Tag Archive | "Memphis"

Elvis superfan Darlene Perez discusses Elvis Week in Memphis


By John Curley 

Darlene Perez, a curvy and beautiful brunette and a resident of Southern California, is a model and Priscilla Presley tribute artist who has long been interested in Elvis Presley’s music and life. Known in the Elvis fan community as Darling Presley, Darlene has worked very hard to keep The King’s music and memory alive. In this Q&A, Darlene discusses attending Elvis Week in Memphis last month as well as other Elvis-related topics.

It’s kind of unusual for someone that grew up in the 1980s to become such a big Elvis fan. How did you become interested in Elvis?
Darlene Perez: I thank my late Grandma Perez for introducing Elvis Presley into my life by way of lullabies. It’s fair to say I was her favorite grandchild, as Grandma doted on me all the time. She took care of me as an infant, and babysat me most of my childhood. She loved to sing to me while rocking me in her arms, or bouncing me on her knee. Having a houseful of teenagers in the 1950s, Grandma was exposed to rock n’ roll music from her children. She took an immediate liking to all the greats, especially Fats Domino and of course, Elvis Presley, who were her absolute favorites. 

What was the first Elvis song that you remember hearing? And what effect did it have on you?
Darlene Perez: Ah, “Blue Suede Shoes”! Grandma loved to sing “Blue Suede Shoes” while happily bouncing me on her knee to the beat of the song. Grandma was so animated when she sang it, which made it such fun to watch her sing it and learn the words. She included me in all of her hand-clapping and finger-snapping. She had the biggest smile and enthusiasm with that number. I have great memories attached to “Blue Suede Shoes.” 

Grandma used to rock me in her arms to ‘Are You Lonesome Tonight” and “Love Me Tender.” I easily could fall asleep to her serenades, very sweet. She always said Elvis had the most beautiful voice she ever heard.

What was the first piece of Elvis memorabilia that you bought?
Darlene Perez: I was always given Elvis memorabilia from family members growing up (i.e., shirts, books, and posters). However, the first piece I bought with MY own money? I believe it was my first vintage LPs at a swap meet. I was in junior high at the time. My parents gave me $20 to spend on whatever I wanted. I come from an antique-collecting family, so, naturally, I had an eye for collectibles. At that age, I had developed an interest in old records and enjoyed surfing through stacks of them at garage sales and swap meets. 

This man had a lot of old junk at his booth, so to my surprise, when I looked under a certain table he had, I discovered an old crate filled with LPs.  I thumbed through them, and like a needle in a haystack, found me some Elvis Presley. It was like finding gold! 

They were G.I. Blues, Blue Hawaii, Aloha From Hawaii, and From Elvis in Memphis. The covers were damaged, but the records inside were pristine. I bought them for cheap and took them home and played them on my dad’s hi-fi. In fact, I still have them. I’ve since bought better condition ones, but I kept the ones I bought years ago, too. 

What is the oddest Elvis collectible that you own?
Darlene Perez: Dare I say? Ha ha ha… 

You went to Memphis last month for Elvis Week. What activities did you participate in during your time there? And what was the age range of the Elvis fans that you met there?
Darlene Perez: I participated in the usual Elvis Week activities: Tours, concerts, shopping, socializing. Unfortunately, this summer, the weather didn’t work in our favor. Our Pink Caddy outdoor event at the Overton Shell was cancelled due to unexpected rain. We attempted to bring back a recreated 1950s Elvis concert with one of the world’s best Elvis tribute artists. So to have it cancelled like that, because of rain, was a heartbreak.

It’s always exciting to see a healthy mix of generations present in Memphis to honor Elvis. There is no generation gap whatsoever. Honestly, you see newborns to seniors. You see families, friends, celebrities, tribute artists, etc. Everyone from all over the world, all ages, make the pilgrimage to Memphis for Elvis, simply because they are a fan. Elvis touched their life in some way. It’s amazing to observe this population in person. And it only validates how much Elvis is still loved and remembered.

