Gable, Lether, 71–72, 75, 90
Geller, Larry, 291–92
gender, in South, 152
generosity. See gifts and generosity
Germany, 177–80
Ghanem, Dr. Elias, 285
gifts and generosity, 287 to audience, 270
of cars, 28–29, 227, 242, 249, 270–71, 298
to friends, 8, 249
gratitude for, 267, 304
love through, 266
with money, 213–14, 323–24
spending on, 243, 270–71
will lacking, 323–24
from women, 266
to women, 264, 265, 267, 270, 296, 303–4
Gleaves, Cliff, 189–90
Goldenberg, Billy, 208–11, 216, 223, 230–31
Goldman, Albert, 291
Gone With the Wind (Mitchell), xxi
“Good Elvis,” 57–59, 231
“Good Rockin’ Tonight,” 26
gospel music, 59–60, 133, 138, 158, 222
Graceland, 59–60 cost of, 227
death at, 3–4
decoration and furnishing of, 167, 260–61
for family, 165–66, 167, 170–71, 310–11, 325–30
Meditation Garden at, 325–28
mourning at, 19–20
popularity of, xx
public and protection of, 165
sex games at, 196
social hierarchy and purpose of, xviii
The Grand Ole Opry, 25–26
Grand Ole Opry Show, 29–30
Grant, Currie, 179
gratitude, 267, 304
Great Depression, 72–74, 90–91
Grenadier, Bernie, 325
Guercio, Joe, 225–26
guns, 242, 249–50, 251, 270
Guy, Farley, 118, 124–25
“guys.” See “boys” or “guys”
Haldeman, H. R., 246
Hank Snow All-Star Jamboree tour, 34–35
happiness, philosophy on, 254
Hays, Lowell G., 298
health and well-being, 285–87, 302, 315. See also illness or injury
“Heartbreak Hotel,” 50–51
heart failure, 13, 15
Hebler, Dave, 278, 284–85
high school academic performance in, 120
clothing worn in, 120, 126
deference to authority in, 127
education, 110, 116–18, 123
friendships, 117–18
musical performance in, 127–28
physical appearance in, 119–20
popularity, 128–29
reputation, 126–27
senior year in, 126, 127–29
social hierarchy, 116–17
history. See specific topics
Hodge, Charlie, 169, 268, 281, 286, 321, 322–23
Hofman, Dr. Lester, 314–15
Holiness movement, 85–86
home or housing. See also Graceland childhood, 69–70, 101–3, 105–6, 110–16
employment away from, 96–97
in Memphis, 108–9, 110–16, 118–24, 161
money problems and, 101–2, 118, 120–21, 123–24
Palm Springs, 234
public, 110–16, 118–24
race and, 105, 114–15
success and family purchased, 163–64
World War II and shortage in, 102
homosexuality, 31, 79–80, 83
Hood, Minnie Mae, 68–69, 106, 111–12, 181–82, 253, 323
Hoover, J. Edgar, 250
housing. See home or housing
Howe, Bones, 205–6
Howe, Marjorie, 46
Humbard, Rex, 289–90
Humes High School, 110, 116–18, 127–29
husband. See father and husband
“I Don’t Care If the Sun Don’t Shine,” 26
“If I Can Dream,” 215, 221, 225
illness or injury, 252 chronic, 11
complaints regarding, 283
concerts and, 271, 275
from depression, 271–72
from drugs, 286
employment and, 120–21, 122, 135
in family, 97, 120–21, 122, 124–27, 135, 163–69, 283, 311
mental, 124–27, 271–72, 306
performance impacted by, 45, 289, 302
of Phillips, Sam, 140–41
on tours, 277, 289, 302–3
image audience dictating, 53–54, 230–31, 331–34
“Bad Elvis,” 231–32
charitable contributions and, 60
control of, 48–49, 51–52, 60–61, 176–77, 199, 299, 320
enjoyment or indulgence-based, 231
eschewing sexual, 51–52, 55
of “Good Elvis,” 57–59, 231
love and public, 300, 313
marriage for benefit of, 293, 299, 313
in military service, 61
