians. As a southerner from a poor background singing racially transgressive "jungle music", he embodied the fantasy of dangerous romance much like Valentino had in the 1920s. Both men were seen as irresistibly attractive by women, and scorned by the establishment — partly due to barely disguised class and racial prejudice, and partly for the perceived effeminacy of the stylish clothes and accessories they wore.

But Elvis and Valentino don’t just share surface-level similarities, as any two sex symbols might: there were intentional callbacks to Valentino on Elvis's part. Like all great artists, Elvis borrowed from those who came before him, consciously or not. As an aspiring actor in the 1950s, he clearly drew inspiration from James Dean’s intensity and rebellious attitude, as well as from Marlon Brando’s brooding presence. But from Valentino — as confirmed by his cousin Billy Smith in interviews — he took the famous smoldering glare, the way he projected emotion with his eyes, and, I would add, the posture and elegance that made the silent film star so irresistible. Even the contrast between Elvis’s dyed black hair, styled in a pompadour, and his ice-blue eyes contributed to a striking, carefully-crafted look that set him apart from other men, in a way reminiscent of Rudolph Valentino with his delicate features but passionate temper.

In her memoir "Elvis & Me", Priscilla recalls that during the pre-production of “Harum Scarum” — in late 1964 or early 1965 — Elvis would wear the film’s dark makeup, harem pants and white turban around the house throughout the day. He often remarked how much he looked like Valentino, especially in profile. And indeed, both stars have a magnificent profile — and they knew it, judging from stage pictures. But Elvis didn’t just admire Valentino; according to Barbara Pittman, a childhood friend and recording artist at Sun Records, Elvis once became so obsessed with the silent film star that he believed he might be Valentino reincarnated. He even went so far as to rent one of Valentino’s former homes in Los Angeles (even though I haven't been able to confirm which one it was!). Whether or not Elvis ever held a séance to contact fellow spiritualist Rudolph Valentino, only Barbara might know.

Rudolph Valentino is mostly remembered for his looks and the effect he had on women, but he was also a terrific actor. The passion he conveyed in his films — especially in dance and love scenes, all without speaking — can be compared to the raw emotion Elvis expressed through his singing, which is one of the reasons fans loved him so deeply. With this in mind, it’s painful to see how Elvis’s talent as an actor was squandered. Just watch "Harum Scarum" (1965), loosely inspired by "The Sheik" and widely considered one of his worst movies (it's even included in the official “Razzie Movie Guide”!). By the time Elvis made this film, the trope of the exotic fantasy hero was already tired. The sexual danger once embodied by Valentino’s sheik was completely watered down in the sanitized version imposed by the screenwriters. A nondescript American actor is sent to a vague Middle Eastern country, setting off a lazy spy plot that’s hardly worth explaining. The cheap sets, reused stage costumes and the forgettable throwaway songs didn't help. Tonally, it’s not even clear if the movie is meant as a spoof of movies like “The Sheik” or if the hero is meant to be taken seriously. Elvis, for his part, literally doesn’t care. He sleepwalks through the movie — likely high on pills, just trying to get through the ordeal of another role that hurt his reputation. What began as a potentially interesting part sadly turned into yet another disappointment in his movie career.

If not the pill addiction, the feeling of dissatisfaction was certainly familiar to Rudy. Despite his incredible success, he was deeply unhappy with his career — especially with the way the studio system was using him. Much like Elvis, he wanted to be recognized as a true artist, not just a heartthrob cast in movies with exotic locations and barely coherent plots. Among his 30 films (roughly as many as Elvis made), many were flops. Valentino also struggled with the overwhelming level of his fame and with the negative portrayals in the media. The pink powder puff editorial was the final blow: just weeks after challenging the anonymous author of the piece to a duel, Rudy was dead — killed by a perforated ulcer that led to a fatal infection. It's likely no coincidence that both Rudy and Elvis died young, the result of health issues neglected amid the pressures of fame.

As with Elvis, Valentino’s legacy is tied to his premature death. He was only 31 years old. The hysteria that followed made history: women reportedly committed suicide and 100,000 people attended his funeral, where riots broke out — all further proof of how beloved he was. In a similar turn of events, the day after Elvis died became the biggest day for flower sales in the United States. The legend that Valentino’s ghost still haunts his mansion, Falcon Lair, and that a mysterious Lady in Black brought a single rose to his grave every year for decades only adds to the myth. It’s not so different from the enduring refusal to believe that Elvis is truly gone. Even in Italy, Valentino’s home country — where the Fascist regime had disapproved of his image for not being masculine enough and often delayed the release of his films — his tragic early death made him more captivating than ever. In the end, it even forced Mussolini to acknowledge the famous Italian immigrant.

Previous episodes of “The Italian Connection”: “It’s Now or Never”

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Just something cute I found on the webs.

