• A few days later, Presley made an outdoor concert appearance in Memphis, at which he announced, “You know, those people in New York are not gonna change me none.

• [62] Early live performances and RCA Victor contract The trio played publicly for the first time on July 17 at the Bon Air club—Presley still sporting his child-size guitar.

• The others would centrally define the evolving sound of rock and roll: “Blue Suede Shoes”—”an improvement over Perkins’ in almost every way”, according to critic Robert Hilburn—and
  three R&B numbers that had been part of Presley’s stage repertoire for some time, covers of Little Richard, Ray Charles, and The Drifters.

• [23] A few months later, Presley received his first guitar for his birthday; he had hoped for something else—by different accounts, either a bicycle or a rifle.

• In mid-October, they played a few shows in support of Bill Haley, whose “Rock Around the Clock” track had been a number-one hit the previous year.

• According to Neal, many country-music disc jockeys would not play it because he sounded too much like a black artist and none of the rhythm-and-blues stations would touch
  him because “he sounded too much like a hillbilly.

• “[117] Presley would refer back to the Allen show as the most ridiculous performance of his career.

• He later claimed that he intended the record as a birthday gift for his mother, or that he was merely interested in what he “sounded like”, although there was a much cheaper,
  amateur record-making service at a nearby general store.

• His music career began there in 1954, recording at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience.

• He was described as “crazy about music” by Slim’s younger brother, who was one of Presley’s classmates and often took him into the station.

• [59] Three days later, popular Memphis DJ Dewey Phillips played “That’s All Right” on his Red, Hot, and Blue show.

• When his music teacher told him that he had no aptitude for singing, he brought in his guitar the next day and sang a recent hit, “Keep Them Cold Icy Fingers Off Me”, to prove
  otherwise.

• “[50] In January 1954, Presley cut a second acetate at Sun Records—”I’ll Never Stand in Your Way” and “It Wouldn’t Be the Same Without You”—but again nothing came of it.

• With a series of successful network television appearances and chart-topping records, Presley became the leading figure of the newly popular sound of rock and roll, though
  his performative style and promotion of the then-marginalized sound of African-Americans[6] led to him being widely considered a threat to the moral well-being of the White American youth.

• [102] Twelve weeks after its original release, “Heartbreak Hotel” became Presley’s first number-one pop hit.

• He was sufficiently affected by what he heard to invite two local musicians, guitarist Winfield “Scotty” Moore and upright bass player Bill Black, to work something up with
  Presley for a recording session.

• [66] Moore recalled, “During the instrumental parts, he would back off from the mike and be playing and shaking, and the crowd would just go wild”.

• [96] Parker finally brought Presley to national television, booking him on CBS’s Stage Show for six appearances over two months.

• [61] During the next few days, the trio recorded a bluegrass song, Bill Monroe’s “Blue Moon of Kentucky”, again in a distinctive style and employing a jury-rigged echo effect
  that Sam Phillips dubbed “slapback”.

• [96] While Presley was not an innovative guitarist like Moore or contemporary African-American rockers Bo Diddley and Chuck Berry, cultural historian Gilbert B. Rodman argued
  that the album’s cover image, “of Elvis having the time of his life on stage with a guitar in his hands played a crucial role in positioning the guitar … as the instrument that best captured the style and spirit of this new music.

• Having successfully managed top country star Eddy Arnold, Parker was working with the new number-one country singer, Hank Snow.

• [121] Recording sessions for Presley’s second album took place in Hollywood during the first week of September.

• ‘”[56] In June, he acquired a demo recording by Jimmy Sweeney of a ballad, “Without You”, that he thought might suit the teenage singer.

• As they were about to abort and go home, Presley took his guitar and launched into a 1946 blues number, Arthur Crudup’s “That’s All Right”.

• Some of the songs, like “That’s All Right”, were in what one Memphis journalist described as the “R&B idiom of negro field jazz”; others, like “Blue Moon of Kentucky”, were
  “more in the country field”, “but there was a curious blending of the two different musics in both”.

• From August through October, they played frequently at the Eagle’s Nest club and returned to Sun Studio for more recording sessions,[68] and Presley quickly grew more confident
  on stage.

• [78][79] When the tour reached Odessa, Texas, a 19-year-old Roy Orbison saw Presley for the first time: “His energy was incredible, his instinct was just amazing.

• “[69] Presley made what would be his only appearance on Nashville’s Grand Ole Opry stage on October 2; after a polite audience response, Opry manager Jim Denny told Phillips
  that his singer was “not bad” but did not suit the program.

