Elvis–tragic hero, addict, mystic

Just finished a bio of Elvis Presley I picked up a few years back and had sitting on my shelf by novelist Bobbie Ann Mason.  Elvis is one of those figures whose presence is culturally ubiquitous, so the danger is greater that we think we “know” him, only to discover that we do not know this person at all.

I felt the sadness that so many musical biographies have evoked in me in recent years—bios of Johnny Cash, Bill Monroe, the Carter family, Eric Clapton, the great blues singers and Hank Williams.  One common thread in this tapestry is the lonely road of fame.  No one knew this more than the King.

If Hank Williams was the first true country superstar, Elvis rocketed down a road no one had ever seen before. Mason’s telling is masterful, even if the story is familiar.  What was new to me was all the dabbling in Christianity and Eastern religion Elvis did, even as he descended into the world of drugs.  If he was the true king of Rock and Roll, he was also the archetype of addictive splitting off into separate selves, isolation from loved ones, and disconnection from life.

At the same time I was reading the Elvis bio, I was also working through The Addictive Personality by Craig Nakken.  He quotes a plaque on a friend’s wall that says, “Fooling people is serious business, but when you fool yourself, it is fatal.”  Elvis’ story is one of a young man whose musical genius could not be suppressed, but whose spiritual and emotional life and growth were assaulted from every angle in the process.  He lived in a prison of impossible expectations, wealth and adoration.  He made the great mistake of addiction: confusing intensity of experience with emotional intimacy.

I love Elvis.  He met the Beatles on my eleventh birthday, August 27, 1965, for the first time, a symbolic joining of the two great musical rivers of my boyhood.  It was a disastrous meeting, one that was filled with misunderstanding and misinterpretation.  They came to offer him homage and he became threatened by it.  Rather than the joyful intersectionElvis between “Colonel” Parker and Ed Sullivanthat might have happened the two roads diverged instead.  Elvis spiraled deeper into isolation in the coming years,  into paranoia and bizarre behavior, drugs, control by the manipulative Colonel Parker,  the succession of vapid and empty movies,  and the banality of Vegas.  But ultimately it is Elvis himself who sat so uneasy on the throne he was handed so early in life.  He once described himself as “hanging on my own cross.”

Another book I have read in recent months, is Elaine Heath’s The Mystic Way of Evangelism.  In it, she describes the three classical stages of the life of prayer—Purgation, Illumination, and Union with God.  Purgation is a dark and terrible place, but also a holy one.  It is a time in which the pilgrim often falls into dryness, spiritual uselessness, and darkness.  Yet it is also the very place out of which great newness comes.  When Elvis came to his darkest times, they were also the moments that offered the possibility of new and different life, had he somehow been able to turn away from the monstrosity of fame.

I was struck by the interesting intersection of these three books—Elvis, the secular child of the South, disconnected from all real relationship and the people who would love him by the fame and fortune that came with his talent, the addict who destroyed himself in the process of expressing the passion in his soul, and the seeker who sought, if only now and then, to cry out against the commercialization and worship that ultimately pulled him into chaos.  He read books on religion, seeking to discover some deeper place in his life, and to draw the spiritual core of his early life into his music and thought.

Finally, the forces who made money from him and rode the train of fortune on his back were too great for Elvis.  Even worse, Elvis’ own craving for acceptance and love from the world without was greater than the fragile quest for peace could withstand.  Yet in his comebacks the “voice” that was authentically emerged again and again.  A cry, “Listen.  I have something to say.”

Tragic hero, addict, mystic.  What burst through that boy in Sun studios when he sang,  that voice and passion that connected so deeply and bridged segregated musical worlds, still reminds us—finding our own voice is a painful, intense, risky business.  It is life and death, and best undertaken with spiritual roots and a few dependable guides along with us.   I kept wishing that someone close to the King had been able to tell him the truth and that he had listened.  We lost him too soon.

I Was Thinking Tonight About Elvis, Hank, and Gillian

I was reading about Hank Williams, went to hear Gillian Welch, and wound up thinking about Elvis Presley.  Just finished the late Paul Hemphill’s wonderful biography of Hank Williams, Sr.   This being “the Year of Alabama Music,” I have decided to do a study of some great Alabama musicians.  It’s a pretty great list.  Anyway, sometimes secular musicians, especially in folk, country and blues, are windows into what Stephen J. Nichols calls, “the gospel in a minor key”  I call it, “the rest of creation that never finds its way into church.”  We’re pretty long on the resurrection side of things, so that means we don’t often enough spend time down in the human soul and its perplexing alleyways.

