#american sound

[heart-of-ep]

• Elvis: A Stranger in His Own Hometown •

I recently ordered the Memphis boxset that came out this past summer and had a minute to look through the booklet inside, and wow, I was not expecting to find myself tearing up over a passage at the end of it. So, of course, I had a moment where I spiraled over the cultural impact of Elvis, as I often do after reading stuff like this. I'm very curious to hear yall's thoughts cause I've never really thought too much about this topic, and I find it super interesting. ♡

Elvis on February 3rd, 1976, getting his photo taken for his Memphis Police Reserve Captain ID.

To begin this discussion, here is the passage in question that tugged at my heart:

"At Graceland, the upstairs was Elvis's private domain. The curtains were kept closed, foil covered the windows and blocked out the sun. Access was limited, and as the coterie of friends, girlfriends, and hangers-on slowly diminished, fewer sought entry. There was no thrum of the streets, no Shake Rag or Beale, no winds of change. His bedroom door was kept closed, the air conditioning was always very cool, and he read oversized spiritual tomes, looking for a way out, looking for a way in.

His bedroom was isolated, less a room in a house and more a chamber in space. Tupelo was a million miles away, Vegas and Hollywood were further, and though Memphis was just outside the door, its inspiration available and attainable, no new air could seep in. He was an expatriate in his own hometown.

Memphis giveth, and Memphis taketh away, and the city had given Elvis more than he could ever have imagined asking for, more than he ever wanted, and then like the ocean before a tsunami wave, it had withdrawn. Or he'd withdrawn from it. The fullness was bare, the loud laughter now spare, the warmth artificial from electric blankets. Words turned to sounds but not the joyful scatting of childhood, more a mumble, a murmur, a confusion that he could neither understand nor express.

When asked what he missed about Memphis, a 25-year-old Elvis on his way home from the army said, "Everything. I mean that everything." Late in life, and too fully ensconced there to be comfortable, he might have replied with words the same.

Elvis died at Graceland, upstairs, a man alone, less than a year after the last wail from the jungle room."

Robert Gordon, Memphis, 2024

The Memphis boxset focuses on all of Elvis's recordings that took place in Memphis, TN from his start in Sun Studios back in 1954, all the way up to his final recording session that took place in the den (now famously the Jungle Room) of Graceland. The set features 111 tracks and offers up a beautiful selection of songs that showcase the progression of Elvis' artistic style over the years.

This particular passage by Robert Gordon sits at the very end of the booklet included in the boxset, endcapping the famous Junge Room sessions with an introspective look at Elvis' relationship with Memphis and how that influenced his music. But why did this passage stand out to me so much? Why did it tug so hard at my heart?

"Memphis giveth, and Memphis taketh away."

Such a simple sentence, and yet it speaks volumes for the landscape of how Elvis and Memphis are intrinsically tied together, both then and now.

While Memphis had famous musicians before and after Elvis' rise to fame, none quite reached the level of stardom that Elvis achieved, and unlike many stars of then and now, Elvis was proud of his hometown, holding a natural love and affection for the city that served as an escape from the Presley's poverty in Tupelo. Memphis wasn't just any city for the Presley family, it was a second chance. It was an opportunity for them to create something better for themselves. And for a young Elvis of thirteen years old, it offered hope. Elvis was constantly striving for something bigger, something better, for both him and his family, and Memphis offered that in spades.

Elvis was immediately enamored with Memphis, and soon after their arrival, the music of Memphis would take hold of Elvis. While in Tupelo, Elvis was already familiar with a variety of music styles, such as country and gospel, but in Memphis, there was a music for every sort of flavor, and no doubt Elvis listened avidly. Whether it be by turning on Daddy-O-Dewey, Dewey Phillips at WHBQ, or turning the dial to WDIA, an all black programming station that played many local artists such as B.B. King and Rufus Thomas. Even on Sunday nights, Elvis would be able to listen to a sermon from Reverend W. Herbet Brewster, appealing to the inherently spiritual side of Elvis' nature.

Elvis listened to it all, and in time, it helped to mold him into the artist he would become in just a few short years. Elvis was constantly inspired by everything around him, and it all came together, allowing him to develop a level of self-confidence that hadn't previously existed in the young boy. As his love for music continued to expand, his image evolved with it.

