Elvis -- From 'Hillbilly Cat' to '68 Comeback
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Elvis -- From 'Hillbilly Cat' to '68 Comeback
Elvis Presley is arguably the most photographed star in the history of rock 'n' roll, and esteemed music photo archivist Michael Ochs possesses one of the largest stores of Elvis pictures this side of Graceland. Guiding us through a selection of Elvis images both iconic and lesser-known, Ochs, in his own words, delivers his impressions of the Hillbilly Cat who would be King.
1956: I believe this was the first color handout from RCA [Elvis' label]. They gave it to newspapers as 35mm slides. The way they deified him, from the colors to the lighting to the pose, it's totally godlike. If you want an image that sums up the true beauty of rock 'n' roll, this is so beatific it's almost beyond description.
February 1957: This was to promote the film 'Loving You.' I was offered that outfit years ago. One of the set decorators had one of the three copies of that outfit, and he offered to sell it to me for $10,000 in the early '70s. And I went, "I can't afford that." It's probably worth a couple of hundred thousand now.
1957: For some reason, people think this typifies the real Elvis. I don't think it does. I think the importance of this photo is that besides Elvis being the father of rock 'n' roll, it shows that he had some natural smarts. In 'Jailhouse Rock,' he personally choreographed all those dance numbers. Those were all his ideas. His gyrations put Michael Jackson to shame.
April 1961: This picture totally illustrates his unfortunate movie career. I especially love the fake rock that's holding the surfboard. The whole thing exemplifies his Hollywood years. This was a Paramount [Studios] giveaway -- they sent out 8x10 color positives to the newspapers, which is very unusual.
June 1956: There was a photographer for the teen magazines named Earl Leaf, and Earl mostly shot movie stars. The only two '50s rock 'n' roll sessions he's done have been for Ricky Nelson, and he got to photograph Elvis at this 'Milton Berle Show' rehearsal. I think Earl Leaf's shots are just as good as Alfred Wertheimer's. You can see the complete intensity -- just riveting.
June 1956: Again, this [Earl Leaf photo from the 'Milton Berle Show' sessions] just reminds me of an Alfred Wertheimer shot. The great thing about Elvis was he was very natural. He was so into the moment and into being Elvis the simple country boy, versus the biggest-selling recording artist in the country. He was always true to himself. To capture that -- that's not posing, that just him.
June 1956: This is also an Earl Leaf shot. It's the only time I have ever seen Elvis with his trio -- Scotty, Bill and D.J. -- and the Jordanaires all in the same shot. To me, that's just totally unique. And then you throw in the general feel of the extras -- the girls sitting there -- and the fake Colony Music Shop background. But the key thing is that I've never seen all of them together in one picture.
August 1956: This is during 'Love Me Tender' -- this is Elvis the first time he ever recorded without his usual musicians. He's at the 20th Century Fox soundstage studio. There's the novelty of him playing piano, which one seldom sees. Here he is in a whole new milieu -- he's in L.A. There's an openness and yet a startledness and a freshness about this shot.
December 1956: It was a Carl Perkins recording session at Sun Records. Elvis stopped by to see what's happening -- this was a year after he left Sun for RCA. Jerry Lee Lewis was always hanging around the studio -- he hadn't quite made it yet. So the three of them started goofing around, and [Sun Studio owner] Sam Phillips was smart enough to leave the tape running. After awhile, Sam realized the was an amazing occurrence, so he calls Johnny Cash and says, "Get over here quick!" So Cash comes over, and Sam calls the Memphis Press-Scimitar [newspaper] to send a reporter over right away, and they sent one with a photographer, fortunately.
