I was listening to an interview with Priscilla Presley and Jerry Butler this morning and both were talking about the frustration and disappointment Elvis felt with regards to his movie career. He would read scripts and throw them across the room, deriding their quality and declaring that he wasn’t going to do it anymore.
But Elvis had little choice in the matter. Col. Tom Parker, Elvis’ manager, had locked the King into these contracts without much regard for his artistic or creative desires. Ever the promoter, Parker just sought out the best ways for Elvis to make money while protecting the image of the star he used to make money.
In Priscilla’s telling, that’s one of the reasons Elvis got so excited about his television special in 1968, the event that has become forever known as his “’68 Comeback Special.” This was something he knew, and something he could use to express his creative self, maybe even enjoy control for a change.
On this 40th anniversary of his death it feels like an especially good event to remember. In light of the story above, the ’68 special carries more than just the excitement of the “comeback”–the raw, stripped down energy that reminds folks why he was who he was. It also carries with it a little bit of loss, of what could have been, of what he was never allowed to be. That, to me, is so much of the memory of the icon that is Elvis.
In this present moment of a white supremacist president and a resurgent white nationalism, there’s another way it all seems a little more appropriate right now, too.