Hank Williams knew all about those hard places of life.  Dead of damage by drugs and alcohol by the age of 29, Williams was the first and arguably greatest country music star ever.  A high school dropout from South Alabama who knew how to make people feel his pain and write about pain everyone feels.  After his death, Williams’ popularity and legend grew, but about the time of his untimely death, Elvis arrived on the scene.

Hemphill says Elvis was almost the end of country music.  Both he and Hank perfectly represented their ethos and time—Hank the rural and small town world that still lived inside most people raised in the Depression, and Elvis the bombastic musical fusion of the world that America in the 1950s began to aspire to be.  Both sons of the South, about to blow wide open by the searing Civil Rights movement, all of its contradictions laid out where the whole world could see us exposed.

Last Friday, Vickie and I went with our friends Gay and Dan to hear Gillian Welch and David Rawlings at Workplay Theater on the Soundstage.  If you don’t know her, you have probably heard her somewhere.  She writes and sings a plaintive, almost “old time” style.  Their concerts usuially only feature two guitars and an occasional frail or two on the banjo.  Spare, haunting, perfectionistic, well- crafted songs and harmonies.  Gillian and David joked a lot about how “down” their music is.

They write about hard times, pregnant teenagers and careless men, broken hearts and do it in a voice she described to NPR in an interview as a “stoic” voice.  Surely she and Rawlings are the only duo to emerge from the Berklee School of Music with a sound like they have.  They seem to have plopped down into the twenty-first century by mistake.  They should have been playing on porches in 1946.  Instead, they perform for middle class lawyers in jeans and t-shirts grooving on soul music of a world they barely remember.

That was August 12, a week ago as I write.  Then, four days later, came the day Elvis died.  Especially here in the South, August 12 is still considered tragic because the federal government didn’t declare it a national holiday.  I still remember where I was—working as a carpenter in Dunn, NC, framing a house for a rich lawyer out in the country.  We listened to radio all day, the only relief to the scortching Carolina summer.   But sometime in that day, the news came.  “Elvis Presley died this morning.”

I was nothing like Elvis, but he was one of us.  His music filled our cars on long trips, helped us date, and was the background music at Myrtle Beach.  The world never understood the part we all shared with him –a Southerner out in the wider world, never really at ease with it, overwhelmed by it, ashamed of ourselves in ways we could never explain, but still having something to say.  Not unlike Hank.

Maybe that’s what keeps killing people like them, I don’t know.  They carry something heavy about them, something they would sing about and live out, but never could quite exorcise it.  Restless, haunted by hounds of heaven and hell, searching, adored and showered with wealth but never able to carry it off.  And then they were gone.

So it was good, last week, before I even knew we were about to remember that it was August 16, 1977.  Elvis was dead, and I was in Dunn, NC, putting up rafters.  Thirty four years ago, the King was gone.  Hank abdicated his throne and Elvis took it but it took him, too.  What they lived, what they sang about, what finally killed them both, is too important for us to keep out of religion or life.  So I mourn these two poets, storytellers, prophets of the broken heart, laureates of human longing.  If you don’t realize that there is something spiritual about Hank’s “Cold, Cold Heart” and Elvis singing the old “Are You Lonesome Tonight,” the old Carter family tune that Elvis turns into a soul shiver, or the maudlin “Long Black Limosine:”    

Hank Williams' goes home

So Hank, Elvis, it’s been an oddly moving time to be with you both.  You are the troubadors of where we come from and where we tried to go.  We won’t forget you.   Let me end with the song Gillian and David sang from their Time the Revelator album, “Elvis Presley Blues”.  Rest in peace.

I was thinkin that night about Elvis,
Day that he died,
Day that he died.

I was thinkin that night about Elvis,
Day that he died,
Day that he died.

Just a country boy that combed his hair,
and put on a shirt his mother made and went on the air.
And he shook it like a chorus girl.
And he shook it like a harlan queen.
And he shook it like a midnight rambler, baby,
like you’d never seen, never seen.
like you’d never seen, never seen.

Listen to it here