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Happy Halloween @alienelvisobsession. Here's Elvis as Gomez Addams with his Morticia.

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[alienelvisobsession]

💘 Elvis's first public concert took place on July 30, 1954, at the Overton Park Shell in Memphis, Tennessee. 💘

This event is often considered a pivotal moment in music history. Elvis was the opening act for country singer Slim Whitman. They even spelled his name wrong on the flyer - if you look it up, it says "Ellis Presley" 😭😂

During this concert, Elvis performed songs like “That’s All Right, Mama” and “Blue Moon of Kentucky,” which showcased his unique blend of music. His energetic performance and distinctive style left a lasting impression on the audience, marking the beginning of his rise to fame. He performed there a few times in the 50s.

Today, you can visit the Overton Park Shell and stand on the same stage Elvis once did! It's free to visit but you can also buy tickets for an official tour! Happy Elvis adventure-ing!

💘⚡💕

#memphis #elvis #overton #overtonparkshell #elvis #memphis #cute #presley

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Elvis' mannerisms · Tongue ·

[alienelvisobsession]

✨⚡ Elvis Presley - the King of Rock ‘n’ Roll - and David Bowie - the Starman - are forever connected ⚡✨

David once said that Elvis was his hero. I wanted to share some quotes from David talking about Elvis and how Elvis influenced him over his life.

The fact that they never got to officially meet or work together as Elvis wanted breaks my heart into a million pieces. *Sigh*

Did you know David originally wanted Elvis to sing 'Golden Years'? Just imagine!!!!

Both icons. Both legends. Love them both forever!

Edit by me! 🪩

⚡🎵✨🎤

#ElvisPresley #DavidBowie #MusicLegends #RockAndRoll #Starman

Post inspired by @alienelvisobsession !!!!

[alienelvisobsession]

Black Tupelo History: The Hill

Elvis Presley lived IN black neighborhoods, particularly the black Park Hill neighborhood in Tupelo. The litlle family lived on the commercial fringes of the "'cross the tracks" famous black ghetto called Shake Rag but not in the residential part of it. They lived behind a Shake Rag business, basically in a shed - just one payment from homelessness.

Juneteenth, 1956, at the Memphis Fairgrounds

And then - and no one knows how, they somehow found their way to "The Hill." There were about 3 or 4 "dogrun" style two-family houses designated "white" and they rented half of one of them. It had hot and cold running water! A first for Elvis and his parents. Only one unusual white boy visited him there, ever. Elvis' little running buddies "on The Hill" were all black. 11, 12 and 13 year-old little boys. They went to the movies together (and SAT together! Elvis literally "jumped Jim Crow" by jumping over the railing that separated black and white: he'd sit on the floor with the sticky soda and candy all over it.) They played baseball together, played marbles, wrestled, gently teased each other, had nicknames - totally different from his less than happy school experience with the white kids - but he had to go there. He couldn't go to the school his friends went to. It was against the law then.

Elvis at 12, when he lived on The Hill

The first time Elvis Presley ever played piano was in a house in the Park Hill section. He knew a little girl named Janice Scales whose family invited him in. He was drawn to the piano like a magnet and tried to play it. Elvis went to black gospel tent revivals when he lived there and listened to live blues at the black Elks Club on The Hill. He learned a lot also on the porch of Mayhorn's Grocery which now has an official city plaque noting that Elvis and his little guitar were there. It's still standing but is no longer a grocery. And he snuck peeks through the windows at Saturday night fish frys and juke joints in Shake Rag according to local musician, the late Charles "Bo" Clanton. None of the other boys were with him; it was forbidden.

Several kids who lived there went on to be community leaders. Willie Pooch was a very talented bluesman who remembered playing baseball with Elvis, Robert Jameison - who had happy memories of playing marbles with Elvis, became a prominent minister and was involved in the Civil Rights Movement. Dr. Walter A. Zuber was a well-known black medical doctor in that area of the state. His daughter, Dr. Etta Zuber Falconer¹ went on to much greater fame. She made history as one of the first black women to get a Ph.D. in Mathematics, among her many other accolades.² She was just a couple of years older than Elvis and had to have known him at least for a brief time because her dad treated the family as a physician. She sadly was stricken with pancreatic cancer and passed away at only 68.

Another friend, probably Elvis' bestie there, was Sam Bell, who is kind of the unofficial historian of the historic Park Hill neighborhood. It's gone now, torn down and grown over for an Interstate highway. There's a log that marks the spot where Elvis and his parents lived. Nothing is written on the log. It might have been a happy accident of nature. Or someone may have placed it there.

The Presleys had to move because Elvis' daddy was running white lightning to make the rent money. He had to get the heck out of Mississippi. They then moved to Memphis. Quickly.

There's an old blues phrase that went "the only thing I did wrong/Was stay in Mississippi a day too long." Another story for another day. His daddy always did what he had to do to feed his little boy and his wife. From the beginning it wasn't easy.