How many times have you been to Memphis for Elvis Week?
Darlene Perez: This was my senior year. I’ve been to Memphis four years now, and I plan to every year for as long as I can.

What does it mean for a devout Elvis fan to attend Elvis Week?
Darlene Perez: Elvis Week is held on the anniversary week of his passing. However, it is a seven-day celebration of his outstanding life and career. The pinnacle of Elvis Week is of course, Vigil night, or the eve of the day he died.

For the devout fan, it’s a momentous opportunity to attend Elvis Week. First and foremost, the ability to visit Elvis Presley’s grave is truly sacred and special. And to stand in vigil line at Graceland, candle in hand, to pay respects to his memory…is one of the highest expressions of love.

When in Memphis, the devout fan has the pleasure of indulging in everything Elvis. All your senses are tickled pink because you arrive in Elvis-land. Elvis is in abundance which means one happy fan, a kid in a candy store. 

You can visit all the places you only read about and seen photos of: Where Elvis lived, worked and played. Places he frequented and those where he would retreat. You can enjoy concerts from sunrise to sunset. There are a dozen daily charitable Elvis-activities to participate in, sponsored by fan clubs and organizations. You enter stores filled with Elvis music, while shopping for Elvis items. You eat the southern foods Elvis enjoyed in Elvis decorated diners. I could go on and on… 

Elvis Week is a rare opportunity to be surrounded by people who relate to your Elvis fandom, people who truly “understand” and “get it.” Hundreds of people flock to Memphis, people who never met before, but because of the common interest in Elvis Presley, friendships are instant and blossom. Elvis brings people together. You always return home with an even bigger extended Elvis family. It’s magical. 

You told me that you made a special outfit for Elvis Week. Could you discuss that a bit?
Darlene Perez: Yes, I did. I made a couple of outfits, actually. This summer, I did an ode to Elvis’ famous gold lamé jacket. The entire outfit was my take on it, with black leggings and rhinestone-encrusted stilettos. I also took pride and joy into fashioning both Kang Rhee white and Ed Parker black kempo karate outfits. One was casual wear, the latter for evening (although I was unable to premiere it at the Ultimate finals due to a time-crunch situation). I also played with a Graceland-security theme, complete with a reproduced Elvis Shelby County deputy badge. That was fun. And of course, the black and white flower dress and matching hat that Priscilla wore while visiting Pearl Harbor with Elvis in the 1960s. I wholeheartedly enjoy fashioning Elvis and Priscilla costumes. 

You’re one of the Rock-a-Hula Girls. What does that involve? Also, could you discuss the charity work of the Rock-a-Hula Girls?
Darlene Perez: The Rock-a-Hula Girls is an official EPE-recognized Elvis fan club started by one of my best friends, Kari Lugo, a few years ago. It has grown to be one of the largest clubs in the states and has raised an impressive amount of money for charity over the years. We are a fun fan club, and have annual fundraisers and events, as well as social gatherings. Our charity of choice is Alzheimer’s Association, in dedication to Kari’s beloved grandmother who had demised from it. Our club membership is free and welcomes males, too. You can find us on Facebook.

Do you think that the Elvis fan sites on the Internet have helped to grow Elvis’ fan base?
Darlene Perez: Yes! The Internet definitely helps to introduce and re-introduce Elvis to general public because it constantly brings Elvis Presley into your home. Elvis is available to you 24 hours a day via Web sites, downloads, videos, and social networks. 

Just think of how exciting and innovative Elvis’ Aloha From Hawaii concert was, being the first satellite televised concert. And nowadays, here we have the Internet 30-some years later, bringing Elvis to every corner in the globe, the same fashion as the Aloha concert did, albeit modernized, via computers, laptops, cell phones…

You can explore every avenue of the Elvis world with just a click of a mouse. With the popularity of sites, such as Facebook, new Elvis friendships are building every day. 

You’re a hostess at the Elvis Honeymoon House. Could you elaborate a bit on your duties there?
Darlene Perez:
The Elvis Honeymoon Hideaway is famously known as the home where Elvis and Priscilla lived and honeymooned 1966-1967. Aside from doing a 1960s Priscilla Presley, my duties include: hostess, master of ceremonies, Web design, personal assistant, event planning, and booking talent.    