• “[123] In fact, Presley was shown head-to-toe in the first and second shows.

• The program, produced in New York, was hosted on alternate weeks by big band leaders and brothers Tommy and Jimmy Dorsey.

• [47] By the time he graduated from high school in June 1953, Presley had already singled out music as his future.

• Presley recalled, “I took the guitar, and I watched people, and I learned to play a little bit.

• By early 1955, Presley’s regular Hayride appearances, constant touring, and well-received record releases had made him a regional star, from Tennessee to West Texas.

• [90][c] By December, RCA Victor had begun to heavily promote its new singer, and before month’s end had reissued many of his Sun recordings.

• “[111] Ben Gross of the New York Daily News opined that popular music “has reached its lowest depths in the ‘grunt and groin’ antics of one Elvis Presley.

• The interest was such that Phillips played the record repeatedly during the remaining two hours of his show.

• I think TV is important so I’m going to go along, but I won’t be able to give the kind of show I do in a personal appearance.

• I don’t see how any type of music would have any bad influence on people when it’s only music.

• After he recorded, Sun boss Sam Phillips asked Keisker to note down the young man’s name, which she did along with her own commentary: “Good ballad singer.

• Despite this, Phillips asked Presley to sing as many numbers as he knew.

• Presley’s first RCA Victor single, “Heartbreak Hotel”, was released in January 1956 and became a number-one hit in the United States.

• Presley was overcome by stage fright the first time, but succeeded in performing the following week.

• In January, Neal signed a formal management contract with Presley and brought him to the attention of Colonel Tom Parker, whom he considered the best promoter in the music
  business.

• [89] Parker arranged with the owners of Hill & Range Publishing, Jean and Julian Aberbach, to create two entities, Elvis Presley Music and Gladys Music, to handle all the
  new material recorded by Presley.

• [110] Television critics were outraged: Jack Gould of The New York Times wrote, “Mr. Presley has no discernible singing ability.

• Moore recalled, “All of a sudden, Elvis just started singing this song, jumping around and acting the fool, and then Bill picked up his bass, and he started acting the fool,
  too, and I started playing with them.

• In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed television comeback special Elvis, which led to an extended Las Vegas
  concert residency and a string of highly profitable tours.

• Presley recalled that the performance did much for his reputation: “I wasn’t popular in school …

• [101] A few days later, a flight taking Presley and his band to Nashville for a recording session left all three badly shaken when an engine died and the plane almost went
  down over Arkansas.

• “[112] The next day, Presley recorded “Hound Dog”, along with “Any Way You Want Me” and “Don’t Be Cruel”.

• “[37] Presley, who received no formal music training and could not read music, studied and played by ear.

• [55] Phillips, meanwhile, was always on the lookout for someone who could bring to a broader audience the sound of the black musicians on whom Sun focused.

• They and three other boys—including two future rockabilly pioneers, brothers Dorsey and Johnny Burnette—formed a loose musical collective that played frequently around the
  Courts.

• A classmate later recalled that the teacher “agreed that Elvis was right when he said that she didn’t appreciate his kind of singing”.

• [86] At the Country Disc Jockey Convention in early November, Presley was voted the year’s most promising male artist.

• After his first appearance, on January 28, Presley stayed in town to record at the RCA Victor New York studio.

• “[108] The second Milton Berle Show appearance came on June 5 at NBC’s Hollywood studio, amid another hectic tour.

• [73] Soon after the show, the Hayride engaged Presley for a year’s worth of Saturday-night appearances.

• I mean, how would rock ‘n’ roll music make anyone rebel against their parents?

• As Keisker reported, “Over and over I remember Sam saying, ‘If I could find a white man who had the Negro sound and the Negro feel, I could make a billion dollars.

• [93] 1956–1958: Commercial breakout and controversy First national TV appearances and debut album The “iconic cover” of Presley’s 1956 debut album,[94] an image crucial in
  codifying the guitar as the defining instrument of rock and roll[95] On January 10, 1956, Presley made his first recordings for RCA Victor in Nashville.

• Bond rejected him after a tryout, advising Presley to stick to truck driving “because you’re never going to make it as a singer”.

• [citation needed] Vernon moved from one odd job to the next, showing little ambition.

• [115] Allen later wrote that he found Presley’s “strange, gangly, country-boy charisma, his hard-to-define cuteness, and his charming eccentricity intriguing” and simply worked
  him into the customary “comedy fabric” of his program.

• He held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided.

• [40][41] He was a regular audience member at the monthly All-Night Singings downtown, where many of the white gospel groups that performed reflected the influence of African-American
  spiritual music.