--

¹Dr. Etta Zuber Falconer went to college at age 15. So she would have known him only briefly. She was obviously very studious - and a girl. She wasn't playing baseball and marbles at 14. She was studying trigonometry.

²https://www.maa.org/programs-and-communities/member-communities/maa-awards/lecture-awards/awm-maa-falconer-lectures/etta-zuber-falconer

Much credit to Giacomo (Jay) Viviano for many details. ©Giacomo Viviano, 2020-2021, All Rights Reserved.

Current piece written by

©Robin Markowitz, 2021, All Rights Reserved.

Additional credit to Roy Turner and Sam Bell, local Tupelo historians

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The Italian Connection (part 1) - It’s Now or Never

Welcome to the first post of a series I'll call The Italian Connection. From an idea hooked-on-elvis gave me some time ago, I'll write a few posts about Elvis connections to Italy, because I'm an Italian fan who lives in the Elvis wasteland (aka Europe) and it gives me joy to write about this. You’re welcome to suggest some topics for my next Italian connections.

I first heard Elvis' "It's Now or Never" on the car radio about 3 years ago, before becoming an Elvis fan. I'm sure I had heard it before, but I wasn't conscious of it, if that makes sense. I remember thinking: "Oh, it's 'O sole mio' with English lyrics. Who sang this?". I swear I thought the car radio was broken when I saw "It's Now or Never - Elvis Presley" appearing on the screen, but then I listened better and I recognized his voice. Even as a non fan, he had the most recognizable voice of all singers. I just didn't know that he sang this kind of songs, as I mostly knew him for the rock 'n roll classics and a few ballads.

It's kind of surprising to me that “It’s Now or Never”, recorded in April 1960, is actually Elvis' best-selling song and it's among the top ten best-selling physical singles of all time, with 20 million copies sold. It's ranked at #7, together with Whitney Houston's version of "I Will Always Love You" and the charity single "We Are the World", written by Michael Jackson and Lionel Ritchie.

It is based on the classic Neapolitan song “‘O Sole Mio”, written in 1898, and to this day performed in Italy and in the rest of the world by opera singers, gondoliers and everything in between. The lyrics of the song were written by Giovanni Capurro, but the music was composed by Eduardo di Capua, perhaps while he was on tour in Odessa, a city on the Black Sea. It's a hymn to the sunshine of Naples and a love song at the same time, in the melodramatic style characteristic of traditional Neapolitan music.

"O' sole mio" is ubiquitous in Italy, it's almost like a national anthem, especially in Naples. In October of 1960, Elvis' version made it to #3 in Italy in the weekly charts, which was overwhelmingly made of Italian musica leggera (pop music). It also reached #17 in the annual chart of 1960, which is not bad at all for an American artist. I wouldn't say that Elvis' is the most famous version of the song, though, merely because "O' Sole Mio" is a favorite among opera singers, including Luciano Pavarotti, who used to sing a great version of it.

Elvis most likely knew the famous version by Italian tenor Enrico Caruso, recorded in 1916 (it was said to be a favorite record of his mother) and the version recorded by Mario Lanza, an Italian American tenor who was popular in the 1950s. Elvis shared his love for Lanza's operatic singing, displayed in successful movies like “The Great Caruso”, with a young Priscilla Beaulieu. When Elvis met her in the autumn of 1959, they must have talked about him, because he had just died, at the tender age of 38, after years of bad health and a controversial sleep diet (!). It’s possible that Elvis decided to record "It's Now or Never" in 1960 as a homage to him.

When Elvis recorded this song he was fresh out of the army and had filmed the Sinatra special the month before, in March 1960. I think it’s important to note that in 1957, Sinatra was rather skeptical about Elvis' vocal abilities. He said: "Elvis has no training at all. When he goes into something serious, a bigger kind of singing, we’ll find out if he is a singer". As we all know, Elvis had a lot of time to work on his singing while he was in the army, with the help of Charlie Hodge.

That’s probably why in 1960, eager to show off his extended vocal range with a "bigger kind of singing", Elvis decided to tackle this song. There was already a version with English lyrics, called “There’s No Tomorrow”, recorded by Tony Martin in 1949. He had dabbled with it a little bit in Germany, as proven by the home recordings that have surfaced. Nevertheless, he decided to have new lyrics written for him, as the song was in the public domain in the US.

With this choice in a way he was signaling that he intended to explore different genres, branching out from rock 'n roll in other words. As Shane Brown wrote in “Reconsider Baby” about his new vocal abilities, “the often out-of-control vibrato was successfully controlled, Elvis switched from singing with full power to barely a whisper like flipping a switch”. The Jordanaires begin the song with their layered harmonies, while a guitar cleverly imitates the sound of an Italian mandolin. Elvis sings this the way it is done in Italy, easing into the song and then building it up to a roar in the chorus.