June 1968: This is the most iconic image of that period -- the NBC comeback TV show. As good-looking as he was in the '50s, he was never better-looking than in this brief period. This is the epitome of Elvis' sexuality and sensuality -- to me, it just captures it all.
http://www.spinner.com/2007/08/15/photosynthesis-elvis-from-hillbilly-cat-to-68-comeback/
1956: I believe this was the first color handout from RCA [Elvis' label]. They gave it to newspapers as 35mm slides. The way they deified him, from the colors to the lighting to the pose, it's totally godlike. If you want an image that sums up the true beauty of rock 'n' roll, this is so beatific it's almost beyond description.
February 1957: This was to promote the film 'Loving You.' I was offered that outfit years ago. One of the set decorators had one of the three copies of that outfit, and he offered to sell it to me for $10,000 in the early '70s. And I went, "I can't afford that." It's probably worth a couple of hundred thousand now.
1957: For some reason, people think this typifies the real Elvis. I don't think it does. I think the importance of this photo is that besides Elvis being the father of rock 'n' roll, it shows that he had some natural smarts. In 'Jailhouse Rock,' he personally choreographed all those dance numbers. Those were all his ideas. His gyrations put Michael Jackson to shame.
April 1961: This picture totally illustrates his unfortunate movie career. I especially love the fake rock that's holding the surfboard. The whole thing exemplifies his Hollywood years. This was a Paramount [Studios] giveaway -- they sent out 8x10 color positives to the newspapers, which is very unusual.
June 1956: There was a photographer for the teen magazines named Earl Leaf, and Earl mostly shot movie stars. The only two '50s rock 'n' roll sessions he's done have been for Ricky Nelson, and he got to photograph Elvis at this 'Milton Berle Show' rehearsal. I think Earl Leaf's shots are just as good as Alfred Wertheimer's. You can see the complete intensity -- just riveting.
June 1956: Again, this [Earl Leaf photo from the 'Milton Berle Show' sessions] just reminds me of an Alfred Wertheimer shot. The great thing about Elvis was he was very natural. He was so into the moment and into being Elvis the simple country boy, versus the biggest-selling recording artist in the country. He was always true to himself. To capture that -- that's not posing, that just him.
June 1956: This is also an Earl Leaf shot. It's the only time I have ever seen Elvis with his trio -- Scotty, Bill and D.J. -- and the Jordanaires all in the same shot. To me, that's just totally unique. And then you throw in the general feel of the extras -- the girls sitting there -- and the fake Colony Music Shop background. But the key thing is that I've never seen all of them together in one picture.
August 1956: This is during 'Love Me Tender' -- this is Elvis the first time he ever recorded without his usual musicians. He's at the 20th Century Fox soundstage studio. There's the novelty of him playing piano, which one seldom sees. Here he is in a whole new milieu -- he's in L.A. There's an openness and yet a startledness and a freshness about this shot.
December 1956: It was a Carl Perkins recording session at Sun Records. Elvis stopped by to see what's happening -- this was a year after he left Sun for RCA. Jerry Lee Lewis was always hanging around the studio -- he hadn't quite made it yet. So the three of them started goofing around, and [Sun Studio owner] Sam Phillips was smart enough to leave the tape running. After awhile, Sam realized the was an amazing occurrence, so he calls Johnny Cash and says, "Get over here quick!" So Cash comes over, and Sam calls the Memphis Press-Scimitar [newspaper] to send a reporter over right away, and they sent one with a photographer, fortunately.
June 1968: This is the most iconic image of that period -- the NBC comeback TV show. As good-looking as he was in the '50s, he was never better-looking than in this brief period. This is the epitome of Elvis' sexuality and sensuality -- to me, it just captures it all.
http://www.spinner.com/2007/08/15/photosynthesis-elvis-from-hillbilly-cat-to-68-comeback/
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Re: Elvis -- From 'Hillbilly Cat' to '68 Comeback
James .. those photo's are out of this world. Thanks for taking the time to find and post them.