A portrait of you hangs on the wall at the Elvis Honeymoon House. How did that come about?
Darlene Perez: Yes. In August 2009, I entered the Official Elvis Week Art Contest – Photography Division. My submission was a self-portrait, black and white recreation of the famous Priscilla and Lisa Marie Presley portrait that hangs in the dining room entrance of Graceland. I did hair, makeup, and clothing the best I could to resemble Cilla in that photo and used a vintage 1950s teddy bear in place of little Lisa. The framed portrait, that I titled “The Cilla Head Tilt,” won the 1st place blue ribbon. 

Upon working with the Honeymoon House, as the PTA, I gifted them with a copy of the photo. To my surprise, they hung it on the wall of the main entrance at the historic home. This means the world to me as I adore the Honeymoon House and love it like my second home. It is an honor to see it hung on the wall, as usually the walls (in any Presley residence) are reserved for members of the immediate family. So to see my “Cilla Head Tilt” every time I visit, is not just a rarity but extremely heartwarming.

 How did you get involved with being a Priscilla Presley tribute artist? What part of that do you enjoy the most?
Darlene Perez: I’ve loved Elvis all my life and I had always been enchanted with his Priscilla. Her story and her 1960s Mod look always captivated me. 

Years ago, an Elvis Tribute Artist friend in the business encouraged me to take a shot at Priscilla makeup and costume, citing certain facial features and similarities. It was something I took lightly, but made me pay more attention to details…where I started to study her makeup, wardrobe, mannerisms, etc.

Upon my observations, I took notice of Priscilla having somewhat a signature pose in most all her photos and footage during her Elvis years. She had the tendency to “tilt” her head often in various ways and stances.

 In 2005, I coined the term “Cilla Head Tilt” and used it online on my Web site and MySpace, often emulating the Priscilla tilt poses famous in her photos. Almost overnight, it became a catchphrase in the Elvis world, synonymous with those Priscilla photos and videos, and ultimately, with myself as well. 

I had a 60s-themed birthday party at the Honeymoon House shortly thereafter, with the guests wearing period clothing. I was dressed in a recreated version of Priscilla’s famous 1967 navy blue and gold tunic pants outfit. Long story short, it was a hit with the H.H., so much in fact that presented me with a special marble award for my “creative attire and outstanding salute to Elvis and Priscilla’s Honeymoon May 1, 1967.”

I was invited to attend all events dressed up as Priscilla and would speak to the audience at events, about Elvis and Priscilla, the costumes, being a fan, sometimes even joining the Elvis Tribute Artists in singing duets. I was interviewed many times at the home for the local television and newspaper. My increasing role at the Ladera Circle residence became evident and was made official in January 2010.

The best way I like to describe the role of a Priscilla Tribute Artist is like that to Snow White at Disneyland: You are dolled up in character, complete hair, makeup and costume, walking around as a live addition to the attraction. It’s a novelty presentation. As a 1960s Priscilla, I greet tourists and take photos with them. The guests are always surprised to see me. They relish in the beehive and the outfits I make. It’s exciting for them and they love it.

I enjoy being a PTA at the Honeymoon House because to represent Elvis’ Priscilla in this way, or any, is an honor. I love the added nostalgia it brings to the home. I love recreating 1960s hair, makeup, costumes. I enjoy public relations and the media, so it’s a natural shoe-in.

The profession of a PTA is a unique one, and a first, so I strive to do the best representation that I can. I hope to inspire more female Elvis fans to follow in my footsteps and channel their inner Priscilla. It’s fun to don the fashion and cosmetology of the Mod 60s!

You started the Girls Gone Elvis Web site earlier this year. What are your future plans for the site?
Darlene Perez:
Trisha, co-founder/BFF, and myself recently selected the Elvis pinups for the year 2011. It promises to be an exciting edition with some new faces, new questions, and photos! We will be having a celebrity centerfold and our 2010 calendar girls will still be viewable but in an archive.

