"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 16)

The Impersonator Library: More than 1,500 books have been published about Elvis. Within the world of Elvis literature a sub-genre is devoted to the impersonator phenomenon, including fiction titles. The publications traverse a broad range of territory from behind-the-scenes narratives to photo-journal compendiums of different impersonators and academic explorations of the phenomenon. Notable publications in the book sub-genre that is Elvis impersonation are:

• All The King's Men, Joe Kelly


• Be Elvis!: A Guide to Impersonating The King (Rick Marino)


• Elvis Lives The Business of Being Elvis (Pamela Thomas-Williams)


• I Am Elvis: A Guide to Elvis Impersonators (Leslie Wells editor)


• The King & I: A Little Gallery of Elvis Impersonators (Karin Pritikin and Kent Barker)


• Impersonating Elvis* (Leslie Rubinowski)


• In Search of The King (Craig Gelfand)


• i, Elvis: Confessions of a Counterfeit King* (William McCranor Henderson)


• Stark Raving Elvis, William McCranor Henderson**


• Biggest Elvis (K. F. Kluge)**


• The Elvis Image (Janice M. Schrantz Cabaj)


• The Elvis Murders (Art Borgeau)**


• Walk A Mile In Their Shoes (June Moore & Melody Sanders)

* serious/academic examinations of the phenomena

** fiction releases

The Impersonator Musical Legacy: Many of the top impersonators release their own CDs that are sold at their concerts or from their websites or fan club headquarters.

In the UK, Johnny Earle released his new single, 'Glory, Glory' (An American Trilogy) in September 2002. On the song he is backed on the song by The Jordanaires.

• The Impersonator Websites: Similarly many top impersonators have their own website. They range from one page overviews to more detailed sites with tour dates, music samples and news pages.

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 15)

Academia and the Elvis Impersonator: While many fans dismiss the Elvis impersonator phenomenon, academia has considered it to be worthy of serious contemplation. Apart from a number of 'academic' books on the subject (see 'The Impersonator Library'), the Second Annual International Conference on Elvis Presley in 1996 included the session: 'Sharing the Light: Impersonating Elvis'.

Almost Elvis - the Impersonator Documentary: In 2000 the documentary film, Almost Elvis by John Paget was released on video. It is an absorbing work following the trials and tribulations of a group of impersonators working their way through the regional heats of the Images contest until the climactic final in Memphis during Elvis Week.

The documentary was voted the 'Best Documentary at Worldfest' award (Houston International Film Festival) and shown at the 51st Melbourne International Film Festival (2002). Also in 2002 it was re-issued on DVD with value-added bonus features. An interesting aspect revealed in Almost Elvis is the strong comraderie between the contestants. The documentary rates as one of the most interesting and professionally produced to be released on any aspect of the Elvis phenomenon. If you want to see inside the world of the Elvii this is recommended viewing.

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 14)

Increasing Professionalism & The Impersonator Creed: The Professional Elvis Impersonators Association (PEIA) introduced its charter in 1999. It comprises: What will the PEIA do for me? A set of guiding principles PEIA creed Code of Ethics PEIA Affiliations PEIA structure Articles of Membership Officers/Board Members Members of the PEIA receive a Membership Certificate and discounts on background music, travel and accommodation.

They also receive information about national conventions, showcases and banquets where their services may be required. The PEIA supports various charities including the Special Olympics and Muscular Dystrophy Society.

An overriding objective of the PEIA is its guiding principles - to recognise the professional status of its entertainers and to promote fellowship. An important aspect of the Elvis impersonator world is its creed. If you want to be taken seriously (particularly by your fellow impersonators) as an 'Elvis' artist there are various things you need to satisfy. Concepts of leadership, presenting an appropriate image in all aspects of life, performing in a professional manner and "continuing the legacy of Elvis Presley" are all stressed.

The PEIA Code of Ethics builds on the creed by introducing socio-cultural concepts - members are not to use or support the use of illegal drugs, they will strive for achievement and practice integrity, respect the property of others, meet their financial obligations in a timely manner, challenge other PEIA members to abide by these ethical expectations and confront those who violate them.