So why did Elvis like Neapolitan music so much? According to Mark Duffett, it “allowed [him] to dramatically express assertive and passionate masculinity”. As a matter of fact, I find the dichotomy of tenderness and assertiveness that Elvis manages to express in this song, so masterfully expressed in the lyrics (“tomorrow will be too late / it’s now or never / my love won’t wait”) , a perfect fit for Elvis’ voice and personality.

Needless to say, the song was challenging to record. It took Elvis a few takes to nail the long high note at the end, as well as the right tone for it. He must have been satisfied with the result, though, because more than 10 years later, in 1972, during the Madison Square Garden press conference, he said that it was his favorite record of his. Elvis included “It’s Now or Never” in his concerts immediately after recording it (he performed it during the Pearl Harbor concert in 1961) and then again in February 1970, at the end of that engagement. In that occasion, it must have been a surprise choice, because he uncharacteristically instructs the TCB band on how to finish the song. I love this soulful version, with its gospel-like ending.

I wish Elvis had taken the time to learn the words and sung some of the original lyrics like he did with “Santa Lucia”, also a Neapolitan classic. In the 1970s, Elvis sometimes allowed one of this backup singers, Sherrill Nielsen, to sing the first verse of the Italian version, although with approximate lyrics. Goofing around like he often did, but also maybe hinting at the fact that the song was really old, in December 1976 Elvis introduced the song by saying: “Sherrill Nielsen is going to do the Italian version and I’m going to do the ancient Hindu version”. In this recording from one of Elvis' last concerts, Nielsen's singing is overindulgent to say the least and I wonder what Elvis thought of it. Can you decipher his expressions and let me know?

Bonus: One my favorite versions of “O Sole Mio”

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დ︎ “ol’ toothless.” — elvis x fem! reader დ︎

note: some dialogue from linda thompson’s ‘a little thing called life’ + requested / warnings: MDNI, teasing, big daddy being big daddy, innocent playing turning sexual, oral f-receiving, fingering, p in v sex, elvis being goofy. / summary: elvis wants to make sure you love him, even when he’s ‘toothless’.

“Honey, Honey, come look,” Elvis yells from the bathroom, and you roll over in bed- sitting your book down on your chest. “What is it?” You yell back, and you can hear Elvis chuckling to himself. He’s in a bathrobe, a dark red one with ‘EP’ engraved in gold on the left breast, you can see his stomach bouncing slightly as he laughs. You notice how careful he is to keep his mouth shut like he’s hiding something. Walking over to the bed he sits on it, not saying a word, a silly smirk across his face. “Elvis, what is it?” You giggle out, shaking your head. He lets out a laugh before opening his mouth wide. “Lookie er’..” He says and you lean up close to his mouth, noticing the crown he’d always worn on one of his teeth was gone. “Elvis! What happened?” You asked, grabbing his face and turning it side to side, seeing if he had lost other teeth. “What’s wrong, honey? Don’t like it?” He laughs, sliding your hands off his face. You can’t help but laugh at him a little, sure, you’re worried about what he’s gonna do about the whole situation– but he looks so cute. “No, Elvis it’s-it’s just surprising!” You stammer. Elvis lays down on his side, moving the book off your chest. “C’mere honey, give me sum’ love.” he coos, talking like a full-blown hillbilly. “Give ol’ toothless Elvis some sugar.” He says, crawling over top of you making obnoxious kissy sounds as he covers your face in kisses. “Elvis! Stop that!” You laugh as Elvis kisses your nose. “Dontcha’ love me no more babydoll?” He asks, still talking hick. “You know I love you but you’re all over me!” You say, pushing your hands against his chest. Elvis pulls back, feigning hurt, “I like bein’ toothless. I wanna see if ya really love me.” Diving back in he kisses you on the lips this time, a small sweet kiss. “If you love me lookin’ like this.” He opens his mouth wide, showing it off. “Pfft! Elvis, honey please!” You laugh aloud and Elvis pauses for a moment before his hands start grabbing on your hips, squeezing and tickling you. Elvis grins wickedly, his fingers digging into your sides, making you squeal and squirm beneath him. "Oh, honey, I ain't givin' up that easy." He winks, his hands continuing their assault, making you giggle uncontrollably. "Now, tell me, honey, where does it tickle the most?" He asks, his voice laced with amusement. "Here?" He trails one hand up to your ribcage, making you gasp and try to wiggle away. "Or maybe... here?" His other hand moves lower, brushing against the sensitive skin of your inner thigh, making you shiver. “Think I found a spot, hm?” He coos, moving his head down to your thigh, kissing it softly. “Elvis…” You whisper and he leans up smiling at you, making sure to show all his teeth. He crawls back up to your face, “Whatsa’ matter, baby?” He asks, a hand sliding up your nightgown.