Trisha and I are also collaborating on a male edition of GGE, to be announced and unveiled come January. We have selected 12 Elvis men and centerfold, in a more modern and fashioned-based theme. Something totally different and unique! Stay tuned for that one. Both premiere in January.

Why do you think that Elvis still resonates over three decades after his death?
Darlene Perez: Because he’s the King! In my opinion, the reason Elvis lives is because he is timeless. His music transcends generations. His incredible catalogue of music is the bulk of it, everything else follows. Elvis dominated music and influenced pop culture like none other. Elvis remains a fountain of inspiration, the American dream.  

Thirty-three years strong. It’s such a testament to the impact he’s made on history… and the lives of his fans. Legends never die. To quote an Elvis lyric: “Today, tomorrow, and forever, you’ll always be my love.”  

If Elvis were still alive, he would have celebrated his 75th birthday this year. Do you think he would be surprised that his music still means so much to so many people?
Darlene Perez: Yes, Elvis would be very surprised. And he would be extremely humble about it. 

For additional information about Darlene Perez and her Elvis-related activities, see:
www.DarlingPresley.com
www.ElvisHoneymoon.com
www.GirlsGoneElvis.com

Darlene Perez is an Elvis fan and Priscilla Presley tribute artist who recently attended Elvis Week in Memphis. (Photo courtesy of Miss Missy Photography.)

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Remembering Alex Chilton


by John M. Borack

I never met Alex Chilton, but I felt like I knew him.

Isn’t that always the way it is with your favorite musicians?  Though you may never get a chance to make their acquaintance in person, you often feel like you know them intimately - through their music.  Alex Chilton’s singing, songwriting and guitar playing on the first three Big Star records are the stuff of legend, and it was through his work on the seminal # 1 Record, Radio City and Big Star Third albums that Chilton and I became close.

Unlike some, I can’t recall the specific moment that I first heard Big Star, although I imagine it wasn’t until around 1985 or so, when I was bitten hard by the power pop bug.  I do remember picking up a double-album vinyl reissue of # 1 Record and Radio City and thinking “this is the same guy who sang lead on those Box Tops hits?”  I marveled – and still do – at how Chilton was able to move past his gravel-voiced teen soul years and completely reinvent himself as a power pop artist.   He came off as sort of a more eccentric, Memphis version of John Lennon, with the sweet-voiced Chris Bell riding shotgun as McCartney on the near-flawless jewel that is #1 Record.  Infused with both a sassy rock spirit and a gentle, almost spiritual feel, it was one of those records that influenced countless numbers of folks who heard it and “got” it.

After Bell split, Chilton took up the reins of the band and proved himself to be a certified power pop original (and one with unerring melodic instincts) on Radio City.  While the almost ridiculously complex “O My Soul” was surely one of the oddest choices for a single ever and the bizarre, all-too-brief piano ballad “Morpha Too” came from way out in left field, tracks such as “September Gurls” and “You Get What You Deserve” were straightforward gems that still sound wonderfully fresh nearly 40 years on. The “tormented Alex” that would come out in full force on Big Star Third reared his head on “What’s Going Ahn” and “Daisy Glaze,” both of which were brimming with palpable desperation.  But as if to prove he didn’t take it all too seriously, he and the boys rocked like mad on “Mod Lang” and “She’s a Mover.”  A very different album than the first, but just as essential.

An important distinction should be made at this junction regarding Big Star’s influence on power pop.  Unlike contemporaries such as Raspberries (who often aped The Who and Small Faces) and Badfinger (obviously Beatles-influenced), Big Star really didn’t sound exactly like anything that had come before.  Sure, there were hints of ’60s British melodicism and some lovely harmonies, but do “O My Soul” or “What’s Going Ahn” or “Feel” or even “September Gurls” truly sound like anything else?  Nope.  In addition to being power pop pioneers, Chilton and the gang were also innovators.