So who is the PEIA? According to its structure (see www.elvisentertainers.com) its "supreme ruling body" is a Board of Directors consisting of Elvis impersonators, Agents, Producers and other professionals in the field. Board members are listed as Johnny Thompson (President/Founder) and Eugene Nash (Vice-President). The charter provides also for a Secretary and Treasurer but no names are listed against these roles.

With only two Board members listed on its web site I wondered how the PEIA could carry out its review, disciplinary and judicial responsibilities as formal letters require the signature of "no less than three Board members".

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 13)

The Elvis Impersonator Phenomenon: Marginal or Substantive? There are various elements of the world of the Elvii that suggest it is a substantive and enduring part of the Elvis world:

The Number of Impersonators: Estimates of the number of Elvis impersonators in America and worldwide vary dramatically from a few thousand to tens of thousands. One impersonator group has suggested that by 2005 there will be 25,000 Elvis impersonators in the USA alone.

The www.elvisentertainers.com site includes contacts for more than 100 Elvii in the USA and Canada. Regardless of their actual number, the fact is that not only have Elvis impersonators lasted for over 25 years, they have flourished and their numbers grown significantly in most western and importantly, Asian, countries.

Australia for instance has around a dozen impersonators whose name regularly appear in club and concert hall gig guides. In Asia fan club meetings are literally full of budding jumpsuited musical Kings!

The Impersonator Associations: The demand for Elvis impersonators in the USA is high enough that a number of organisations have formed to promote, raise the standard of performance and offer the services of impersonators. These include:

• The Elvis Presley Impersonators International Association


• Impersonators Central (Las Vegas)


• Professional Elvis Impersonators Association - PEIA (aka www.elvisentertainers.com)


• National Association of Amateur Elvis Impersonators

These organisations take themselves very seriously and are generally well organised (although the National Association of Amateur Elvis Impersonators appears to have been discontinued).

A number, such as the PEIA, have a detailed creed and code of ethics. The PEIA Creed includes:

"I have an obligation to all associations, groups, and businesses who purchase my entertainment services, and to provide those services in a professional and ethical manner."

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 12)

Do you like impersonators? - two fan perspectives

"Take them with a pinch of salt"

“Yes, some of them do a great job"

Welcome to the Weird and Wacky, But Equitable World of the Elvis Impersonator!

George Plasketes, in his seminal work 'Images of Elvis Presley in American Culture 1977-1977' described the profession of impersonating Elvis as "an equal opportunity enterprise". Plasketes hit the nail perfectly on its head. The world of the Elvii can be a very strange one indeed.

Apart from 'western' impersonators, Elvii take on many quite amazing forms, many of which are hardly in good taste but perhaps symbolise the broad under-strata that the Elvis persona appeals to.

There are:

female Elviii, notably Elvis Herselvis (a lesbian), Ella Vis and Janice K,

the ethnic Elvii - Israeli Elvis, Indian Elvis, and

various types of Oriental Elvii.

They also come in all shapes and sizes. There are numerous young impersonators, the grotesquely large lead singer of the group Dread Zeppelin, Tortelvis, the similarly large 'jelly doughnut' Elvis, Bearded Elvis, cross-dressing Elvii, BBQ Elvis, Altruistic Elvis and other 'specialist' impersonators such as Gary Stone (the Evangelistic Elvis) and environmentally friendly impersonator, Green E!

And it doesn't stop there as we can add to the list: Ski Instructor Elvis, Police Sergeant Elvis, Executive Elvis, Columnist Elvis, the Ghost of Elvis, Disabled but still singing Elvis and Physicist Elvis. A notable Elvii is Bruce Borders who in the early 1990s held down his day job as Mayor of Jasonville, Indiana and at night moonlighted as The King.

Then there is the father and son combination of Julian "Elvis" Campo and Angelo "Elvis" Campo. The list wouldn't be complete without mentioning Nude Elvis.