You blush, biting your lip as you look up at him. "Elvis, we shouldn't... it’s too late.." you murmur, trying to sound convincing despite the butterflies in your stomach. "But... but what if I promise to be gentle?" He whispers, his hand inching higher, his thumb brushing against your panties. "And what if I promise to make it worth your while?" He adds, leaning in to nuzzle your neck, his breath hot on your skin. "Mm, baby..I can’t say no to you" you admit, your voice barely above a whisper. "Good," he growls softly, his hand slipping inside your panties, finding you already wet and ready for him. "Oh, honey…" He slides a finger inside you, making you gasp, his thumb circling your clit. “Ya do like me like this.” He snickers and you groan. Elvis smirks, his eyes gleaming with satisfaction as he continues to tease you. "Mmm, I knew you couldn't resist this toothless charm," he whispers, adding another finger, stretching you. “E-Elvis..be serious..” You beg and he begins pumping in and out of you. " I wanna hear it, honey. Tell me you’ll love me no matter what." His gaze is intense.  "Say it, baby," he demands, his voice hoarse with desire. "Tell me you love me, even without my tooth.” His face is dead serious, it makes no sense with how silly he sounds. You moan, writhing beneath him, your body aching for more. "I-I love you, Elvis," you pant, your nails digging into his shoulders. "Even when you're toothless'' You feel so embarrassed, he’s usually not so goofy doing stuff like this, you know you probably look like a tomato. Elvis’ fingers work on you, pumping in and out as his thumb circles your clit, the pressure building up in your stomach is unbearable. With a mischievous glint in his eye, Elvis slowly slides down your body, his fingers leaving your warmth, much to your dismay. But he doesn't stop there; instead, he hooks his fingers under the hem of your nightgown, pulling it up and over your head, leaving you bare except for your damp panties. "Elvis... what are you doing?" You ask, a hint of nervousness in your voice, as you watch him settle between your legs, his broad shoulders pushing your thighs apart. "Shh, baby, trust me..." He murmurs, his gaze locked onto yours as he leans down, his warm breath ghosting over your sensitive flesh.  Before you can respond, Elvis hooks his fingers into the waistband of your panties, pulling them down and discarding them to the floor. You feel a blush spreading across your cheeks as he exposes you completely, you were so close there was no way you’d last long. "Goddamn, honey, you're beautiful..." He growls, his voice gruff as he leans in, his tongue darting between your folds. "And you taste even better..." 

Your back arches off the bed as Elvis settles in, his tongue exploring every inch of you, his lips and mouth working in tandem to bring you pleasure beyond anything you've ever experienced. Your hands find their way into his hair, gripping tightly as you ride the wave of ecstasy that threatens to consume you. "Elvis... oh god" You moan, your hips bucking against his mouth as he brings you closer and closer to the edge. "Don't stop... please don't stop..."In response, Elvis simply hums against you, the vibrations sending shockwaves through your body, pushing you even closer to release. Elvis grins wickedly, his tongue lapping at you hungrily, his fingers joining in, curling upwards to hit that spot deep inside you. "Oh, honey, you taste so fuckin' good," he murmurs, his voice vibrating against your sensitive flesh, sending shivers down your spine. He continues his relentless assault, his fingers pumping in and out of you, his tongue flicking against your clit, driving you wild. "You're so close, baby," he whispers, looking up at you, his chin glistening with your arousal. "C’mon honey, cum for me." His words push you over the edge, your orgasm ripping through you like a storm, your body convulsing as waves of pleasure wash over you. Elvis laps at you eagerly, drawing out your climax until you're nothing but a quivering mess beneath him. As you come down from your high, Elvis crawls back up your body, his eyes filled with lust and love. "That's my girl," he whispers, capturing your mouth in a searing kiss, letting you taste yourself on his lips. “I’m gonna make ya’ feel so good…” He reaches between your legs, guiding himself to your entrance, rubbing the head of his cock against your slick folds. "Can ya feel how hard lil’ Elvis is?" he asks, his voice tight with restraint. You nod, wrapping your legs around his waist, pulling him closer. "Please Elvis, jus’ put it in…," you beg, needing to feel him inside you. Elvis groans, pushing into you slowly, filling you inch by inch. "Fuck…so tight.," he grits out, bottoming out inside you. He gives you a moment to adjust before starting to move, his hips rolling in a steady rhythm, hitting all the right spots. You moan, meeting his thrusts, your nails digging into his back. With each thrust you let out a little yelp, his soft groans filling your ears as he thrust deep into you. 

