The reading for tomorrow evaluated Elvis’s role in popular
culture. From his appearance in the 1950’s, Elvis can be seen many forms, his
role shifting depending on the lens you see him through. He can be a symbol for
sexual liberation and an idol of the White Trash Aesthetic.
I think there is something about his fame that feels
reminiscent of Valentino. Elvis is feminized, and sexualized in films,
magazines for the viewer’s consumption. And at the same time he is actively
sexualizing himself in his performances. Elvis’s performance dragged the
private (the sexual, emotional) into the public. It sparked suppressed
sexuality and encouraged a “shared access to feeling.” (Doss) Elvis’s fans were met to gather
together in collective hysteria, and sexual delight over him. Women fainted, “fell down to the ground and
screamed,” or “kick the seat in front or
let out a 'rebel yell.’” These kinds of explosive displays of emotion, the
physical reveal cracks in the Cold War era of containment, fear, and repressed
emotion. (Doss) Elvis was a physical representation of their inner needs and
desires – that felt incapable of acting out in their own lives and irresistibly
drawn to in their fantasies, TV screens, magazines. This mirrors Valentino’s
effect of young audiences, same goes with countless boy bands of several
decades. (i.e. The Beatles, Jonas Brothers, One Direction, ect) He also seems
to fit into a lot of what we discussed about Monroe. Elvis – and his body –
become a spectacle for sexuality. Like Monroe, he embodies all our sexual
desires in his performance and movement.
Yet at the same time, (and this maybe my opinion of Elvis) there is
something about him that makes him seem harmless. Maybe it’s that he doesn’t
seem too bright. He isn’t interested saving America like Cary Grant or standing
up for morality like Jimmy Stewart. He just wants to have a good time. He’s
sexual and sexualized but he doesn’t think too hard and therefore he doesn’t
seem too dangerous.
On top of this, Doss and Sweeny both get into Elvis’s role
in the military and politics that complicate his “rock ‘n roll” celebrity.
Elvis’s personal and political affiliations reveals cracks in the way in which
society used and saw him during the time period. Elvis was a product of the
Cold War. He met Nixon. He was drafted. This may play into the White Trash
Aesthetic; the boy does what’s best, and remembers where he cam from but it
doesn’t do much for him as a symbol of symbolic liberation from society. He’s not going against the establishment.
He’s feeding into the system. This makes him incapable of sitting comfortably
in a sexualized, liberal “rock n roll” life style.
Sifting through all these versions of Elvis, I’m wondering
how Erika Doss’s very sexualized version of Elvis works with Goel Sweeney’s
Elvis and his White Trash Aesthetic. What relationship do these two versions of
Elvis have? It feels as though they counter and complement each other in ways
that Dryer would only describe as “leaky.” Doss’s description of the sexualized Elvis, I
think complements Sweeny’s description of the White Trash body being a place
for excess. Elvis in his performance is excess in movement and desire. His body
is a place for hyper sexuality and fantasy.
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