"It seemed as if he was determined to make a statement, he was intent upon setting himself apart, without ever raising his voice or changing from the polite, well-mannered boy that he knew he would always be. By his dress, his hair, his demeanor, though, he was making a ringing declaration of independence. More and more to his fellow schoolmates he was a “squirrel,” a misfit, a freak, as he would later describe himself, but not a freak to himself. Photographs show an increasing self-confidence, an increasingly studied self-image, even as he was being increasingly rejected by others."

The Rise of Elvis Presley: Last Train to Memphis (by Peter Guralnick)

There's no denying the influence that Memphis played on Elvis' life, but what did Elvis do for Memphis?

While Elvis had homes in other places, such as Beverly Hills and Palm Springs out in California, he always returned to Memphis. His home was always there. When asked in 1960 if Elvis had plans to sell Graceland, he said no. Graceland was his home, Memphis was his home. He always came back.

Not only that, but throughout the years, Elvis constantly found ways to give back to Memphis through his charitable donations. Beginning in 1961, Elvis made it a yearly tradition during the holidays to donate to 50 different local charities throughout Memphis, donating around $100,000 every year. One of his favorite charities to support was St Jude's Hospital for children, where in 1964, he gifted them a boat, which he purchased for $55,000. The boat would be auctioned off and sold soon after, raising the charity an impressive $75,000. On February 25th, 1961, Elvis Presley Day would be declared by both the Mayor of Memphis and the Govener of Tennessee and on that day, Elvis would perform two shows at the Ellis Auditorium for a Memphis Charity Show where $51,612 would be raised and distributed among twenty-six charities. On December 1st, 1967, he would donate $10,500 to the Memphis Jewish Community Center Building Fund and paid a $2,500 installment on that day.

These are just a handful of instances in which Elvis strived to give back to the community, and many of his charitable donations went unpublished. Elvis gave from the heart, and he truly only wanted what was best for Memphis, the city he called home.

Charitable donations aside, Elvis always returned to Memphis, not just to his home Graceland, but to record and make music. Elvis' music journey began the minute he walked through the doors of Sun Studios on 706 Union Ave, Memphis, TN during the summer of 1953 when Elvis was only eighteen years old. He would return one year later to record with the studio yet again, this time shocking the world with the debut of his first single: 'That's All Right Mama'. Elvis would stay with Sun Studios until November 20th, 1955, when he would officially sign with RCA Records.

Elvis wouldn't return to Memphis to record until January 13th, 1969 after hearing about American Sound Studios from his friend Marty Lacker. Elvis would take a trip down to the funky studio located on 2272 Deadrick Avenue to record several hit singles at American Sound, including 'Suspicious Minds' and 'In the Ghetto' alongside two full length albums which would proudly be titled: 'From Elvis in Memphis' and 'Back in Memphis'. These recording sessions were a much needed return to form for Elvis after several years of monotony while being stuck making picture after picture out in Hollywood. Life and soul seemed to be injected back into Elvis' music, and once again, he seemed to be inspired by the city he knew and loved.

A few more years would pass before Elvis came back to Memphis again to record, this time in an effort to give Elvis a closer to home option as he was disinterested in returning to Nashville or Los Angeles. This would come in the form of STAX Records, located on 926 E McLemore Ave, Memphis, TN. STAX was home to many famous recording artists, including Otis Redding, Isaac Hayes, Carla Thomas, and the electric duo of Sam and Dave. Elvis would first visit the studio July 20th, 1973 for his first recording session there. He would then return a few months later to cut another selection of songs beginning on December 10th, 1973. Three albums would be produced from these sessions: 'Raised on Rock', 'Good Times', and 'Promised Land'.

Fast forward two years, and Elvis' last recording session ever would take place right in the comfort of his own home at Graceland. RCA was struggling to get Elvis back into the studio, so in turn, they brought the studio to Elvis. These sessions would begin on February 2nd, 1976 in the den of Graceland with an RCA recording van parked out back. The songs recorded during this time were an obvious reflection of Elvis' emotional state at the time, his selection focusing on slower, almost bitter sweet style ballads that compliment the deep tombra of his voice. He would cut several hit singles, including 'Hurt' and 'For the Heart', and would produce two albums to be released over the next year: 'From Elvis Presley Boulevard Memphis TN' and 'Moody Blue' respectively.