Elvis smiles, his eyes twinkling with amusement as he starts to move faster, his hips slapping against yours. "Is this what you wanted, baby? To feel me inside you, fillin' you up?" He leans down, his lips brushing against your ear. "Tell me, honey. Tell me how much you love havin' me like this." You gasp, your body arching into his as he hits that sweet spot deep inside you. "I love havin’ you like this..” You pant, your voice barely above a whisper. Elvis grins, his thrusts becoming more urgent, more needy. "Touch yourself, baby. Make yourself cum with me inside you." You hesitate for a moment, feeling a blush spread across your cheeks. "I-I’m already close…" you stammer, feeling overstimulated already. Elvis stops moving, his eyes searching yours. "Please, baby… I wanna see you touch ya’self while I'm fuckin' you. C'mon, touch that pretty pussy for me." He begged and you couldn’t take it. He wasn’t going to move unless you did, letting out a shaky groan you reach between your legs, your fingers finding your clit, rubbing circles as Elvis starts to move again. "That's it, honey. Just like that. Show me how much ya’ need it...” You moan, your body writhing beneath him as you rub yourself, feeling the pleasure build up inside you once again. "Elvis... I'm close," you warn, your breath coming in short gasps. Elvis growls, his thrusts becoming deeper, more powerful. "Cum for me, baby. Cum all over my cock. Let me feel ya squeeze me tight." Your body tenses, clenching around Elvis's cock. Elvis lets out a guttural groan, his body tensing as he follows you over the edge, filling you with his hot seed. "Fuck, honey... that was... incredible," he pants, collapsing on top of you, his body still trembling with aftershocks. You wrap your arms around him, holding him close as you both catch your breath. "I love you, Elvis," you whisper, pressing a soft kiss to his shoulder. Elvis lifts his head, his eyes filled with love as he looks down at you. "Awe, she loves me, no tooth n’ all..” he teases, making you laugh. “Be quiet.” You chuckle, resting your head on him.

“Anythin’ for you, Mama.” 

inspired by: @alienelvisobsession + idea from: @rogueinmymind - this was so cute to write i loved it :3 i have to more fics on the way (expect teacher elvis n’ a nice little fluffy fic for the first time!!) n’ i’m so excited :3

taglist: @hooked-on-elvis @atleastpleasetelephone @lola-1013 @indiatuck @eptodaytommorowforever @suspiciousmindsxo @tupelomiss @myradiaz @i-r-i-n-a-a @elvispresley1956 @sisssygirl @your-nanas-house @callieselvisobsessed @eapep @auntbee22 @wildhorseinkansas @elvisiana @spookyeagleflower @ladelinee @jhoneybees @elviswhore69 @sissylittlefeather @dontfeedthebigbadwolf @louisejoy86 @elvisalltheway101 @cherrycolaride @sloppyzengarden @faeolwen @slayingjd

[alienelvisobsession]

#OpenToWork

Hi Everyone! As I have been frequently advised to get a job “doing something I love,” I am looking for a new position.

I have two years experience staring at pictures of Elvis Presley and have read everything I could possibly get my hands on about him. My subject matter expertise is growing.

In my next role, I would like to be able to devote myself to full-time research on the subject of Elvis Presley.

Research topics of interest include Elvis’s adorkableness, proficiency sticking out his tongue, lip biting skills, vocal ability, and overall sexiness, although I am open to other options.

Remote position preferred, unless colleagues are highly tolerant about a lot sighing, cursing, and groaning.

Serious offers only please.

[alienelvisobsession]

lol I’m still stuck on some answers. It’s really cryptic and tricky! 😅

Elvis Trivia Crossword

Thank you @alienelvisobsession for requesting this.

Just to make sure this isn't impossible to solve I'm going to warn you now that there are numbers in some answers and depending on the clue is formatted either as "Three" or "3".

Also 9 across is a number I got from Wikipedia and is rounded to the nearest million.

Feel free to reblog with your answers, I'd love to know how difficult it really is even without the hints. Who knows maybe I'll make more of these based on Elvis movie trivia.

[alienelvisobsession]

OBSESSED with Joe Petruccio’s Elvis Journal ❤️😭

[alienelvisobsession]

ONE NIGHT WITH YOU OF SIN ❤️‍🔥

50s Elvis can't sing something like this!

Well, this is something I just found out. That's why I love listening to Elvis' songs and researching on them. We always can learn interesting things that took place during the recording sessions, which makes EP's songs much, much precious.

I was listening to "Elvis: From the Vaults 50's" album, released as part of the 60-CD set "Elvis Presley: The Album Collection" (2016) — I love the "Elvis: From the Vaults" trilogy to death, by the way — when I crossed something very interesting.

The song "One Night (With You)", that Elvis performed with such passion during the '68 Comeback Special, was recorded by him in the 50s and originally had a slightly different lyrics.

The most known version, the "light" or "family friendly" (per say) version of the chorus of this one song goes like this:

"One night with you is what I'm now praying for."

The "explicit" version tho, as originally written by Dave Bartholomew and that came to be a R&B hit for Smiley Lewis in 1956, the version of the song Elvis recorded in 1957, actually sounds like this:

"One night of sin is what I'm now paying for."

