Customer Reviews

Dispelling the Myths

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We are all aware of books such as Goldman's "Elvis," the bodyguard's "Elvis: What Happened?" and, somewhat higher up the scale, Guralnick's combined epic "Last Train To Memphis" and "Careless Love." Numerous other books about Elvis have received plenty of publicity and have been successful to some degree. Given the apparently never-ending output of Elvis literature, it is, of course, not surprising that not all titles are equally successful. However, it is unfortunate that some exceptionally good Elvis books are almost ignored by the fans. There are undoubtedly numerous reasons for this, but the two most significant are firstly that the author is not backed by the marketing support offered to the likes of Guralnick, and secondly that the author does not have a name that attracts the attention of the media. Such a fate seems to have overcome a book called "Dispelling The Myths," by Todd Rheingold: although published in 1995, this work has had but little success, so perhaps I can awaken some interest for it in this short article. The author, Todd Rheingold, is a relatively young Elvis fan (well, he is to me, anyway!), having been born in New Jersey in 1966 (on the 4th July, no less!). As a young boy, already, Todd was an Elvis fan, and became further interested in the music of the 50s and early sixties after seeing the film, "American Graffiti." Elvis's death made a big impression on the then 11 year-old Todd, who slowly became as much interested in Elvis the man as in his music. After graduating, Todd visited Memphis in 1984 and a growing Elvis obsession led him to actually live in Memphis for a time in 1987 and then to go on and write "Dispelling The Myths." In the great library of Elvis books, "Dispelling The Myths" is most unusual: it does not give the umpteenth account of Elvis's life; it does not list Elvis's concert appearances; it does not provide a chronology of Elvis's recordings; it does not expose new girl-friends, love-children, or as yet unknown spiritual practises. Indeed, the book looks at a very sensitive aspect of Elvis and Elvis myth; let Todd explain himself: "Every person of color I have ever met believes, or has heard, that Elvis was a racist and ripped off black people. The white liberals of society believe it too. It was time for someone to take this seriously, and stop burying their heads in the sand like Graceland and most of the Elvis scholars." To be quite honest, as a European Elvis fan, I was not fully aware of this issue in connection with Elvis. Having been interested in Elvis and R&R for many years, I knew that Elvis had championed black performers in statements, had been photographed with them, and counted many among his friends. I was surprised, therefore to learn that a negative aura also surrounded Elvis in this respect. Todd's book carefully examines the origins of a racist statement that Elvis is supposed to have made and his supposed imitation of black performers; in addition, numerous disparaging remarks about Elvis, regarding the preferential treatment he is supposed to have received as an artist are also scrutinised. In the course of these investigations, the reader is presented with brief looks at some of the great R&R performers, including Chuck Berry, Fats Domino and Little Richard, and is given a real insight into the socio-cultural upheavals brought about by this form of music. Todd makes it clear that Elvis admired many black artists and was, indeed, influenced by several. He goes to great pains, however, to show that the acceptance and development of an influence is not the same as slavishly copying and plagiarism. He further argues against the contention that Elvis was racially prejudiced by citing numerous instances of Elvis helping non-whites and by reproducing statements to the contrary by both black and white acquaintances of Elvis. "Dispelling The Myths" not only succeeds in its aim to "clear" Elvis of accusations of racism, it also provides useful information about the context in which Elvis grew as a performer, at a time before mass media support and huge publicity campaigns and when a white man who moved and sang like a black man was frowned upon. That Elvis, because of this latter aspect, was, and still is, regarded with suspicion by the black community, is, after some consideration, perhaps not as surprising as I first thought. A book like "Dispelling The Myths" deserves success in order to allay these suspicions. It is clear, then, that "Dispelling The Myths" is something different! So why has it failed to be a success? Well, the points I mentioned above are certainly relevant: Todd Rheingold is not a "name" in either the Elvis publishing world specifically, or the pop-music publishing world in general, so little or no marketing or publicity has been available. In addition, the title does not attract the immediate attention of Elvis fans as it does not actually mention Elvis! Furthermore, the cover, although featuring a stunning drawing by Betty Harper of numerous R&R stars, including Elvis, neither mentions Elvis's name, nor gives the impression that the book is primarily about Elvis. And dare I propose that the rather sensitive subject matter has perhaps deterred fan clubs from recommending the book.

David Neale email: david.neale@euronet.be Copyright August 1999

This is a well documented book about Elvis Presley's influence on black music and musicians - and the influence of black music and musicians on Elvis. There have been accusations that Elvis was a racist but nowhere can anyone prove this. To the contrary, Todd Rheingold has proved beyond a shadow of a doubt that Elvis had great respect for black music and musicians. He was brought up hearing the gospel music in local black churches and he loved it. Some of his greatest music is the gospel music which came from the black south. Todd has included quotes from many black musicians who had nothing but good to say about Elvis and reaffirming that Elvis did not steal their music as has been stated by some. If you want to look beyond the usual stories told about Elvis and concentrate on a very important and too often dismissed part of Elvis's life, read this book. In my opinion, it is one of the best books ever written about Elvis. Todd Rheingold is to be commended for putting his talent toward writing a thoughtful and detailed portrayal of a young Elvis who carried his love of black music throughout his life.

it's hard to find enough words of praise for this book.as a life-long fan of elvis presley and his music and having read many works on him and the music he made,NOTHING touches the depth of research and understanding that todd rheingold shows for his subject,the times and people of those times and the subsequent music.i wished the book would never end.rheingold just keeps weaving all he's learned into a crystal-clear picture of what the truth is about elvis,the impact his world had on him and the impact he had on the world.he addresses beliefs that have been around since elvis hit the scene and has really set things right.there is also a sincerity and warmth to the writing that draws the reader in as it makes one feel that he/she is reading an author who genuinely cares about just putting the truth out there and has no agenda beyond that and the establishment of some kindness to a man who has unjustly and often cruelly been maligned.there has never been a book like this and there has always been a need for one.regarding my experience with amazon and obtaining it from them,it was once again wonderful.a cool thing i discovered when i first opened the book was that the author had signed it for me making it even more of a treasure for me to own.

Apparently, "A CUSTOMER", did not read this book because he or she would have come away with a different opinion. I found this book very interesting & apparently well researched. Historial look into the great influence blacks had on music & on Elvis, and how Elvis help bring black music out into the open.

This book shows nothing in the way of refuting the FACT that Elvis was indeed a STEALER of Black music and a filthy racist. Louie Jordan and Wynonie Harris (both of whom were Black) were doing Rock n' Roll well before it was even labled as such. True Emperors like Jordan and Harris (not to mention a bevy of other neglected musical greats)leave behind a legacy that can only furhter damage Elvis' chance of maintaing his ill-gotten status as the years forever countdown to the future. The myth of Elvis being the King of Rock n' Roll is as sad and grotesquely bloated as a certain corpse that was discovered on a toilet back in the late seventies.

Reality sucks, doesn't it?