Robert Washington is an African-American who has featured prominently in the top places in the annual Images contest, but despite his obvious love and talent for his craft is arguably hampered from reaching the upper echelon because of his color.

And of course many fans are familiar with The Flying Elvi, the group of white jumpsuited parachutists who featured prominently in the Nicolas Cage movie, Honeymoon In Vegas.

Anyone who has seen the quarterly magazine from the International Elvis Presley Fan Club in Hong Kong is amazed at the amazing number of Elvis impersonators who work in the Hong Kong-Malaysia area. Even long-time fan club president, H.T. Long works regularly as one of Malaysia's leading Elvis impersonators.

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 11)

THE SCIENCE OF BEING ELVIS: Think it's easy to be Elvis? All you have to do is don a black wig, sideburns, shades and white jumpsuit? Sure for many Elvii this is the extent of their talent.

But for those who want to succeed, there is a lot more to their performance and it is a long, arduous road to the top! There are several elements that need to be addressed by aspiring Elvii if they are to reach the upper levels of the impersonator pyramid.

These include:

The Vocal Style: Elvis had a distinctive vocal style. His vocal inflections, humour during a song (integrated with his physical movements) and ability to sing songs from different musical genres are all elements impersonators need to master. The vocal skills needed to sing Hound Dog (rock) are different to those needed on the Hawaiian Wedding Song (ballad) as are the skills needed to convincingly sing It's Now Or Never (semi-operatic) and Stranger In My Own Home Town (blues).

The Attire (Jumpsuits): Elvis impersonators want their act to be as convincing and realistic as possible. For this reason many spend thousands of dollars having their costumes designed and hand-made with sequins and patterns calculated to mirror those on Elvis' original costumes, particularly his trademark white jumpsuits.

And not just one, but two, three, four and more depending on how successful (and ) the performer is. Popular costumes are Elvis' Aloha jumpsuit, the Peacock suit, black leather outfit and the colored jumpsuits like the 'Burning Love' suit and his black jumpsuit. Even 'Elvisoids' invest in jumpsuits yet they are most likely never to appear live except at karaoke nights. BK Enterprises in the US makes a respectable living out of servicing the needs of wanna-be and established Elvis impersonators.

The Movements: Elvis' performing style was an integral part of his appeal and presence. Not surprisingly then, to be a successful impersonator requires that a person practice, learn and perfect a range of 'Elvis' movements. And it would be foolhardy to believe that it easy to perfect these moves. The 'science' of performing Elvis involves a vast array of different 'moves' and 'poses' including: the lasso the squat the blind man's rock glass on palm arm-fling cut-off bowling cutoff open-handed punch cutoff air guitar fist pump shakey leg body palsey backhanded throwaway

The top bracket of performers spend countless hours watching and re-watching seminal tapes of Elvis in action, from the 1950s television appearances to Elvis: That's The Way It Is. The performers in the top echelon have achieved a high degree of integration of all these factors.

The concluding part of this article will appear in our next edition of the Spotlight on the King series. In it we will examine the 'equal opportunity' nature of the industry, the impersonator associations, the Elvis impersonator legacy and attempt to answer the question: why Elvis?

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

Happy Birthday To The King

Elvis would have been 72 today!


*****

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 10)

The winners of the longest running contest, 'Images of the King', have been:

• 2002 - Brendan Bennett


• 2001- Stephen Kabakos


• 2000 - Ryan Pelton


• 1999 - Irv Cass


• 1998 - Travis Morris


• 1997 - Darren Lee


• 1996 - Mike Albert


• 1995 - Chris Young


• 1994 - Steve Chappell


• 1993 - Ray Guilemette


• 1992 - Mori Yasumasa


• 1991 - Doug Church


• 1990 - Kevin Mills


• 1989 - Clay Smith


• 1988 - Michael Hoover


• 1987 - Glen Bowles

The Collingwood, Ontario Elvis Festival celebrated its tenth anniversary in 2006.

Rick Marino, one of the leading impersonators in the US, has an interesting take on impersonator contests:

"Contests are too weird…I don't have anything to do with 'em anymore…So this dumb contest was full of wanna-be's, guys with spray-painted suits, lip-synchers."