Despite Elvis' label RCA Records not having a studio in Memphis, Elvis always found himself returning to his hometown to record. Something about Memphis drew him back while places like Nashville and Los Angeles failed to strike that same creative cord. It's almost poetic in a way. The first place Elvis ever recorded was in Memphis, and the last place he would ever record would also be in Memphis. His career would begin and end in the city he called home.

With Elvis and Memphis so closely tied together, one might expect the city to love and cherish the Presley name in a similar way to Elvis' birthplace of Tupelo, MS. But unfortunately, that's not the case. In Memphis, Elvis is nothing more than merchandise. A commodity, a tourist attraction, and in some cases nothing more than a joke. But why? Why has Elvis become a stranger in his own hometown? Why is it that the man who gave his all to the city he loved while he was alive, and a man who continues to give through the charities founded in his memory, so often overlooked and underappreciated by the city he adored?

Simply put, the majority of people visit Memphis because of Elvis. While Memphis has so much important history and cultural influence, many never discover that until entering the Elvis world. This was my personal experience and the experience of many other friends of mine.

To put it into perspective, over 600,000 people visit Graceland annually, generating an estimated $150 million dollars in revenue for the city of Memphis. Not only does Graceland as an enterprise profit, but small businesses, hotels, and larger chain establishments all profit from the visitors brought in because of Graceland. The Elvis Presley estate is also the most visited home in America (not counting the White House) and serves as a museum and the final resting place of Elvis and his family. In 2023, the Memphis economy increased by 6% from the previous year, growing by $6 billion dollars. It can be assumed that the release and popularity of Elvis (2022) being released played a part in that increase, bringing in even more tourists now that younger fans have become interested in the King of Rock 'n' Roll.

So, what's the point? For many, especially local Memphians, the image of Elvis Presley has usurped the man who lived and breathed the same air as them years prior. Graceland was no longer just a home, it was now an attraction. And while Graceland supports the community through the Elvis Presley Charitable Foundation (EPCF) in various different ways, there is a large cavern that sits between Elvis and the people of Memphis.

It's easy to speculate that this could also be influenced by the years of constant misinformation in regard to the influence that black music played on Elvis' style, and how despite there being more than enough evidence to prove otherwise, many still believe Elvis to be appropriating black culture and label him as racist. Misinformation can damage a reputation, and there's no doubt that this rampant spread of misinformation had an effect on Elvis' legacy in Memphis.

So, what's the conclusion?

"Memphis giveth, and Memphis taketh away."

Memphis gave Elvis more than he ever could have asked for, more than he ever could have possibly dreamed of. It gave him hope, it gave him inspiration, and it gave him a home. In turn, Elvis gave back to Memphis throughout his entire life and continues to do so today through his name and legacy that were left behind.

Elvis is a part of Memphis, just as Memphis is a part of him. The two are forever intertwined, but despite the two being so closely related, Elvis forever remains a stranger in his hometown. They drive down Elvis Presley Blvd, they pass that mansion on the hilltop where the light is always on, but they don't see a man who gave his all to the city he loved, they see tour buses and merchandise, a business now and a home no more.

The image remains, the man gone from the public eye, trapped in the upstairs room of Graceland, watching quietly as the cars pass by.

"I took a ride with my baby by my side

And the Elvis Presley Blvd. where all the faithful cried

And I saw that silent mansion and I knew that I was lost

They were selling plastic souvenirs of Elvis on the cross"

- Elvis Presley Blvd. (by Billy Joel)

I definitely let myself get carried away with this topic, but I find it extremely fascinating, and I think it's super important to understanding the cultural impact and the modern view of Elvis, not just as a whole throughout the world, but more so from his hometown where Elvis is expected to be loved and cherished.

Elvis is more than just a product to be sold, he's a man with a legacy that worth the recognition, and a life and heart worth remembering. ♡

Disclaimer: I could say a LOT more about EPE as a whole and their impact on Memphis and how they fail, in many ways, to show any real support to the community considering the sheer amount of money they make annually as a business. Unfortunately, I didn't want to make this post about EPE, cause honestly that's a whole subject of it's own, but I'd love to make a seperate post about that sometime as I do think it plays a major role in how Memphians view Elvis and how ultimately Elvis has been turned into nothing more than a piece of merchandise to be sold, rather than a human being that played a large role in American history and the culture of the 20th century.

