A Graceland discovery inspired Peter Guralnick’s myth-busting biography of Colonel Tom Parker

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Peter Guralnick, known for writing numerous books on Elvis Presley such as “Last Train to Memphis” (1994) and its sequel “Careless Love” (1999), has spoken with hundreds of individuals and sifted through vast amounts of historical records in his pursuit of the authentic story about one of the most impactful post-World War II American musical figures.

Instead of limiting the scope of his Elvis biographies due to a lack of space, Guralnick found an abundance of additional material. This excess information forms the foundation for his latest extensive exploration, “The Colonel and the King.” A trip to Graceland’s archive not long after the release of “Last Train to Memphis” uncovered a wealth of correspondence penned by Elvis’ manager, Colonel Tom Parker – a portly, boisterous figure who guided Presley’s career from the mid-1950s until his death in 1977. A quick scan through this collection revealed tens of thousands of letters that meticulously document the intricate workings of Elvis’ business, including publicity strategies and the specifics of his recording and film contracts.

As a film enthusiast, I’ve always held Elvis Presley in high regard. However, for years, I’ve heard tales of a man who exploited Presley’s legacy, profiting at the expense of his clients while being labeled as cynical and unscrupulous. But after reading these letters, I was taken aback to discover that the image I had in my mind was far from the truth. Guralnick, speaking from his Massachusetts home, shared a similar sentiment: “I was shocked when I read the letters, realizing this person is nothing like the one who’s been portrayed.

In essence, Guralnick’s discovery revolved around a meticulously honest businessman who was enamored by the captivating realm of show business and the charm of a handshake agreement. He was deeply captivated by his high-profile client’s talent and ready to go to any lengths to keep him in the limelight. Guralnick’s latest work narrates the journey of an ambitious immigrant who transformed into a power broker, guided by an uncanny ability to seize opportunities. The first part of the book is penned by Guralnick, while the second half offers a wealth of letters from Parker himself.

Andreas Cornelis van Kuijk was born in Holland, who later became known as Elvis’ manager, dropped out of school at the age of 12. As mentioned by Guralnick, his uncle owned a small circus, where he performed various tasks such as positioning the tent for maximum visual impact and watering the elephants. He also observed the acrobats to learn more about their craft.

Following a couple of unsuccessful attempts, he secretly embarked on a ship in 1929 destined for New Jersey. Soon after landing, he assumed the name Tom Parker. His military service was spent in Hawaii, followed by various odd jobs. However, it wasn’t until he joined the nomadic world of traveling carnivals that he found his passion. In this environment, Parker excelled at grassroots marketing, attracting massive crowds with eye-catching, exaggerated posters. As Guralnick notes, in the realm of the carnival and circus, one’s lineage was irrelevant. A firm handshake was as good as a promise, and everyone trusted and supported each other.

Parker discovered and signed up new talents as his clients. By the time he saw Elvis perform at the Louisiana Hayride in the summer of 1955, he had already achieved great success with singers like Hank Snow and Eddy Arnold and had earned the nickname “Colonel.” Elvis, he felt, was unique.

According to Guralnick, “He viewed Elvis as an individual without boundaries, a highly creative artist with immense determination.” Intriguingly, Parker was ready to forsake all his past accomplishments with Arnold and Snow to nurture this unproven talent. And he dedicated everything he had to the endeavor.

A quick glance at Parker’s extensive correspondence suggests a meticulous man who never overlooked the tiniest detail to satisfy his client. With a compact team of devoted associates, including his reliable confidant Tom Diskin, Parker managed every facet of Elvis’ business – from meals to publicity to hotel arrangements. Work was an enjoyable pastime for him, dominating his life, and he relished this arrangement. In a 1957 letter to friend Paul Wilder, he penned, “It is indeed these humorous letters and the belief that one must enjoy their work or grow stale that keeps me busy.

He zealously advocated for his prominent client without pause. As soon as he secured a management contract with Elvis, he began diligently persuading the William Morris Agency about the exceptional qualities of his artist. In a letter to agent Harry Kalcheim, he expressed that Elvis had a similar charm and abilities to James Dean, and if Kalcheim ever trusted one of his instincts, he should pursue this opportunity and wouldn’t be mistaken.

In his own words, Elvis admired Parker’s passion and dedication. He penned a letter to Parker in November 1955, just after signing a recording deal with RCA, expressing his commitment: “Trust me when I say I will stand by you come rain or shine, and do whatever it takes to uphold your trust in me.” He also expressed his deep affection for Parker, saying, “I feel about you as a father would.

According to Guralnick, Parker stood up for Elvis against every entity he interacted with. RCA aimed to transform him into a mainstream artist, similar to a crooner, but the Colonel prevented this from happening. When Kalsheim requested Parker to tame Elvis because he was too lively on stage, Parker declined.

The Colonel and the King” clarifies several persistent misconceptions about Parker, demonstrating that he did not intentionally sabotage Elvis’ career by providing him with poor content. Although Parker was firm during contract discussions, he had no influence over artistic choices and actively resisted record and film executives who sought to control Elvis’ creative direction.

As a devoted Elvis fan, I find it intriguing when Guralnick shares that Parker distanced himself from Elvis’ creative life. It was a collaboration on equal terms, yet Parker refrained from interfering in the artistic part of Elvis’ career. For many of us long-time fans, Parker’s hands-off approach, as seen in his letters, might seem contradictory to Elvis’ enlistment in the Army in 1958 and his subsequent deployment to Germany. As we’ve been taught, this period marked a significant halt in the initial prosperous phase of Elvis’ career, leading to the string of less-than-stellar Hollywood movies that transformed this former dynamo into a B-movie actor.

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Parker supported Elvis’ military enlistment – as his client wasn’t going to avoid the draft – but the plan to guide Elvis towards movies was a mutually beneficial strategy that both men believed would be financially beneficial at a time when Presley was grappling with his mother’s death and financial worries – much like Parker. As Guralnick notes, this change in direction significantly impacted Presley’s career. “It was both financial and psychological,” he says, “The Colonel had to reassure him, saying, ‘things will be even better than when you joined the Army, and when you return, you’ll earn even more money.’

Despite the less-than-impressive films like “Clambake” and “Harum Scarum,” Elvis’s musical talent and passion remained undiminished. His 1968 comeback TV special marked a new artistic era for him, leading to hits such as “In the Ghetto,” “Suspicious Minds,” and “Burning Love.” In 1969, Elvis embarked on a successful run of shows at the International Hotel in Las Vegas, but this success came at a price. His manager, Parker, developed a problem with gambling, while Presley himself became reliant on prescription drugs. As the years passed, Presley and Parker grew apart, with Presley preferring to surround himself with sycophants and exhibiting increasingly unpredictable behavior both on and off stage.

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1977 saw Parker being left on his own following Elvis’ demise, withdrawing to his Palm Springs residence. A decade later, Priscilla Presley and Jack Soden, President of Elvis Presley Enterprises, reintroduced him to the world of “Elvisland”. They organized an Elvis festival at the Las Vegas Hilton and sold all his memorabilia to the estate. However, he failed to regain his position as a top figure in the Elvis realm, which deeply disappointed him.

When evaluating Parker’s impact, Guralnick argues that it boils down to “the fantastic music he facilitated for Elvis, not through his own musical creations, but by establishing the conditions for Elvis’ creative freedom from the outset. Additionally, let’s not forget the joy he both provided and received from what he often referred to as the captivating realm of Show Business.

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2025-08-05 13:31