Generally, performers in the top echelon do not appear in the contests. They have no need to, having already established their credibility and market presence.

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 9)

The Road to Impersonator Success: There are several prominent Elvis Impersonator competitions held each year. The two most well known are 'Images of The King' (aka [Worldwide] Images of Elvis) that reaches its peak, following regional eliminations, during Elvis Week in Memphis, and the competition held during the Annual Elvis Festival in Collingwood, Ontario (Canada).

The winners of these contests find immediate short-term success as doors open but without good management and promotion, medium and long-term success are not assured.

A newer contest started last year at the Isle of Capri Casino in Mississippi, while in Australia the Annual Elvis Festival in Parkes, NSW features 'sound-a-like' and 'look-a-like contests'.

The Memphis contest tends to be a more conservative affair while the Canadian one is progressive - in 2001 it introduced different competition divisions: professional, non-professional and youth.

Contest judges are often hated, particularly by losing contestants and over-zealous fans who have their personal favorites. To be a good judge one needs to have spent a long time studying The King. Elements to be looked for in the contestants include visual image, vocal range and strength, quality of costume, physical movement, posture, rapport with the audience and ability to have fun on stage.

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 8)

Similarly, Mick Gerace does not dress entirely like Elvis, although his black leather outfit is very reminiscent of Elvis' 68 Comeback attire and his white suit resembles the one Elvis wore in closing the 68 Special. There is also an iconic physical resemblance between Mick and Elvis.

Another performer who sings just like The King and is in this 'fuzzy' territory, is Belfast postman, James Brown. Brown's debut album in 1999, 'The King - Gravelands' is widely regarded, along with the Ronnie McDowell (with Scotty Moore, DJ Fontana and The Jordanaires) album, 'A Tribute to the King', as one of the finest tributes yet to Elvis with its eclectic mix of contemporary and classic songs done with a voice very similar to The King's.

It would be remiss of me if I didn't mention another form of tribute, albeit one external to the Elvis impersonator/tribute movement. It relates to the personification of Elvis in other well-known musical artists. As noted by George Plasketes, major examples include Chris Issaak, Bruce Springsteen and k.d. lang. Each of these has drawn both musical and iconic influences from The King - from vocal stylings and musical performance style to hair and clothing.

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

Happy New Year

Happy New Year to everyone from Andy Stankovich.

I wish you all a fullfilling, and healthy, and prosperous New Year ahead in 2007.

Thank you for your enormous support during the past year, and I hope to see you at one of my performances during the New Year, as that is what would enrich my life more than anything.

Please stay safe and love your family.

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 7)

Impersonator or Tribute Artist?: These days many performers with an Elvis show prefer to be referred to as a 'tribute artist' rather than as an 'impersonator'. The intent appears to be to distance themselves from the more derogatory associations held by the public about impersonators and imply a higher degree of professionalism.

A number of the Elvis Performer Associations have deliberately adopted the tribute artist classification with this in mind. However, certain impersonators, including Rick Marino, president of The International Elvis Presley Impersonators Association, argue that if you do Elvis, the bottom line is you are an impersonator.

Rick emphatically states in 'I, Elvis: Confessions of a Counterfeit King': "I - am - an - Elvis - impersonator. Okay? And I'm PROUD of it. I'm not ashamed of it…A lot of guys have a problem with that word: we're Elvis performers, we're Elvis entertainers, illusionists, invokers, whatever - Well, you know what? You're an Elvis impersonator."

So are there any performers who are tribute artists rather than impersonators? Ronnie McDowell requires special mention. Like Mick Gerace in Australia, he provides a tribute show to Elvis. Ronnie does not dress nor attempt to look like The King but his uncanny vocal resemblance has thrilled audiences since the 1970s when he provided the vocals for the excellent bio-film, 'Elvis' starring Kurt Russell.

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 6)

The Impersonator Issues: There are a number of issues Elvii may have to struggle with.