I mean, the lyrics is clearly about sex in either words, but why the change in the words actually happened really intrigued me. I, as usually, looked for answers in one of my favorite books, and that's what I'm gonna share with you now.

So, Elvis was recording songs for the '57 Loving You movie soundtrack when the song was recorded. "One Night" was meant to be featured in this soundtrack album but it wasn't. The track went through a long way before it was put out there for Elvis' audience. To give you an idea, Elvis released the Loving You soundtrack album (June 20, 1957), recorded the songs that were featured in the Jailhouse Rock movie (there wasn't an official soundtrack album out for this movie), released one Christmas album ("Elvis' Christmas Album" - October 15, 1957) and the King Creole soundtrack album too (September 19, 1958), all of this before "One Night (With You)" could be finally released in October 1958, moment he was already officially "Private Presley", serving the US Army while stationed in Germany. But... what happened? Why this song wasn't featured in the Loving You movie and its soundtrack album released in 1957? Why the lyrics changed?

LET'S DIG INTO IT:

SOUNDTRACK RECORDINGS FOR PARAMOUNT’S LOVING YOU - JANUARY 15–18, 21–22 (PARAMOUNT SCORING STAGE) AND FEBRUARY 14, 1957 (RADIO RECORDERS, HOLLYWOOD) (...) When Hal Wallis asked for a few more songs for the movie, Elvis and the boys spent some time rehearsing cover versions of Fats Domino’s current hit "Blueberry Hill" and Smiley Lewis’s "One Night (Of Sin)," written by Domino’s musical partner Dave Bartholomew and credited in part to Bartholomew’s wife.

LISTEN TO SMILEY LEWIS’S "ONE NIGHT (OF SIN)":

So, Elvis first covered this song, and it was recorded in studio, as originally written but the official song he performed had a new lyrics. Let's understand why he recorded the song again before putting it out there for us to listen to.

STUDIO SESSIONS FOR RCA JANUARY 19, 1957: RADIO RECORDERS, HOLLYWOOD (...) Both the Colonel and RCA had serious reservations about the words of the song, but Elvis liked it so much that they appealed to Hill & Range to negotiate with the song’s copyright holder, Lew Chudd of Imperial Records, for permission to rewrite the lyrics.

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STUDIO SESSIONS FOR RCA FEBRUARY 23–24, 1957: RADIO RECORDERS, HOLLYWOOD (...) Meanwhile the new, bowdlerized lyrics for the Dave Bartholomew song had been produced as requested; "One night of sin is what I’m now paying for" became "One night with you is what I'm now praying for," and the deal they'd prayed and paid for freed them to pencil the song in for the Loving You album. In the end, the rewrite was a fortunate stroke. The discerning listener might have missed the more direct lyrics of the original, but Elvis's performance on the new version made up for it: Freed from worry about the song itself, he was all intensity and command. "One Night" was so good, in fact, that it was eventually dropped from the soundtrack and picked as a single with "I Beg Of You" for some indeterminate future date.

So, yes, the song needed the change in the lyrics because of its content. It was too sexual, too explicit for Elvis' audience, mainly composed by teenagers. Elvis apparently wasn't bother by this. He liked the song anyway, even with the new lyrics. He liked the idea of releasing this song but although "One Night", as recorded by Elvis in 1957, was considered a fine material for a new single, Elvis was such a perfectionist he used to redo many of his recordings before he considered they were proper to be released. He was the man picking his own singles, so they always needed his approval before they were out. He wanted work some more in "One Night" because he was not satisfied with the result, but other songs came in the way.

One work after the other, there wasn't time to redo this track recording before Elvis became a soldier in 1958. When "One Night" was finally released it was against Elvis' will. It was not about the new lyrics tho, he just thought the song could sound much better than it was. Even so, the RCA and Colonel Parker, his manager, had to make choices without his consent once his main focus was in being a soldier, between 1958-1960. Elvis used to work "by demand", that means if there was a movie to be filmed, soundtrack recording sessions were made specifically for it, if there was a new Elvis album planned to be released, then recording sessions were scheduled specifically for the new album. They didn't use to work on recording sessions to "save" tracks to be future released. Very few songs used to surplus from each recording session and that only happened when some of the tracks originally planned to be featured in one specific release weren't considered good enough, concerning the quality of the material, or due to contractual deals that weren't still set by the time that specific LP (or EP) needed to be released. When Elvis was officially inducted in the US Army, in March 1960, there wasn't enough material for 2 years of future releases and this caused a lack in songs for the RCA and Colonel Parker to work with considering they needed a certain amount of new tracks to fill an album. For 1958 and 1959, there was a certain lack in new recording material to be out but they needed to keep Elvis' name in the spotlights since there was still a huge demand for him and they couldn't miss the chance to make money just because the US Army would keep their golden boy busy to work in his records for the next couple of years, besides Colonel had promised Elvis (and of course it was his interest as well) that when he came back from the Army he would still have a career to linger on. They chose to release "One Night "as a single, the way it was recorded in 1957, even if Elvis himself didn't agree with this. It was needed.