of Nixon for youth, 246–47
others’ projection of, 230–31
on television, 53–55, 56, 214, 218–19
tell-all book and tarnishing of, 280–81
incarceration. See arrest and incarceration
indulgence. See enjoyment or indulgence
innocence romantic relationships and, 189, 192, 195, 259–60, 263–64, 295
sex and, 179–80, 235–36, 248, 259–60, 263–64, 267
integration, xv
International House orchestra, 222–23, 225–26
interviews, 153, 155
“In the Ghetto (The Vicious Circle),” 220, 221
investments, 226–27, 282
Jailhouse Rock, 58, 59
jealousy, 182, 184–85
Jones, Ulysses, 3, 4, 9, 321
junior high school, 103, 104
justice, racial, 144
juveniles romantic relationships with, 192–96
sex or sexuality with, 179, 180, 186–87, 190–91, 193, 194, 288
karate, 235, 266–67
Katzman, Sam, 197
Keisker, Marion, 141–42, 144–45, 146, 149, 155
Kelly, “Machine Gun,” 72–73
Kennedy, Aaron, 102
Kennedy, Robert, 206
Kerwin, Alicia, 304–7
King, Martin Luther, Jr., 206, 216
King Creole, 58, 59
Kissin’ Cousins, 197
Klein, George, 42, 117, 188–90, 293–94, 304, 308
Krogh, Egil “Bud,” 245–46
labor and unions, 73–74, 75–76
Lacker, Marty, 174–75, 261, 325
Las Vegas and Las Vegas shows “Bad Elvis” image in, 231–32
clothing or outfits for, 223
death threat, 236–38
diversity in, 222–23
illness during, 271
love of, 232
money from, 221, 223, 226, 229–30
morality and freedom in, 231–32
musicians in, 221–23, 225–26
rebellion in, 232, 266
Southern gospel to, 222
stage performance in, 225–26, 236
success of, 221, 223–24
touring with, 224, 225
violence or aggression in, 232
Lauderdale Courts, 110–16, 117
law enforcement. See police and law enforcement
lawsuits. See trials or lawsuits
LeGault, Lance, 218
Leigh, Barbara, 237, 238, 240, 241, 252–53
liberalism, 207–8
Lisa Marie jet, 229, 272
Locke, Dixie Assembly of God and meeting, 132–33
celebrity and loss of, 157–63
family of, 134, 162
on friendships after early success, 161–62
last meeting with, 168–69
possessiveness over, 161, 162
for Presley, Gladys, 134–35, 162
on Presley family, 135
relationship with, 131, 132–35, 137–38, 157–63
on sexuality of stage performance, 158–59
Louisiana Hayride, 25–27
Louvin, Charlie,
52–53
Louvin, Ira, 52–53
love. See also relationships, romantic of audience, xx, 34, 214, 232, 330–34
at death, 19–20
through gifts, 266
of Las Vegas, 232
public image of, 300, 313
for women, 35, 159, 179–80, 260
Love Me Tender, 51, 57–58
Loving You, 58, 59, 188–89
lower-class whites, 149. See also social hierarchy
lust, of public, xi
management and managers. See also Parker, Colonel Tom of Blue Moon Boys, 26–28, 38
family and relationship to, 39, 165, 166–67
Parker, Tom, as, 37, 39, 60–61, 165, 271, 299–300, 302
Mansfield, Rex, 185, 187–88
marriage to Beaulieu, 194–95, 199, 233
“boys,” divorce, and, 235
control of, 299–300
within family, 97
for female fans, 162–63
image benefiting from, 293, 299, 313
of Moore, Bobbie, and Moore, Scotty, 150
for Presley, Jesse, 106
of Presley, Vernon, and Presley, Gladys, 67, 83, 167, 182–83, 329
of Presley, Vernon, and Stanley, “Dee,” 193, 311–12
sexual life and, 233, 234–35, 238, 239–41, 253–55
masculinity. See also “boys” or “guys” audience, 54
control over “Elvis mania,” 48–49
NBC Comeback Special and, 212–13