I love Graceland and I love Elvis, but I do not love EPE as a business and have many, MANY issues with how they decide to run things. But that my friends, is a topic for another day. ⚡️

[charlesoberonn]

[jerich0two]

Surprise! It's not Hazbin Hotel, shock horror... but happy pride month! I like this Mordecai headcanon (edit: I've since been told that it's canon!)

[betaphannie]

Imagine you go to Dan and Phil's meet and greet as an american and you try to tell them how much they mean to you and changed your life and all they do is repeat back what you say in a terrible american accent

[drawsmaddy]

[ID: A digitally illustrated two panel comic of Martin Blackwood and Jonathan Sims from The Magnus Archives. In the first panel Martin is stood at a counter preparing a cup of tea. He is smiling softly with his eyes closed and a thought bubble next to his head shows a small image of Jon with some hearts around him and text reading "ah... Jon...". The second panel shows Jon sat at his desk with the mug of tea from the first panel in his right hand and papers in his left. He is growing and saying "Martin's such a fucking idiot I hope he dies". End description.]

Stupid season 1 jonmartin dynamic ily forever

[velvet4510]

Note: this list references the 1961 version of West Side Story and the 1954 version of A Star Is Born.

[repmet]

@rwrbsource & @rwrbmovie’s rwrb appreciation month bingo: alex

[insp] [Henry]

[variousqueerthings]

reblogging again about Big Eden made me think about some of the native american/canadian queer cinema (Indigiqueer Cinema) I've enjoyed.

Found a handy dandy Letterboxd List called Queer Native Pride and Beyond that has a whole bunch of movies I haven't seen yet, and below some of the ones I've gotten to experience (three out of four are linked):

Big Eden: a story about a gay man who returns home, because his grandfather gets sick. A sweet, beautiful man (played by Eric Schweig) starts to secretly make him food to help out. it's an amazing slice-of-life/subtly utopian bit of film-making, in that nobody in the town is homophobic, but being gay/shame is still a big part of the exploration within it.

Wildhood: a movie I got to watch at a film festival (always good to go to your local queer film festivals, many surprises to be had) and it blew me away. a roadtrip movie about two brothers who escape their abusive father to reconnect with the elder's mother and Mi'kmaq heritage. letting go of the instilled shame of being indigenous goes hand in hand with letting go of the instilled shame of being queer

Fancy Dance: this movie isn't about being queer, it's about the ongoing murder of indigenous woman and girls, and it's also a beautiful road trip film between an aunt and her niece, the former of whom is sure her sister is dead but unwilling to face it and to destroy her niece's innocence. Lily Gladstone plays the lead, who's also a lesbian, which is just a choice that works really well for the movie even if it's not the focal point (available on Apple+ TV and however you access movies, but would recommend throwing this one some views if you have access to official streaming)

Honey Moccasin: a 1998 movie i watched at another film festival (this time online), it's anarchic, it's a comedy, it's a thriller, it's got musical beats, it weaves in the intricacies of exploring Native identity and Queer identity, it's a surreal story about a few things, one of which include focus on a "closeted drag queen." it's a movie that beats against conventional film-making to create something not beholden to tropes and clichés forced upon narratives about being Native

[kidcataldo]

Relevant words, still:

Max: What’s going to happen is going to happen. Just make sure it doesn’t happen to you.

Von Trapp: Max, don’t you ever say that again!

Max: You know I have no political convictions. Can I help it if other people do?

Von Trapp: Oh, yes, you can help it. You must help it.

[on-a-lucky-tide]

Do you ever think about poor Nik, having learned English from textbooks and maybe some American media here and there and all that, suddenly being faced with Brits / specifically John Price, pronouncing things somewhat differeng and having all those British terms that Nik has never heard of. Why the fuck are Brits putting blankets on pigs and why is John asking him whether he's ever had that!!

The man knows eight (8) languages, so it's likely it's not even his second language, but his fourth or fifth. Mad intelligent, but yeah, you're so right.

I work with a few foreign nationals who have told me that, sometimes, speaking to me is like hearing English through a carnival mirror; the words are familiar, but what the hell do they mean in that order? It's usually when my brain has switched to Jack Mode out of professional mode, and I am absolutely not paying any attention.