I saw Elvis live in concert the year before he died. Even then, he was bigger than life, and had amazing charisma. Haven't seen anything like it since, ....until Adam.........Nocturnal 2010
No matter how old you are, no matter who you sleep with, no matter what color your skin is, we can all party together.” - Adam Lambert 2010
No matter how old you are, no matter who you sleep with, no matter what color your skin is, we can all party together.” - Adam Lambert 2010
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Re: Elvis -- From 'Hillbilly Cat' to '68 Comeback
Those photos are magnificent. Each tells its own story and seems to capture a unique moment in time.
The one of Elvis on the surfboard may be dumb, but he was probably at his physical peak then. No one looks cooler surfing on a fake rock than Elvis Presley.
I know a very specific narrative was chosen, but it would have been cool if they'd made room for an army photograph, and if they had continued into Vegas 69, and maybe into the 70's, at least as far as "Aloha", the apotheosis of his 70's live show.
The one of Elvis on the surfboard may be dumb, but he was probably at his physical peak then. No one looks cooler surfing on a fake rock than Elvis Presley.
I know a very specific narrative was chosen, but it would have been cool if they'd made room for an army photograph, and if they had continued into Vegas 69, and maybe into the 70's, at least as far as "Aloha", the apotheosis of his 70's live show.
Re: Elvis -- From 'Hillbilly Cat' to '68 Comeback
Kool pictures ! Btw Elvis did not choreograph JR number. It is myth. Does not diminish the great scene,number in any way.
Re: Elvis -- From 'Hillbilly Cat' to '68 Comeback
Just to satisfy my own ego: the Berle show photos first appeared in
hardback book in 1996:"Shock, Rattle & Roll" by Ochs, Rijff & Cajiao.
Another 100 or so from that day in june are featured as well....
hardback book in 1996:"Shock, Rattle & Roll" by Ochs, Rijff & Cajiao.
Another 100 or so from that day in june are featured as well....
Re: Elvis -- From 'Hillbilly Cat' to '68 Comeback
That's not entirely true either.Juan Luis wrote: Btw Elvis did not choreograph JR number. It is myth.
It would look entirely different if Elvis hadn't said "That aint me" those moves are Elvis's,not the Choreographers.
I think he should share credit with Alex Romero,it's only fair.
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Re: Elvis -- From 'Hillbilly Cat' to '68 Comeback
If I remember reading correctly I believe it was more of a situation of the choreographer asking Elvis to show him roughly what he did when he performed since the initial routine was a bit more complicated and not working. He then choreographed around that, so no, Elvis didn't really choreograph the routine as much as he inspired it.
Re: Elvis -- From 'Hillbilly Cat' to '68 Comeback
Yes.JamesVRoy wrote:If I remember reading correctly I believe it was more of a situation of the choreographer asking Elvis to show him roughly what he did when he performed since the initial routine was a bit more complicated and not working. He then choreographed around that, so no, Elvis didn't really choreograph the routine as much as he inspired it.
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Re: Elvis -- From 'Hillbilly Cat' to '68 Comeback
Actually, choreographer Alex Romero allowed Elvis to create many of his moves based on private, off-set meetings Presley had taken with young dancer/actor Russ Tamblyn.Juan Luis wrote:Yes.JamesVRoy wrote:If I remember reading correctly I believe it was more of a situation of the choreographer asking Elvis to show him roughly what he did when he performed since the initial routine was a bit more complicated and not working. He then choreographed around that, so no, Elvis didn't really choreograph the routine as much as he inspired it.
Russ gave him some basic ideas which were blocked out and elaborated upon by Romero. So it's not untrue to say that Elvis had a big hand in his work for the title sequence.
Tamblyn was currently working on the drama "Peyton Place" and would star in 1958's teen exploitation hit "High School Confidential." One of his most famous roles came in 1961, portraying "Riff" in the classic Bernstein musical, "West Side Story."
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Dr. John Carpenter, M.D.
Stop, look and listen, baby <<--->> that's my philosophy!
Dr. John Carpenter, M.D.
Stop, look and listen, baby <<--->> that's my philosophy!