Two of these are:

To Be or Not To Be?: Elvii generally fall into two camps: those who know their 'real' identity and those who take themselves too seriously. This latter group tends to "act" as Elvis even when off-stage (ie. they have serious identity issues). The Elvis impersonator's creed disavows taking yourself too seriously. The problem protagonists are more likely to fall within levels 1, 2 and 3 of the impersonator pyramid with the full-time professionals appearing to be more balanced in their approach to their career.

Loosely related to this issue is the number of Elvii who go to radical lengths to be more like Elvis. Many, like Dennis Wise (a member of the top echelon in the 1990s), who quit his job in Hawaii as a car salesman and after initial success with his Elvis act booked into a Florida clinic for plastic surgery.

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

The Wonderful World of Christmas

The Wonderful World of Christmas

(words & music by Charles Tobias - Al Frisch)

The wonderful world of Christmas
Is a wonderful world to behold
The wonderful world of Christmas
Was made for the young and the old

Smile and good cheer of each neighbor
And children with cheeks all aglow
So warm is this Christmassy feeling
With the tree tops all locked up with snow

Listen to those wondrous bells
And you'll hear them say
Open up your hearts to all on this holy day
The wonderful world of Christmas
Is a joy from the moment it starts
The wonderful world of Christmas
Shall remain everyday in our hearts

*****

Andy Stankovich

"Elvis The Voice"

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

I'll Be Home For Christmas

I'll Be Home for Christmas

(Words & music by Al Kent - Don Gannon)

I'll be home for Christmas,
You can plan on me.
Please have snow and mistletoe
And presents for the tree.

Christmas Eve will find me
Where the love light leads.
I'll be home for Christmas, oh yes
If only in my dreams.

*****

Andy Stankovich

ElvisThe Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 5)

Level 1 - the Elvisoid: On the bottom level of the pyramid are the interesting group referred to as 'Elvisoid's. An Elvisoid is someone who dresses up as Elvis, either in flashy 50s clothing or a white jumpsuit but doesn't perform. They espouse the long sideburns, trademark sunglasses and the 'quiffed' black hair (often a cheaply made black wig rather than the expensive, custom made, human hair wigs costing up to $1,000.00 that are favored by those in the top echelon who lack the right hirsute qualities).

Most Elvisoid's can't sing but they appear regularly at karaoke nights, during Elvis Week (witness how many 'ordinary' fans had their resplendent jumpsuited image appear in newspapers and on television in August 2002), at other Elvis events such as the Annual Elvis Parade in Kansas City, (at music shows in their local area and carnivals. They are categorised as 'look-a-likes' rather than 'sound-a-likes' and as such compete in Elvis 'look-a-like' competitions. They are a 'wanna-be' variant.

There would be a worthwhile psychological study of Elvisoids. Are they trying to assume a degree of power or recognition by looking like Elvis, in effect living (leaving?) their life (or fantasy) vicariously through the guise of their hero?

Feelings about Elvisoid's can run high, as reflected in this passage from (Professor) William McCranor Henderson's book, 'i, Elvis: Confessions of a Counterfeit King':

"I spotted a tall, red-suited, rhinestoned Elvisoid, standing outside the darkened car museum. I had seen him before at Graceland, exactly as he was now. Apparently this was his peculiarity - to dress and stand around Graceland, a wanna-be. He was a fake - a nonperforming impersonator impersonating a genuine impersonator. It was this kind of psycho, I thought, and those like him, who give Elvis impersonators a bad name."

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 4)

Level 2 - Recreational Performers (the Wanna-Be's): On the second bottom rung of the pyramid are what can be termed the 'recreational' impersonators or as they are often referred to, disparagingly, the 'wanna-be's'.

While they may aspire to achieve regular success at 'being' Elvis on stage they are more likely to only work on the odd Friday night or weekend. They put little time into perfecting their craft and do it more for fun than for the money. They are more likely to be members of the National Association of Amateur Elvis Impersonators.

A mix of level 2 and level 3 performers supplement their performance income by appearing at conventions, fairs, nursing homes and singing birthday telegrams.

