Graceland: Going Home with Elvis by Karal Ann Marling

By Karal Ann Marling

He did not write track or lyrics and wasn't too articulate as regards to himself, but if he created his dream condo Elvis Presley spoke volumes approximately who he used to be. From the musical notes that dance around the gates to the columns of the neo-Southern manse, from the glittering stairwells to the jungle rec room to the plush-lined toilet suite the place he died, the colors and textures and shapes of Graceland converse for the boy from Tupelo who turned the King of Rock 'n' Roll. What the mansion says of Elvis, and what it says to - and of - the thousands of enthusiasts who make the adventure there every year, is what "Graceland: Going Homd with Elvis" is set. What made Elvis a visible icon was once his problem for sort. Karal Ann Marling translates the locations and the glance of Elvis's lifestyles - from shotgun shack to mansion, via byways covered with luxurious resorts, Hollywood studios, previous church buildings, housing tasks, hotels and shops - as a discussion he performed with himself, his relations and his lovers. This dialog is what tourism is ready, and so "Graceland" speaks of tourism to boot - of the author's forays into an alien South, its rhythms, its historical past, and of Elvis because the final vacationer, the musician at the highway, ever in transit betwen domestic and the one-night stand. Reconstructing the altering inside of Graceland in the course of its owner's lifetime, the ebook describes the cultural geography of Elvisness - his self-created fabric international - and of yank mobility within the postwar period. In Marling's publication we have now a portrait of the materialist perfect of "home", created within the advertisement decadence of post-World battle II the United States and fed through rock 'n' roll.

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Extra resources for Graceland: Going Home with Elvis

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Upstairs, there's a new museum featuring a made-for-TV replica of the studio you just saw downstairs, minus the cola. under repair because tourists love to break off strings of fringe as souvenirs. By the time he was fifteen, Elvis Presley was a fixture on Beale Street. The family lived in Lauderdale Courts, the big public housing project above Poplar in a neighborhood the locals called Pinch or Pinchgut. Originally the Irish ghetto of Memphis—for immigrants so poor they had no belly fat to pinch—the district at the junction of the Bayou Gayoso and the Wolf River marked the far north margin of the city during the Civil War era.

Although the pedigree of Colonel Sheegog's house has been polished over the years by talk of a genuine English architect, a William Turner, on the scene, Turner was probably just an honest contractor, using plan books. The style was as common as good Mississippi dirt and there are ten more such houses within a day's ride of this one. It was a classic Southern planter's house, a white Greek Revival house, two stories high, with a five-bay Doric portico across the front, sidelights on either side of the front door, and a central pediment, just like the courthouse, downtown.

No insulation, or screens for the windows. The exterior had not seen a coat of paint in several generations. For almost twenty years, Faulkner himself was too poor to do much but patch the worst leaks and, with the help of the Sears catalog, carry out such improvements as proved unavoidable. His meager income from Hollywood scriptwriting went into the land surrounding the house. Eventually, like a country squire on a very small scale, Faulkner acquired thirtyone acres of the old Mansion's former gardens and woodlands.

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