personality with feminine and, xx–xxi
sexual style and, 248, 258, 262, 263–64, 306, 308
M. B. Parker Company, 129–30
McMahan, Betty, 131–32
McMahon, Mike, 282
media on body and stage performance, 45–46
bodyguards’ stories to, 279–80
death and response of, 10, 12, 14–15, 18–20, 320
on early shows, 36
on female fans, 46
interviews, 155
obituary from, 18–19
off-stage personality for, 55–56
Meditation Garden, 325–30
memorial, family, 326–30
Memphis. See also Graceland employment in, 96, 97–98, 109–10, 111
exposure to, 114
as fascinating place, xv
first great audience in, xviii–xix
home and housing in, 108–9, 110–16, 118–24, 161
social hierarchy in, xvii–xviii
“Memphis Mafia,” 170 adolescent nature of, 172–73
control provided by, 174–75
cruelty towards members of, 175–76
as employees, 173–74
fear of desertion counteracted by, 172
Parker, Tom, control over, 176–77
recruitment into, 189–90
for “taking care of business,” 171
violence or aggression of, 173–74, 275–77, 284–85
Memphis Recording Service, 139–40
“Memphis Sound,” 219–20
messiah. See savior or messiah
middle age, 306, 308
Milam Junior High School, 103, 104
military service, 61, 169, 185, 187–88
Miller, Sandy, 311, 320
Mississippi, xv
“Mississippi Slim.” See Ausborn, Carvel Lee or “Mississippi Slim”
Mitchell, Margaret, xxi
modernity, in South, 90
Moman, Lincoln Wayne “Chips,” 220
money and wealth. See also cost; poverty collaborating musicians and sharing of, 213–14
enjoyment of, 52
family and, 101–2, 107, 108–9, 122–24, 125–26, 136–37, 163–64, 303–4, 323–24
from films and television, 52, 196–97, 203–4
financial habits, spending, and, 226–28, 248–49, 272, 277
generosity with, 213–14, 323–24
home and problems with, 101–2, 118, 120–21, 123–24
in image control, 60–61
investments and, 226–27, 282
from Las Vegas shows, 221, 223, 226, 229–30
from military service, 61
musical creativity compromised by, 197
Parker, Tom, and, 176, 203–4, 221, 223, 228, 229–30, 243, 277, 299, 302, 303
payroll drawing from, 227
for Presley, Vernon, 98, 101–2, 108–9, 118, 119, 125–26, 166–67, 227, 243, 248–49, 283, 328–29
from recordings, 37–39, 303
social hierarchy and, xvii–xviii, 103
from touring, 224, 226, 228, 277, 302, 303, 312
Moore, Bobbie, 28–29, 150, 157
Moore, Scotty, 30–31, 40, 147–49, 151–52, 154–56, 213–14
morals and morality, xii, 46–48, 51, 55–56, 58–59, 231–32
Morris, Bill, 249, 250
mother and motherhood, 233, 254, 264. See also Presley, Gladys (mother)
mourning, at death, 19–20
movies. See films
Muirhead, Dr. E. Eric, 11, 12–14, 15
Murphy, George, 244
music. See also specific types gospel, 59–60, 133, 138, 158, 222
high school performance of, 127–28
for Moore, Scotty, 148
religion and, 86–87, 88, 104
musical inspiration, 99, 100–101, 105, 152
television shows, 49–50
musical creativity or talent American Sound Studio recordings and, 221
in childhood, 101, 104, 127–29
film for showcasing, 57–58, 59
in first recordings, 150
lack of, ix–x
money compromising, 197
in NBC Comeback Special, 205
object of desire and relation to, xii
on piano, 316
race and, xviii
time frame for, xi
young women inspiring, xi
musical style body linked to, 30, 38
control of, 209–10
of first recordings, 145–46, 155–56