After the loss of bassist Andy Hummel, Chilton and drummer Jody Stephens regrouped with a gaggle of Memphis sidemen and cut Big Star Third, which found Alex Chilton reinventing himself yet again – this time as a somewhat disturbed, depressed, sad-pop auteur.  Was this due to drugs?  Possibly.  Maturity or personal upheaval?  Maybe.  An over-the-top attempt to throw off the yoke of power pop and dig deeper artistically?  Perhaps.  Whatever the case, Third features some of the scariest – yet somehow also some of the prettiest and most accessible – tunes of Chilton’s career.  The anguished “Nightime” (where Chilton wails “I hate it here/get me out of here”), the bizarrely fascinating “Kangaroo” and the almost horrifyingly vivid “Holocaust” showcase an artist seemingly close to the breaking point.  Conversely, the joyous ”Thank You Friends” and the decidedly non-ironic “Jesus Christ” seem relatively “normal,” with personal faves such as “O, Dana” and “Take Care” falling somewhere in between. As a musical snapshot of a moment in time, Third is fascinating, engrossing and highly listenable.

And then, for all intents and purposes, Big Star was done.  There would be reunions, tours and even other records in the ’90s and beyond (God bless Jon Auer and Ken Stringfellow of the Posies for helping to make this happen), but nothing would come close to touching the magic of the Big Three – # 1 Record, Radio City and Big Star Third. Even though Alex Chilton participated in the “new Big Star,” he would forever remain ambivalent about the importance of the original Big Star records and the attention they would receive, and also unwilling to wear the crown as one of the kings of power pop.  “People say Big Star made some of the best rock ‘n’ roll albums ever,” Chilton told Mojo magazine last year. “And I say they’re wrong.”

Obviously, I would disagree with Chilton’s assessment and dismissal of his work, as all three Big Star records are among my all-time favorites.  I’ve cried at the sheer beauty of “The Ballad of El Goodo” and “Try Again.”  (And when I shuffle off this mortal coil, I’d like them played at my funeral.)  I’ve screamed along with “Don’t Lie to Me.”  I’ve looked back fondly at my teenage years while listening to “Thirteen.”  I’ve gotten chills while listening to the yearning “What’s Going Ahn,” I never tire of those “September Gurls” guitars and don’t even get me started on how much Chris Bell’s “You and Your Sister” means to me. At darker moments, I’ve related to “Nightime.”  And last year, when feeling an overwhelming sense of dread while watching my mother pass away at her home, I could not shake the lyrics to “Holocaust”: “Your mother’s dead/you’re on your own/she’s in her bed.”

I guess what I’m saying is I can relate to these songs on a very personal level, which is what has helped make them such an important part of my life.  And now the man who played such a large part in creating these beautiful, harrowing, uplifting and singularly unique tunes has left us, and there is not only a void in my life, but I’m sure in many of my friends’ as well.  For that I will mourn, but I will also continue to celebrate the many musical gifts that Alex Chilton left us with.

It was good to know you, Alex.  Take care.

“This sounds a bit like goodbye
In a way it is, I guess
As I leave your side
I’ve taken the air
Take care, please, take care…”

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Explore Buddy Holly’s legacy 50 years later, part 1


Crickets drummer Jerry Allison, not pictured, became friends with Buddy Holly in high school. Allison remembers Holly being humble and confident. Photo: Courtesy of Universal Music Archives.

If not for Charles Hardin Holley, known the world over as Buddy Holly, rock ’n’ roll certainly would be very different.

If not for Holly’s work, with and without The Crickets, the lives of many people would be very different, too. Fifty years after the legend’s untimely death, five such individuals recently shared their Holly-related experiences and memories.

Jerry Allison

Appropriately enough, one of Jerry Allison’s earliest Holly recollections is music-related. Allison, who was a grade behind Holly, remembers seeing him and classmate Bob Montgomery perform the song “Too Old to Cut the Mustard” during a junior high school assembly in their hometown of Lubbock, Texas.

“He was right on tempo and right on key,” Allison says. “He impressed me like the first time I saw Elvis Presley.”

Allison and Holly became friends in high school, and Allison remembers him as humble and confident, with talent beyond music.