• [120] The single pairing “Don’t Be Cruel” with “Hound Dog” ruled the top of the charts for 11 weeks—a mark that would not be surpassed for 36 years.

• [54] His friend Ronnie Smith, after playing a few local gigs with him, suggested he contact Eddie Bond, leader of Smith’s professional band, which had an opening for a vocalist.

• [9] Presley became close to both parents and formed an especially close bond with his mother.

• In February, Presley’s “I Forgot to Remember to Forget”, a Sun recording initially released the previous August, reached the top of the Billboard country chart.

• Interviewing Presley on-air, Phillips asked him what high school he attended to clarify his color for the many callers who had assumed that he was black.

• I failed music—only thing I ever failed.

• [113] To Presley’s displeasure, he soon found himself being referred to as “Elvis the Pelvis”, which he called “one of the most childish expressions I ever heard, comin’ from
  an adult.

• [118] Later that night, he appeared on Hy Gardner Calling, a popular local TV show.

 

Works Cited

[‘Although some pronounce his surname /ˈprɛzli/ PREZ-lee, Presley himself used the Southern American English pronunciation, /ˈprɛsli/ PRESS-lee, as did his family and those who worked with him.[2] The correct spelling of his middle name has long been
a matter of debate. The physician who delivered him wrote “Elvis Aaron Presley” in his ledger.[3] The state-issued birth certificate reads “Elvis Aron Presley”. The name was chosen after the Presleys’ friend and fellow congregation member Aaron Kennedy,
though a single-A spelling was probably intended by Presley’s parents to parallel the middle name of Presley’s stillborn brother, Jesse Garon.[4] It reads Aron on most official documents produced during his lifetime, including his high school diploma,
RCA Victor record contract, and marriage license, and this was generally taken to be the proper spelling.[5] In 1966, Presley expressed the desire to his father that the more traditional biblical rendering, Aaron, be used henceforth, “especially on
legal documents”.[3] Five years later, the Jaycees citation honoring him as one of the country’s Outstanding Young Men used Aaron. Late in his life, he sought to officially change the spelling to Aaron and discovered that state records already listed
it that way. Knowing his wishes for his middle name, Aaron is the spelling his father chose for Presley’s tombstone, and it is the spelling his estate has designated as official.[5]
o ^ Of the $40,000, $5,000 covered back royalties owed by Sun.[88]
o ^
In 1956–57, Presley was also credited as a co-writer on several songs where he had no hand in the writing process: “Heartbreak Hotel”; “Don’t Be Cruel”; all four songs from his first film, including the title track, “Love Me Tender”; “Paralyzed”;
and “All Shook Up”.[91] (Parker, however, failed to register Presley with such musical licensing firms as ASCAP and its rival BMI, which eventually denied Presley annuity from songwriter’s royalties.) He received credit on two other songs to which
he did contribute: he provided the title for “That’s Someone You Never Forget” (1961), written by his friend and former Humes schoolmate Red West; Presley and West collaborated with another friend, guitarist Charlie Hodge, on “You’ll Be Gone” (1962).[92]
o ^
VH1 ranked Presley No. 8 among the “100 Greatest Artists of Rock & Roll” in 1998.[434] The BBC ranked him as the No. 2 “Voice of the Century” in 2001.[435] Rolling Stone placed him No. 3 in its list of “The Immortals: The Fifty Greatest Artists of