hybrid, 23–24, 155–56
racism over, 53
self on, 145
sexuality in, 211
television and performance of, 209–10, 216–17
musicians, 142–43, 145–47, 149, 213–14, 221–23, 225–26
“Mystery Train,” 38–39
name and naming, 70
NBC Comeback Special, 204, 206 audience in, 214–15, 216–17
black culture in, 217–18
Blue Moon Boys on, 213
civil rights, race, and, 215–16, 217–18
clothing or outfits on, 211–12, 213, 216, 217
control in, 209–10, 212
“Guitar Man” segment in, 216–17
“guys” presence on, 210–11, 212–13, 214
liberalism in, 207–8
masculine “informal” segment on, 212–13
musical creativity in, 205
musical style of, 209–10, 216–17
relationships on, 208–12
self displayed in, 205, 207–8, 214, 218
Southern culture in relation to, 230
time frame for, 218–19
women and stage performance in, 214–15
Neal, Bob, 23, 24, 26–28, 38, 157
Neal, James, 16
need, for attention, 132
Nelson, Gene, 197
New Deal, 115–16
Nichopoulos, Dr. George, 270 background and education of, 6–7
death and involvement of, 7–9, 10, 12, 15–18, 316–17
debt of, 8–9, 271
drug prescriptions from, 5–6, 15–16, 316–17
in drug use cover-up, 10–11, 14
investment with, 282
payment and gifts for, 8
as show business doctor, 6–7
style of, 7
trial and, 15–16
Nightly News, 18–19
Nixon, Richard, 244–48
nostalgia
, 154
numerology, 286
obituary, 18–19
objectification, of sexuality, 32
obsessions, 242–43, 244–45, 247, 249–52
Omaha, 330–34
Overton Shell, 23–25, 157–58
Pajarinen, K. Peter, 275
Palm Springs home, 234
Parchman Farm, 74–84
Parham, Bill, 95–96
Parker, Colonel Tom, 214, 297, 313 control of musical style and, 209, 210
emotions towards, 299
films and involvement of, 196–97, 203–4, 219, 257, 299
Florida for, 35–36
gambling addiction of, 229–30
image controlled by, 51–52, 60–61, 176–77, 199, 299, 320
as manager, 37, 39, 60–61, 165, 271, 299–300, 302
“Memphis Mafia” and control by, 176–77
money and, 176, 203–4, 221, 223, 228, 229–30, 243, 277, 299, 302, 303
spirituality and influence of, 292
tours and involvement of, 27–28, 29, 52–53, 224–26, 228–29, 302
Parker, Patricia Ann, 236
parole, 88
payment and payroll, 8, 214–15, 227. See also finances, financial habits, and spending; money and wealth
Peace in the Valley, 59
“Peace in the Valley,” 56
Pennington, Ann, 262–63, 264
Pentecostal religion, 85–86
perception and perceptiveness, 55–56, 112, 113–14
performance or performing. See also stage performance attention sought in, 34, 138, 219
body in gospel music, 158
censorship, 50
during elementary school, 99
exclusive to film and recordings, 56
high school academic, 120
high school musical, 127–28
illness impacting, 45, 289, 302
product marketing and radio, 99–100
road life and, 28–30
South and radio, 99–100
of teenage girls, 40
on television, ix, 209–10, 212–19
tours and nature of, 228–30
personality. See also self of Alden, Ginger, 300
anger or cruelty in, 211, 238
arrogance in, 238, 241
audience and attuned, 55–56
celebrity and, 230
childhood, 112, 113
regarding confrontation, 122, 285
of Fike, 175, 176
off-stage, 33–34, 38, 54–56
of Presley, Lisa Marie, 310
of Presley, Vernon, 69, 79, 98, 112, 166–67
sexuality in, xx–xxi, 32–33, 211, 265–66
in stage performance, 32–33, 37–38, 46, 128
tell-all book on, 287–88