“In school, they used to teach leatherwork — how to make saddles, wallets, belts or whatever,” Allison says. “And Buddy was real good at that — in fact, he made Elvis a pink-and-black wallet that said ‘Elvis.’ He dropped it off at his manager’s office in Memphis, but we never knew if Elvis got it or not.”

Allison was the drummer in what he calls a “cowboy band” when he and Holly played together for the first time. By 1956, Allison was a mainstay in Holly’s circle of musicians, and he ultimately became the drummer for The Crickets. Holly definitely was the leader, Allison says, but he was open to suggestions. Collaborations with group members and producer Norman Petty were common, and songwriting often was an informal process.

Allison cites the 1957 hit “That’ll Be the Day” as a primary example. One day he was at his parents’ house with Holly, who suggested they write a song together. Allison responded with the title, which they first heard used in the John Wayne movie “The Searchers,” and off they went.

When Holly moved to New York in 1958, Allison says the original plan was for him and Crickets bassist Joe B. Mauldin to join him. But Petty talked them into staying behind, says Allison, and eventually they did some recording as the Crickets and with others at Petty’s studio in Clovis, N.M.

On Feb. 2, 1959, Allison says he, Mauldin and guitarist Sonny Curtis tried calling Holly to discuss a possible Holly/Crickets reunion, but they couldn’t reach him. Years later, Allison had an interesting conversation with Waylon Jennings, Holly’s bassist in early 1959 on the Winter Dance Party tour.

“Waylon told me that Buddy was talking about getting us to do a tour of England with him,” Allison says, “so he was thinking about the same thing.”

On the morning of Feb. 3, 1959, Allison remembers it was Curtis who broke the news to him about Holly’s death.

“He came and beat on the bedroom door and said, ‘Hey man, get up — Buddy Holly got killed.’ And I said, ‘It can’t be.’

“Of course, I’ll never forget that.”

What do other musicians and historians have to share about Buddy Holly? Stay tuned for Part 2!

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Collector's Corner: Check record Values for Elvis Presley's Memphis 1969 sessions


The songs from Elvis Presley’s Memphis ’69 sessions have been released numerous times over the years.

The easiest way to get all the songs is on the 1999 collection Suspicious Minds: The Memphis 1969 Anthology, which has the master takes of every recording along with previously unreleased material.

Here’s a select look at the values of some earlier releases with these songs (prices taken from Jerry Osborne’s “Presleyana VI”):

The original singles (“In The Ghetto,” “Suspicious Minds,” “Don’t Cry Daddy,” “Kentucky Rain”) all have orange labels — the promos yellow labels — and are worth $10 and $40, respectively. Picture sleeves add value; the sleeves for “Don’t Cry Daddy” and “Kentucky Rain” are worth $30, while the sleeve for “Suspicious Minds” is worth $25. “Ghetto” had two different picture sleeves; the first, that reads “Coming Soon From Elvis In Memphis LP Album,” is worth $30, while the second version, reading “Ask For From Elvis In Memphis LP Album,” is worth $50.

Regarding From Elvis In Memphis, initial versions of the album came with a red, black, and white inner sleeve (which had pictures of other Presley releases), and a bonus 8"x10" still with a mass-produced signature (plugged via a sticker on the album’s cover); it’s worth $100. The promo version of the album (which is stamped “Not For Sale”) is worth $125. In 1982, Mobile Fidelity Sound label released a limited-edition version of the album; it’s worth $50. The first CD release of the album in 1991 is worth $25.

With regard to From Memphis To Vegas/From Vegas To Memphis, each record in this two-album set had its own title: Elvis In Person At The International Hotel, Las Vegas and Back In Memphis. The original album came with red, black and white inner sleeves and two 8"x10"s of Presley (again plugged by a sticker on the shrink wrap). It’s worth $550. The promo version (again stamped “Not For Sale”) is worth $600.

Later 1969 and 1971 editions of the set, which didn’t have the 8"x10"s, are worth $300. Each album was also released individually. The first release of Back In Memphis is worth $100; the promo edition $125. The 1992 CD is worth $25.

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