Elvis- a name so unusual that it has become an icon in itself. Even Elvis ‘the man’ had trouble living up to Elvis ‘the persona’ that he created out of himself.  Like cells splitting, we now have thousands of versions of Elvis the persona living, singing, acting, and becoming “Elvis Tribute Artists.” They have been called impersonators, impressionists, stylists, performers, interpreters, and many other names, but they all have one thing in common; they love Elvis, whoever he is in their hearts.

It is all about transformation. Elvis made himself into a showman, with the help of The Colonel, a word of advice about clothing from Liberace, the support of his fans, and particularly in his own Elvis-unique, flamboyant style. Elvis set the bar for later rock and roll extravagant productions, concerts, music videos, and the entire culture/industry that it has become. The first music videos were his movies, the first gyrations were from his hips, the first gaudy outfits were his own, the first elaborate stage shows were ritualized by him. While the world of rock and roll has splintered into its own variations of hard rock, hip hop, rap, oldies, etc., the fans of the original man and his style of music continue to etch the indelible mark of Elvis in a variety of ways. The most prominent and visible incarnation of Elvis fandom is the plethora of Elvis Tribute Artists, also known as ETAs, who experience an incredible transformation. They become something new, a hybrid person; a new persona mixing Elvisness into themselves.

Each ETA works very hard to master the voice, the range of moves, the gestures, the subtle inflections, the overt costuming, the stage presence, the hair, a sense of humor and so many more aspects of unique Elvis traits that they cannot be totally described. But many ETAs do talk about the change that occurs when they ritually adopt the persona, starting with getting dressed, fixing their hair, and practicing the music. As tribute artist Rick Marino puts it, “like Superman, you feel the power when you put on the jumpsuit.” Something indescribable happens; the guy who normally takes his kids to school, or goes to a nine-to-five job, or leads some sort of ordinary life, becomes more than himself. He is not one or the other, but, like “fusion” food, he is a new flavor borrowed from several sources; satisfying and appealing in his own way. That combination is exactly what distinguishes one ETA from another. The unique blending of personality and talent, voice and movement, and look and sound is what spur competitions for the “best.”

The transformation provides an illusion as well as a new reality. Fans make the leap from the person singing, into Elvis; to experience the suspension of disbelief and get lost in the memory of Elvis. Conversely, other fans fall equally in love with the actual ETA, who has his own stage presence and voice. He may don the clothes and style, but manages to maintain his own individuality. The quality of “tribute” becomes the dividing point between the professional ETA and the amateur.  So many people have the same dream, the same love, the same urge to be part of Elvis and his world, that they almost can’t help themselves from trying it out. It is said that imitation is the sincerest from of flattery, In this case, the flattery can also lead to mockery and humiliation if the ERA has not practiced enough, or for some reason cannot maintain the illusion. Connoisseurship exists in all things, including subcategories of subcultures.

Elvis was not Hispanic, Asian, black, female, disabled, or a midget; however, the ERAs come in every shape, color, nationality, age, sex, and disposition imaginable. Elvisness transcends all of these outward barriers. It is the inner life of the ETA that is important. Inside he (or she) may have a connection with Elvis that is spiritual, emotional, physical, etc.. Elvis continues to get under the skin of his fans in a very genuine way.

The ETAs exhibit their soulful selves every time they perform. They also bring joy, hope, and rejuvenation to people who share a connection with Elvis. They jumpstart memories of a different life, perhaps of a more youthful time when Elvis was in his prime, or when life was simpler, easier, or just more fun. The ETAs are the embodiment of a dream, an illusion. That illusion is the search for Elvis himself. Each fan has an idea of Elvis. Each fan has a dream of Elvis. Each fan has a longing for Elvis. The ERA becomes the embodiment of that fantasy.

I hope you will enjoy the photographs, but mostly I hope you will enjoy who these people are, and what they mean in the world. We all have our fantasy lives, and admire someone, or love something. These people are not just about trying to be Elvis, who lived out the American dream, they are about living your own dream..

Patty Carroll