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 3)

Level 3 - Part-Time Professionals: On the next level is hundreds of 'part-time' Elvii who perform in smaller venues whenever they can obtain a booking. They are usually aren't as professional as those in the top echelon and tend more to being overweight and therefore more symbolic of the 'cheeseburger' iconic Elvis. They often build up loyal followings in their local area or region but lack effective management backing. Some perform non-Elvis shows to supplement their income.

A number of performers in this bracket demonstrate superior skills and border on breaking through the glass ceiling into the privileged top bracket. Australia's Dean Vegas (Australia's marriage celebrant Elvis) and Mick (In the Spirit of Elvis) Gerace are two examples, while the failure of the very talented Australian impersonator, Deke Rivers, to achieve substantial success has confounded those who have seen him perform.

In the US, some of the more talented performers are Irv Cass, Steve Sogura, Robert Washington, Quentin Flagg (50s Elvis), Matt King, Mike Albert, Elvis Jr, Travis McCall, Kid Elvis, Scott Douglas, Mike Moat, James L Wages (Sincerely Elvis) and E. Kerry Summers while in Australia the names include Dean Vegas, Vince Gelonese, Joe Bikic and Mark (Elvis to the Mark) Andrew.

Many of the performers on the top two rungs of the pyramid have their own fan clubs and often 'local' Elvis fan clubs adopt them as the 'live' Elvis artist to follow, support and promote. Unlike the top bracket of performers who can sustain a full-time living from their profession, level 2 performers usually work a regular job or supplement their income in other ways.

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 2)

Level 4 - Full-Time Professionals: In the top echelon are those impersonators who make a full-time living out of being Elvis…on stage.

They are consummate professionals whose performances are of a very high caliber and they can travel the world performing in venues as diverse as casino showrooms and large club auditoriums. They are backed by first rate musicians and dancers and have a management team capable of arranging meaningful public relations for and marketing of their act.

The performers at the top command thousands of dollars a performance - those performing in Vegas reportedly earn up to $100,000 a week!

Essential elements for performers in this top bracket are that they 'look' and 'sound' like Elvis, offer a disciplined, honed display of his on-stage physical movements and that they establish a strong rapport with the audience. They have style!

Most of the top impersonators earn considerable amounts through corporate appearances and cruise holidays as the 'star' entertainment. Effectively, they make you believe you are watching Elvis!

The number of 'career' impersonators in the rarified atmosphere at the top is small. Apart from Pellicano, the current group includes Michael Hoover, Rick Saucedo, Rick Marino, Doug (The Voice of Elvis) Church, Trent (the Dream King) Carlini, Mexico's El-Vez, Steve Williams, Scott Bruce (the Young King) and a recent Elvis in the 'Legends in Concert' revue, James Lowery.

The thing about the top echelon of impersonators is that because they are really good they have longevity.

Many of the leading impersonators arrange to record and/or appear with Elvis' backing musicians. James Burton, Scotty Moore, DJ Fontana, J.D. Sumner, The Sweet Inspirations and The Jordanaires have all backed a number of prominent Elvii. In past years, the level 4 'trailblazers' included Larry (Big El) Seth, Elvis Wade (Cummings), Jimmy ('the masked man' Orion) Ellis and in Australia, Eddie Youngblood, Norm Bakker and Roy Hawkins. The three USA based performers, in particular, had very successful careers for many years.

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

"Almost Elvis"…..The Unusual and Bewildering World of Elvis Impersonators! (Part 1)

You either love them or hate them! There doesn't appear to be any middle ground. What I'm referring to is the phenomenon of Elvis You either love them or hate them! There doesn't appear to be any middle ground. What I'm referring to is the phenomenon of Elvis impersonators (or Elvii). impersonators (or Elvii).

Who are these performers and what motivates them? Are they professional entertainers, simply fun-loving fans with varying degrees of musical talent, overweight and psychologically challenged individuals or a hybrid of all these?