THE RELEASE (1958):

As you can notice, plans change. The same way "One Night" wasn't featured in the originally planned "Loving You" album in 1957, when the song was released as a single the opposite track wasn't "I Beg of You" as planned previously, instead they picked "I Got Stung" as the A-side.

1958–59: GOETHESTRASSE A new single had to be chosen, and both Sholes and the Colonel were still pulling for "One Night" over Elvis’s objections; the publishing company had made a deal for part of the royalties, but the deal depended upon the song’s release as a single and couldn’t be extended past October 31, 1958. The Colonel felt it would be foolish not to take advantage of the deal, and at last he persuaded Elvis to agree. With "I Got Stung" from the June session as the B-side, the new single caused an immediate sensation. DJs clearly preferred the A-side, but both cuts shot up the charts right away, eventually reaching number four and number eight, respectively. Split airplay may well have been what stopped "One Night" from going to number one on the charts, but the single sold several hundred thousand copies more than the last two releases, even matching "Don’t"/"I Beg Of You."

Excerpts: "Elvis Presley: A Life in Music" by Ernst Jorgensen. Foreword by Peter Guralnick (1998)

Singles "One Night" (B-SIDE) and "I Got Stung" (A-SIDE) -- Released October 21, 1958 -- Recorded on February 23, 1957.

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AFTERWARDS:

As far as I know (and I say this because I am still studying Elvis' career and many things can come to my knowledge in the future), ever since released, Elvis performed the song as it was officially out, leaving "One Night (Of Sin)" to be heard only as a posthumous released track, after 1983 as it came out featuring the album "Elvis: A Legendary Performer (Vol 4)".

"One Night Of Sin" and "One Night" were featured together in the 2006 Follow That Dream (FTD) label re-issue of the "Loving You" soundtrack album. On the previous year (2005) FTD re-issue of the same album, there was only "One Night Of Sin" in the album, as it was supposed to be if the lyrics hadn't changed and the song had came out in the album it was meant to be in.

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LET'S DISCUSS IT:

First of all, I totally understand Colonel Parker's fears over the lyrics. "One Night (Of Sin)" would have been a risky song for Elvis in the 50s to perform/release and, the way I see it, the change in the lyrics came as a way of not giving munition to conservative people to "cancel" Elvis, to cause an even bigger fuss on his already pretty "stained" image as a "troublemaker", a "rock and roller rebel", an "imoral young man who's such a bad influence on the America's youth". Let's face it, have a conservative parent heard their kids listening to "One night of sin is what I'm paying for" there would have been "Loving You" LPs being burned in trashes all over the US, a lot more of badmouthing Elvis' name scenes with older folks using this song as an example of Presley's kind of "antics" and "imoral behavior", and maybe even the Loving You movie could have been forbidden if the song was performed in it, suffering boycott fired up by church leaders and all.

I wonder if that song was in fact in the movie tho. The Loving You movie is very, very "family friendly", all cute and sweet. I can't even imagine Deke Rivers singing "One Night Of Sin" onstage, since we know Elvis performed songs using not only his voice but his whole body. I mean, of course he performed "One Night (With You)" with the usual sex appeal inherent of him but the original lyrics would add much more sensuality into the performance, no doubt. I wish I could've watch him performing this son,g with its original lyrics, in the 50s... it would be something else, I tell ya. But it would also be quite scandalous for his image back then. Even so, I can't quite understand how that song was never performed by him the way he recorded at first, "One Night of Sin", during the '68 Comeback Special - or any other Elvis performance. He had no more reasons to try to play the "cool and nice southern religious boy" anymore by then, so why Elvis didn't sing this song the way it was originally recorded? I guess, concerning the '68 TV Special, this time it was a matter of being in television - you know... the sponsorship for the show would probably not agree with such "explicit" lyrics considering it was supposed to be a Christmas TV special, again, family oriented. Maybe he never performed the song with its original lyrics because nobody heard him sing it before since it was only released for the public after Elvis died. Such a shame.

As far as I know, Elvis never performed One Night Of Sin live but it would have been VERY, EXTREMELY suitable for late 60s/70s Elvis. I personally would give almost anything to watch him singing this song in the 70s, really but I guess it is what it is. The timing wasn't what good when this track came to him — or it actually was because, if you think about it, now we have two versions of that song sang by Elvis. What could be better than one Elvis song than two (and hundreds more)?

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You can listen to "One Night (Of Sin)" by Elvis Presley on:

"Elvis: A Legendary Performer" Vol 4. (1983)

"The King of Rock’n’Roll – The Complete 50’s Masters" (1992)

"Loving You" (2005) – FTD (re-issue)

"Loving You" (2006) – FTD (re-issue)

"Elvis: From the Vaults 50's" (2016)