All Time” in 2004.[436] CMT ranked him No. 15 among the “40 Greatest Men in Country Music” in 2005.[437] The Discovery Channel placed him No. 8 on its “Greatest American” list in 2005.[438] Variety put him in the top ten of its “100 Icons of the Century”
in 2005.[439] The Atlantic ranked him No. 66 among the “100 Most Influential Figures in American History” in 2006.[440]
o ^ Whitburn follows actual Billboard history in considering the four songs on the “Don’t Be Cruel/Hound Dog” and “Don’t/I
Beg of You” singles as distinct. He tallies each side of the former single as a number-one (Billboard’s sales chart had “Don’t Be Cruel” at number one for five weeks, then “Hound Dog” for six) and reckons “I Beg of You” as a top ten, as it reached
number eight on the old Top 100 chart. Billboard now considers both singles as unified items, ignoring the historical sales split of the former and its old Top 100 chart entirely. Whitburn thus analyzes the four songs as yielding three number ones
and a total of four top tens. Billboard now states that they yielded just two number ones and a total of two top tens, voiding the separate chart appearances of “Hound Dog” and “I Beg of You”.
o Presley, Elvis Aron; DD 214: Armed Forces of the
United States Report of Transfer or Discharge, U.S. Department of Defense, March 5, 1960
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o ^ Guralnick 1999, pp. 212, 642.
o ^ Jump up to:a b Guralnick 1999, p. 638.
o ^ Harrison 2016, p. 23.
o ^ Stanley & Coffey 1998, p. 148.
o ^ Humphries 2003, p. 79.
o ^ Alden 2014.
o ^ Guralnick 1999, pp. 645–648.
o ^
Harrison 2016, p. 242.
o ^ Jump up to:a b Woolley & Peters 1977.
o ^ Hopkins 2007, p. 386.
o ^ Jump up to:a b Guralnick 1999, p. 660.
o ^ Victor 2008, pp. 581–582.
o ^ Matthew-Walker 1979, p. 26.
o ^ Pendergast & Pendergast 2000, p. 108.
o ^
Warwick, Kutner & Brown 2004, pp. 860–866.
o ^ Jump up to:a b c Ramsland 2010.
o ^ Guralnick 1999, pp. 651–653.
o ^ Jump up to:a b Baden & Hennessee 1990, p. 35.
o ^ Tennant 2013, p. 2.
o ^ Williamson 2015, pp. 11–14.
o ^ Coffey 1997,
p. 247.
o ^ Wertheimer 1997, p. 132.
o ^ Tennant 2013.
o ^ Guardian 2014.
o ^ Brown & Broeske 1997, p. 433.
o ^ National Park Service 2010.
o ^ Cook 2004, p. 33.
o ^ Garrity 2002.
o ^ Bronson 2004, p. 1.
o ^ “Hits of the World” 2004.
o ^
Sexton 2007.
o ^ Goldman & Ewalt 2007.
o ^ Rose 2006.
o ^ Goldman & Paine 2007.
o ^ Hoy 2008.
o ^ Pomerantz et al. 2009.
o ^ Rose et al. 2010.
o ^ Baillie 2010.
o ^ Bouchard 2010.
o ^ Lynch 2011.
o ^ Pomerantz 2011.
o ^ Greenburg
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o ^ Legacy 2018.
o ^ Luhrmann 2022.
o ^ Guralnick 1994, p. 14.
o ^ Guralnick 1994, pp. 47–48.
o ^ Bertrand 2000, p. 211.
o ^ Graceland Blog 2015.
o ^ Roberts 2001, p. [page needed].
o ^ Osborne 2017, p. 73.
o ^ Duffett 2018,
p. 189.
o ^ Murray 1961, p. 65.
o ^ Marcus 2015, p. 341.
o ^ Trynka & Bacon 1996, p. 42.
o ^ Eder 2013, p. 149.
o ^ Morrison 1996, p. x.
o ^ Jump up to:a b Friedlander 1996, p. 45.
o ^ Charlton 2006, p. 103.
o ^ Jancik 1998, p. 16.
o ^
Campbell 2009, p. 161.
o ^ Guralnick 1989, p. 104.
o ^ Gillett 2000, p. 113.
o ^ Jorgensen 1998, p. 39.
o ^ Wolfe 1994, p. 14.
o ^ Wolfe 1994, p. 22.
o ^ Keogh 2004, p. 184.
o ^ Jorgensen 1998, p. 123.
o ^ Marsh 1982, p. 145.
o ^
Jorgensen 1998, pp. 213, 237.
o ^ Guralnick 1999, p. 65.
o ^ Jorgensen 1998, pp. 142–143.