What follows is a guide to the world of the Elvis impersonator, its different levels and an explanation of why there is ongoing fascination with the phenomenon. It is clear looking at all aspects of the phenomenon that it is one that should not be dismissed lightly.

The Impersonator (Pyramid) Nomenclature There are essentially four categories in the Elvis impersonator pyramid chain:

• Full-time Professionals


• Part-time Professionals


• Recreational Impersonators


• Elvisoids

This series of articles are reprinted with the kind permission of www.elvisinfonet.com

Thanks Nigel

.

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

Elvis’ Vegas Years - Part 6 (Final)

Elvis himself summed up this approach in an interview once when he said something along the lines that ‘you can't just stand there you have to give them something extra or else they could just sit at home and listen to the record’. With all due respect to a Nirvana or Elvis himself in 1968, sitting there on a stage and singing doesn't cut it most of the time. And the idea of a band parading out on stage in a t-shirt and jeans is way overrated.

The largeness of Elvis' sound as well as the elaborate costumes and movements was an attempt to give the audience that ‘something extra’. It was incidentally also a sign of musical ambition within himself for which he is seldom given credit.

But in 2005 now that rock and roll is no longer the dominant music of the age, our musical appreciation has somewhat matured and the legitimacy of non-rock music is no longer questioned. And most audiences now come to expect elaborate stage play. I think the world has finally caught up with the Vegas Elvis.

Thanks for this series of articles by Harley Payette from www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

Elvis’ Vegas Years - Part 5

The interesting thing is that at the time many rock and blues performers were starting to play Vegas. And many, many more would follow. The thing about Vegas is that it is the one part of the United States that is like Europe in that once you're a star, you're always a star. Rock and bluesmen like the Everly Brothers, Little Richard, Dion, Bobby Bland, BB King or later rockers like the remnants of The Band all have done gigs in Vegas in the past two decades because it is the one place they are always welcome. You don't need a Top 40 single there. This is perhaps the reason why some of the mainstream media have come around on Elvis in Vegas. The world has caught up with the act.

Not only did Elvis' act have a profound influence on other strip performers like Wayne Newton and not only did it legitimize Vegas for other rockers but it became the forerunner of the pop music show in general. The elaborate costumes, the huge bands, the karate posturing and dance moves all anticipated not only the elaborate stage shows of acts like Kiss and David Bowie (it is the height of hypocrisy that Bowie and Elton John wore far more absurd apparel than Elvis in the 1970s but only Elvis has his music dismissed because of it) but also the extravaganzas staged by Britney Spears, Madonna, and Janet Jackson. Compared to these, Elvis in Vegas looks restrained.

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

Elvis’ Vegas Years - Part 4

Elvis was in superb voice but what is lacking is a sense of inspiration. Imagine if instead of just another recording session this would have been with the Boston Pops or collaboration with a writer who intrigued Elvis. Instead it was the same old, same old and it was hard for Elvis to get it up even near the peak of his powers.

Elvis' atrophy in Vegas came from the same reason as his atrophy on the road. His depression and an uncritical audience mad at simply the sight of him.

Some of it of course though, is simple rock snobbery. Prior to 1970, Vegas was not a rock scene and was associated with the tastes of an older generation.

Some of Elvis' bad reputation is punishment for daring to be aligned with the enemies of rock. That Elvis' taste drifted away from rock in the 1970s is another cause for punishment. A 1970 Richard Meltzer review of the "The That's the Way It Is" is a prime example of this.

The crux of the review is a simple condemnation of Elvis for using his talents to sing ballads as opposed to rockers. That Elvis' ballads were significantly different from say Frank Sinatra (not that Sinatra's approach was bad, although it could be & in the Meltzer book is ignored). Even some of the dismissal at the arrangements, which were overdone from time to time, can be interpreted as criticism for not sounding like a rock song.

Thanks for this series of articles by Harley Payette from www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

Elvis’ Vegas Years - Part 3

The multiple shows and engagements forced him to switch things up from time to time. On the road show, an audience might get only one chance to hear "Hound Dog". Many Vegas fans had been there and done that. The fact that Elvis depended heavily on the material of other artists was not necessarily a concession to the Vegas audience but to the lack of good original material that plagued Elvis even in the studio.

