"Poet, novelist and musicologist Samuel Charters steps on nobody's blue suede shoes in this novella, which consists of a single, unbroken monologue that wails and jangles like an electric-guitar solo."--The Los Angeles Times Book Review

'For a dead man, Elvis Presley is awfully noisy. His body may have failed him in 1977, but today his spirit, his image, and his myths do more than live on: they flourish, they thrive, they multiply.' Why is Elvis Presley so ubiquitous a presence in US culture? Why does he continue to enjoy a cultural prominence that would be the envy of the most heavily publicized living celebrities? In Elvis after Elvis Gil Rodman traces the myriad manifestations of The King in popular and not-so-popular culture. He asks why Elvis continues to defy our expectations of how dead stars are supposed to behave: Elvis not only refuses to go away, he keeps showing up in places where he seemingly doesn't belong. Rodman draws upon an extensive and eclectic body of Elvis 'sightings', from Elvis's appearances at the heart of the 1992 Presidential campaign to the debate over his worthiness as a subject for a postage stamp, and from Elvis's central role in furious debates about racism and the appropriation of African-American music to the world of Elvis impersonators and the importance of Graceland as a place of pilgrimage for Elvis fans and followers. Rodman shows how Elvis has become inseparable from many of the defining myths of US culture, enmeshed with the American dream and the very idea of the 'United States', caught up in debates about race, gender and sexuality and in the wars over what constitutes a national culture.

Was Al Gore only half-kidding at the 1992 Democratic Convention when he compared Bill Clinton to "the King?" Why does Elvis's name and image still pop up in so many movies, television shows, and songs? From black velvet paintings, comic books, and postage stamps to impersonators, movie characters, and sports stars, Images of Elvis Presley in American Culture, 1977--1997 provides a surprisingly broad vista from which to view American popular culture. An insightful exploration of America's overwhelming and enduring cultural fascination with the expanding and elusive Elvis myth, this book combines historical, textual, and sociocultural analysis with a wide range of resource materials to examine the many images of Elvis in American culture. Focusing on the period following his death in 1977 up to the present, Elvis Presley in American Culture, 1977--1997 informs and entertains popular readers and academicians in American studies, popular culture, radio/television/film, sociology, music, and 20th-century American history. Elvis fans ("Elfans") and collectors of Elvis Presley materials and memorabilia also need to add this perspective-enhancing book to your personal libraries. Author George Plasketes shows us how representations, reflections, responses, and references to Elvis in art, artifacts, film, video, television, music, performance, literature, memorabilia, and alleged sightings, continue to make American culture a "mystery terrain" of endless "Elvistas." The repetition of these images is a link to our cultural identity. Elvis Presley in American Culture, 1977--1997 provides the necessary critical analysis and the resource guide to the various representations of Elvis during the past 20 years, to give readers an engaging and informative way to pursue and interpret the expansive and ever-evolving Elvis myth and its importance to American popular culture.

One of the most admired Southern historians of our time paints an intimate portrait of Elvis Presley, set against the rich backdrop of Southern society, that illuminates the zenith of his career, showing how Elvis himself changed—and didn't—and providing a deeper understanding of the man and his times.

“An interesting look at how 1977 marked the explosion of punk alongside this heartbreaking (though not altogether surprising) loss of a legend” (USA Today). In the late 1970s, punk music was setting out to destroy everything Elvis Presley had come to represent. But punk couldn’t destroy The King himself—he had already done that, succumbing to his excesses at Graceland on August 16, 1977. Ever since, Elvis has permeated the world in ways that are bizarre and inexplicable: a pop icon while alive, he has become almost a religious icon in death, a modern-day martyr crucified on the wheel of drugs, celebrity culture, junk food, and sex. In Elvis Has Left the Building, Dylan Jones takes us back to those heady days around the time of his death and the simultaneous rise of punk. Evoking the hysteria and devotion of The King’s numerous disciples and imitators, Jones offers a uniquely insightful commentary on Elvis’s life, times, and outrageous demise. Recounting how the artist single-handedly changed the course of popular music and culture, he also delves deep into the cult of The King and reveals what Elvis’s death meant—and still means to us today. “I’m not sure punk would have existed without [Elvis]. In fact I’m not sure a lot of things would have existed without him. Dylan Jones is the right man to ponder such questions.” —Bono “A gripping tale of impossible success and terrible waste and lost beauty that veers from Memphis to Las Vegas and all the way to the broken backstreets of London.” —Tony Parsons, author of The Hanging Club

John Clellon Holmes met Jack Kerouac on a hot New York City weekend in 1948, and until the end of Kerouac’s life they were—in Holmes’s words—“Brother Souls.” Both were neophyte novelists, hungry for literary fame but just as hungry to find a new way of responding to their experiences in a postwar American society that for them had lost its direction. Late one night as they sat talking, Kerouac spontaneously created the term “Beat Generation” to describe this new attitude they felt stirring around them. Brother-Souls: John Clellon Holmes, Jack Kerouac, and the Beat Generation is the remarkable chronicle of this cornerstone friendship and the life of John Clellon Holmes. From 1948 to 1951, when Kerouac’s wanderings took him back to New York, he and Holmes met almost daily. Struggling to find a form for the novel he intended to write, Kerouac climbed the stairs to the apartment in midtown Manhattan where Holmes lived with his wife to read the pages of Holmes’s manuscript for the novel Go as they left the typewriter. With the pages of Holmes’s final chapter still in his mind, he was at last able to crack his own writing dilemma. In a burst of creation in April 1951, he drew all the materials he had been gathering into the scroll manuscript of On the Road. Biographer Ann Charters was close to John Clellon Holmes for more than a decade. At his death in 1988 she was one of a handful of scholars allowed access to the voluminous archive of letters, journals, and manuscripts Holmes had been keeping for twenty-five years. In that mass of material waited an untold story. These two ambitious writers, Holmes and Kerouac, shared days and nights arguing over what writing should be, wandering from one explosive party to the next, and hanging on the new sounds of bebop. Through the pages of Holmes’s journals, often written the morning after the events they recount, Charters discovered and mined an unparalleled trove describing the seminal figures of the Beat Generation: Holmes, Kerouac, Neal Cassady, Allen Ginsberg, William Burroughs, Gregory Corso, and their friends and lovers.

Samuel Charters has been studying and writing about New Orleans music for more than fifty years. A Trumpet around the Corner: The Story of New Orleans Jazz is the first book to tell the entire story of a century of jazz in New Orleans. Although there is still controversy over the racial origins and cultural sources of New Orleans jazz, Charters provides a balanced assessment of the role played by all three of the city's musical lineages--African American, white, and Creole--in jazz's formative years. Charters also maps the inroads blazed by the city's Italian immigrant musicians, who left their own imprint on the emerging styles. The study is based on the author's own interviews, begun in the 1950s, on the extensive material gathered by the Oral History Project in New Orleans, on the recent scholarship of a new generation of writers, and on an exhaustive examination of related newspaper files from the jazz era. The book extends the study area of his earlier book Jazz: New Orleans, 1885-1957, and breaks new ground with its in-depth discussion of the earliest New Orleans recordings. A Trumpet around the Corner for the first time brings the story up to the present, describing the worldwide interest in the New Orleans jazz revival of the 1950s and 1960s, and the exciting resurgence of the brass bands of the last decades. The book discusses the renewed concern over New Orleans's musical heritage, which is at great risk after the catastrophe of Hurricane Katrina's floodwaters.