o ^ Jorgensen 1998, p. 343.
o ^ Ponce de Leon 2007, p. 199.
o ^ Marsh 1982, p. 234.
o ^ Marsh 1989, p. 317.
o ^ Marsh 1989, p. 91.
o ^ Marsh
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o ^ Jorgensen 1998, p. 212.
o ^ Guralnick 1999, p. 232.
o ^ Guralnick 1999, p. 231.
o ^ Marsh 1989, p. 424.
o ^ Jorgensen 1998, p. 271.
o ^ Guralnick 1999, p. 332.
o ^ Guralnick 1999, p. 335.
o ^ Jump up to:a b c d Pleasants
2004, p. 260.
o ^ Waters 2003, p. 205.
o ^ Williams 2012.
o ^ Jump up to:a b Pilgrim 2006.
o ^ Guralnick 1994, p. 426.
o ^ Jump up to:a b Kolawole 2002.
o ^ Jump up to:a b Myrie 2009, pp. 123–124.
o ^ Masley 2002.
o ^ Osborne 2000,
p. 207.
o ^ Bertrand 2000, p. 198.
o ^ Jump up to:a b Feeney 2010.
o ^ Ashley 2009, p. 76.
o ^ Rodman 1996, p. 58.
o ^ Rodman 1996, pp. 58–59.
o ^ Garber 1997, p. 366.
o ^ Dyer 1959–1960, p. 30.
o ^ Farmer 2000, p. 86.
o ^ Tasker
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o ^ Kirchberg & Hendrickx 1999, p. 109.
o ^ Moncrease 2020.
o ^ Altieri 2017.
o ^ Guralnick 1994, pp. 415–417, 448–449.
o ^ Guralnick 1994, pp. 452–453.
o ^ Jorgensen 1998, p. 198.
o ^ Guralnick 1999, p. 248.
o ^ Guralnick
& Jorgensen 1999, pp. 304, 365.
o ^ Guralnick & Jorgensen 1999, pp. 358, 375.
o ^ Presley 1985, p. 188.
o ^ Jump up to:a b Nash 2005, p. 290.
o ^ Dowd 2022.
o ^ Clayton & Heard 2003, pp. 262–265.
o ^ Clayton & Heard 2003, p. 267.
o ^
Jorgensen 1998, p. 281.
o ^ Nash 2003, p. 186.
o ^ Nash 2003, p. 187.
o ^ Nash 2005, pp. 64, 478.
o ^ Stanley & Coffey 1998, p. 123.
o ^ Hopkins 2007, p. 192.
o ^ Brown & Broeske 1997, p. 125.
o ^ Clayton & Heard 2003, p. 226.
o ^
Guralnick 1999, pp. 563–565.
o ^ Ponce de Leon 2007, pp. 139–140.
o ^ Harris 2006.
o ^ Clayton & Heard 2003, p. 339.
o ^ Connelly 2008, p. 148.
o ^ Guralnick 1999, p. 174.
o ^ Guralnick 1999, p. 175.
o ^ Christgau 1985.
o ^ Collins
2002.
o ^ Sadie 1994, p. 638.
o ^ Bertrand 2000, p. 94.
o ^ Rodman 1996, p. 193.
o ^ Jump up to:a b Victor 2008, p. 356.
o ^ Arnett 2006, p. 400.
o ^ Doss 1999, p. 2.
o ^ Lott 1997, p. 192.
o ^ VH1 1998.
o ^ BBC News 2001.
o ^
Rolling Stone 2004.
o ^ CMT 2005.
o ^ Discovery Channel 2005.
o ^ Variety.com 2005.
o ^ Atlantic 2006.
o ^ Keogh 2004, p. 2.
o ^ Davies 1996, p. 19.
o ^ Nash 2005, p. xv.
o ^ Harrison 2016, p. 149.
o ^ Cosby 2016, p. 144.
o ^ Doll
2016, p. 186.
o ^ Jump up to:a b Martin 2000.
o ^ Smith 2002.
o ^ Dundy 2004, pp. 227, 256.
o ^ Wilson 2010, p. 121.
o ^ Slater 2002.
o ^ Milly 2002.
o ^ Harrison 1992, pp. 42, 157–160, 169.
o ^ Clarke 2006, pp. 77, 80.
o ^ Harrison
1992, pp. 159–160.
o ^ Jump up to:a b Harrison 2016, p. 10.
o ^ Segré 2002.
o ^ New York Times 2002.
o ^ Marcus 1982, pp. 141–142.
o ^ Kennedy & Gadpaille 2017, p. 188.
o ^ Guinness World Records.
o ^ Nickles & Iyer 2012, p. 77.
o ^
Mohamed 2021.
o ^ Jump up to:a b c Whitburn 2010, p. 875.
o ^ Jump up to:a b c Victor 2008, p. 438.
o ^ Jump up to:a b c Trust 2019.
o ^ Hilburn 2007.
o ^ Hasty 2008.
o ^ Moody 2008.
o ^ Whitburn 2010, p. 876.
o ^ RRHF 2010.
o ^
Bronson 1998.
o ^ Trust 2010.
o ^ everyHit.com, “The ‘Battle’ For Most Number 1s”.[verification needed]
o ^ everyHit.com, “Record Breakers and Trivia: Singles: Artists: Sales/Chart Performance”.[verification needed]
o ^ Trust 2015.
o ^
Sexton 2016.
o ^ RIAA 2020a.
o ^ RIAA 2020b.
o ^ RIAA 2020c.
o ^ RIAA 2020d.
o ^ Lewis 2017.
o ^ RIAA 2020e.
o ^ RIAA 2020f.
o ^ Miller et al. 2012.
o ^ BBC News 2018.
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