Dennis van Tiel has published the 22nd periodical in the 'Almost in Elvis' series. In this volume, titled 'Black Star', the author and editor presents a journey back in time to the 1950s, when social, cultural, and artistic divisions still had a clear racial basis. At the same time, this was the moment when a musical revolution took place, partly thanks to what we would later call “Rock and Roll”.
In this book, the Dutch editor and a number of international authors share their perspectives on this era, each with a link or reference to Elvis of course.
Let me share my perspective on the book.
Design
The design of this 120-page booklet is very well chosen. With segregation in post-war America as its theme, Van Tiel has taken the Green Book format as a starting point.
A Green Book is a travel guide for people of color that helps them travel through racially segregated America in a “safe,” or perhaps better said, “permissible,” manner. Since the book partly deals with the contribution of Black musicians to the aforementioned musical revolution - musicians who traveled from city to city and from stage to stage - this concept fits well.
The booklet consists of approximately 70 percent text, with the remainder made up of various types of illustrations. These include archival and edited images (including those created by the undersigned for an article by Nigel Patterson, so I have some small involvement in this release), as well as well-known photographs of Elvis, including those by Alfred Wertheimer.
The book is easy to read, especially as it consists of 25 short contributions. Because these share a common theme, they form a cohesive whole, even though they were written by different authors.
Content
As indicated, this book traces the birth of rock and roll and the developments leading up to it. In doing so, various authors explore the role and contribution of the Black community in their reflections.
The result is a broad and varied palette. Van Tiel states in his preface that it can, may, and must provoke friction, and indeed it does. Some contributions resonate deeply, such as the chapter on Al Johnson, who often performed in blackface. In today’s world, this is no longer acceptable, but 80 years ago he did help open doors for Black music by performing it for white audiences.
Other contributions are more difficult to read for me, such as the poetry, which is simply not my personal preference. Of course, leading female artists such as Sister Rosetta Tharpe, Big Mama Thornton, Billie Holiday, and even Mahalia Jackson are given their rightful place within the timeline of Rock and Roll.
One of the more interesting articles focuses on Elvis’s version of Baby, Let’s Play House, which made Arthur Gunter’s original "look pale" in comparison, as we say in the Netherlands.
While the songwriter was somewhat indirect in his expression, Elvis was very clear about what he wanted: sex, and nothing else. This was raw Rock and Roll, the kind that parents in the 1950s feared, and not without reason.
It is interesting to note that one of the lyric lines Elvis added - “I’d rather see you dead, little girl, than with another man” - was later picked up by John Lennon. Unfortunately, Lennon later distanced himself from it during his softer “flower power and peace” period.
Another entertaining article discusses Bill Haley. In a humorous way, this pioneer of the rock and roll revolution is portrayed as an office administrator in accounting, with his recognizable forelock described as resembling “the droppings of a seagull on his forehead.” While somewhat excessive in tone, the piece makes the point that every revolution needs a recognizable face, and that face eventually became Elvis.
Elvis later had to accept that his image became associated with accusations of appropriating music from approved artists. In this context, the contribution on the importance of owning a real leather coat fits well. The author connects Elvis’ heroes Marlon Brando and James Dean with his role in 'Roustabout', in which he finally could wear a black leather jacket and ride a motorcycle like his hero's.
Of course, there are also contributions exploring the “black star” theory, but the true stars that emerge from this book are the original Black artists. This book makes them shine by placing them firmly in the spotlight.
Conclusion
The short walkthrough of the book illustrates that this is not the usual kind of Elvis book. For me it was both insightful and entertaining. This stands in contrast to the more academic publication 'Rethinking Elvis' by Mark Duffett, which partly covers similar themes and formats.
Dennis van Tiel has not simply followed a familiar path with his Black Star concept, and I am already looking forward to the next publication.
For now, only a Dutch version is available, but later this year an English edition will be released. That is a positive development, as this book deserves a wider audience.