I can imagine Price does the same. Same way that Johnny tones down his accent, I headcanon that Price toned down his Liverpudlian twang, but sometimes he'll absolutely slip up, and Nik'll hear him use "devoed", "clobber" and other weird phrases that he's pretty sure contain words that aren't in the Bible.

There's only one person who can understand Price when he goes Full Liverpool: Ghost, who goes Full Mancunian in response, and Nik's sitting there while they're...

P: Gonna jib this off, and go fer bevvy and scran on me bill, unless yer down, la?

G: Gaggin' fer a pint, but can't, 'm brassic, got reports to finish and that. Can I cadge a ciggy?

P: Naw, I've only got abar four bifters left, like.

G: Ah, yer dead snide, sir.

Nik, looking at Gaz for help, who is just smiling like the Cheshire Cat because he's packing cockney rhyming slang up his sleeve, so Nik better buckle the fuck up.

[certifiedgrrrlkisser]

the part where marx said the petit bourgeoisie will eventually return to being part of the proletariat? that's what we're going to see in rhe next few weeks, months, and years as the economy plummets and only oligarchs can afford to continue to own the means of production. by petit bourgeoisie i mean small business owners, independent lawyers (small firms), restaurant owners, etc..

marx said academics and artisans were outside the divide of proletariat and bourgeoisie because they are not a part of the inherent class struggle between owner and employee. this is where marx is wrong. with a rise of fascist oligarchy we are already seeing a rise in anti-intellectualism. we are seeing artificial intelligence prioritized over an educated populace. we are seeing academia systematically defunded and made unattainable for anyone but those wealthy enough to favor oligarchy anyways. would-be academics become the proletariat when academia is destroyed.

artisans too are hurt by the oligarchy - our current consumerist hellscape demands things quickly and perfectly, without the perfect imperfections of human labor. artisans are replaced by machines that make hundreds of mugs an hour as opposed to perhaps a dozen at most, if they're thrown rather than slip-cast. artisans become the proletariat when art becomes manufactured and sterile.

eventually everything boils down to a binary. it is not proletariat and bourgeoisie in the way marx wrote. it is oligarch and everyone else.

value your art. value your flawed, chipped teacups. value your academia. value your imperfect grammar and ink-stained fingers. if you don't, techno-feudalist oligarchy has already won you.

note: i'm not a total communist. marx had some good theory on labor and the evils of capitalism, however, his social theory requires homogeny and atheism. full homogeny is only possible through genocide/ethnic cleansing and i am not an atheist. additionally, marx's vision of communism would never work on a large scale without authoritarianism 🫶

[ratatatastic]

maffhew who refuses to say runebergin torttu because he knows hes gonna butcher it so bad he might be kicked out of the country the second he tries and staunchly avoids that by going "the one dessert that barky is going to have to explain 😃"

sasha who gets faced with the most generic description of everything hes ever eaten in his life so far because of maffhew and going "???... oh you mean runebergin torttu!"

"he did good he liked the food and he likes the finland so far so its good" sasha says with so much pride now that all the anxiety has left his system that his husband teammate is enjoying his country and doesnt hate it

media availability | 10.29.24 (x)(x)

the smile of a man who knowlingly doomed his husband and said husband using all his brain power to context clues his way to whatever the fuck he just got asked that his brain is running hotter than a mid 2012 macbook air thats somehow still alive in the year of the lord 2024 but girl does she chug along shes louder than a fighter jet

[rodrickheffeley]

watching American leftists blame everyone for Kamala losing instead of the majority white American population who voted that orange geriatric back in the office

[doctorsiren]

BROOOOO BILLSUMA AND EX. Either best friends or sworn enemies. Kinda love it since X and Ex are twins, just another twin possessed by Bill smh

Deeeeefinitely enemies. X and Alex were raised by the Doom Slayer, AKA the notorious Demon Hater, so of course Alex would be quick to want to get rid of Bill

[thefugitivesaint]

Bernice Myers (1925-2021), ''Sounds All Around'' by Tillie S. Pine & Jospeh Levine, 1958

[old-lemon-tree]

John speaking spanish poorly is so wholesome for some reason.

I can imagine Javier trying his best at teaching him at first and ending up laughing his ass off at how wrong he's pronouncing things. But also, John is genuinely trying his best.