The problems for Elvis in Vegas were the problems he faced anywhere else. These included an uncritical hit loving audience and boredom. (In addition his own depression.) The problem was not that he played Vegas but that he played too often just as he was on the road, at least domestically, far too often in the '70s.

Also I would argue that touring and performing so constantly kept Elvis from having enough down time to really listen to music again. In almost every studio session in the 1960s Elvis brought songs to the studio he was determined to record. This rarely happened in the 1970s. He might stumble on something like the Sun days but he rarely came into the studio with his own portfolio.

Elvis was not an artist who thrived on routine. Although he allowed himself to fall (or be pushed) into the same patterns, he thrived on novelty and challenge. Touring Europe would have been great because it would have been something different.

Thanks for this series of articles by Harley Payette from www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

Elvis’ Vegas Years - Part 2

An even bigger problem is the general perception of Las Vegas entertainment. The town is famous for glitz and throwaway tricks. Playing Vegas in some people's minds puts Elvis in a class with Waylon and Madame or Sigfried and Roy. However, that's an unfair designation especially since all sorts of entertainment sell out venues across the whole country. Madison Square Garden hosts all sorts of events from the Barnum & Bailey to Muppets on Ice to The Who. Yet it has avoided a stigma. However, and I will get to this later, there is nothing wrong with putting a little show in your ‘show business’ and Vegas audiences are known to want that and audiences everywhere appreciate it.

Vegas audiences are notoriously conservative due largely to the expense of staying there and the high prices of the shows there. Paying that much money you want a sure thing. With the explosion in concert prices over the years though the mainstream audience has become much, much closer in taste to the Vegas audience of the 1970s.

However, that conservative taste really didn't have much of an effect on Elvis. In fact, he wound up doing most of his on-stage experimentation in Vegas using it almost as a lab for what he would put on the road. His road show was far more formulaic and staid. For instance in 1974, Vegas audiences got the R&B revamp while the road audience got the main show. In fact, although playing in the same town two months a year did bore Elvis, it also liberated him to a certain extent.

Thanks for this series of articles by Harley Payette from www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists

Elvis’ Vegas Years - Part 1

It's important to realize that Elvis' Vegas years (1969-1976) were full of contradictions and complications. This is part of the reason why his Vegas worked has been dismissed. People like simple pat answers and a lot of times they're not available.

Some of the dismissal is based on retroactive if not quite revisionist history. It may be hard to believe but the majority of population did not get to see Elvis in Vegas. One common mistake is thinking Elvis in 1976 is Elvis in 1970 or 1972 and that simply is just not the case. The difference in him, in terms of not only performance but also physical health and demeanour, was one of light years in really that brief span.

That's part of the trouble; Elvis' decline, at least physically and artistically, happened in a relatively brief span of time. From "Aloha" to "Elvis In Concert" is only a little over four years. In today's pop market, an artist might take four years between releases.

When Elvis died in 1977 and EIC aired a few months later many people who had not seen Elvis in the interim simply applied that Elvis image backwards. The occasionally incoherent and overweight performer simply became ‘The Vegas Elvis’. And the relatively poor road show chock full of dispirited oldies and more bloated than usual arrangements became the Vegas Show.

I swear to God, I had a cousin stop by my house when I was watching "That's The Way It Is" and she commented "Oh this is when he was fat." The evidence of Elvis' thinness was right in front of her eyes but the cliche' was so lodged in her head even visual evidence couldn't push it out.

I think a lot of people did the same thing with the horn and brass heavy Vegas type arrangements and ballad heavy repertoire of the "Aloha" show. The fact that orchestra members did not even play on some rockers during the first Vegas season is not known by the mass public nor really is the swampy grit of "Polk Salad Annie".

Thanks for this series of articles by Harley Payette from www.elvisinfonet.com

Andy Stankovich

Elvis The Voice

www.ElvisTheVoice.com

One of the world's great Elvis Presley tribute artists