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"What Is Elvis Presley doing to our Children?"
From Canadian Home Journal - June 1957
- Spotlight by Piers Beagley / Paul Gansky
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The fourth in an EIN series looking at early, original magazine articles about Elvis Presley |
A fascinating feature in Canadian Home Journal magazine, published June 1957.
The front cover listed the story as
"WHAT IS PRESLEY DOING TO OUR CHILDREN?"
Is this mass hysteria harmful to adolescents?
Three experts suspect it is.
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"They are at the mercy of their own immature impulses... The reports are that the girls in a Presley audience behave for the most part in the same way: that they hold their bodies in the same positions, make the same kind of motions with their arms, and have much the same expressions on their faces and scream in much the same way - and I suggest that this similarity of behaviour is not just a coincidence." |
Original article by Helen Kirk
I sat three feet from Elvis Presley in a stuffy windowless dressing room while thirty or forty writers questioned him for over an hour about himself, his work and his private life and a dozen cameramen exploded flash-bulbs at the rate of one every few seconds.
Presley sat on a trestle table, apparently at case, smiling, gesturing and answering questions in what appeared to be a frank and spontaneous manner. Behind him, and silent, were a half dozen members of his entourage.
Presley had himself and his inquisitors well under control. The entire hour and fifteen minutes might have been rehearsed.
He was wearing it pair of gilded shoes that were made to match the $4,000.00 gold lamé suit he wears on stage, a red jacket, a ruffled silver lamé shirt open at the neck, dark trousers and white socks.
He laughed often at the reporters' questions, some of which were obviously loaded and intended to trip him up, and at his own replies. The crowd joined him each time. He addressed the women as "ma'am": the men, "sir".
To one reporter who asked. "Do you think all teenagers are crazy?", he replied with a bemused grin, "No man! I'd be crazy if I thought that!"
Asked if teenage reaction to his performances was the same in the southern United States as it was in the north and Canada he replied, "A group of kids are the same anywhere."
He refers to his father as "my daddy". His voice is soft with a pronounced southern accent.
Someone asked. "Have you any advice to give teenagers?"
"When I was in high school I thought it was for the birds but I realized after I got out and started working and meeting people how very important it was to stay in school as long as possible."
"When you were a kid did you ever think about being famous some day?"
"My cousin and I", replied Presley, indicating a thin, blonde youth standing nearby, "were raised up together and used to sit and talk about being rich some day. But we never thought it would happen. And it still seems like it isn't happening."
"Do you know what makes the teenagers scream and carry on the way they do?"
"No."
"When was the first time your act drew screams from an audience?"
"The first time I was ever in front of a live audience" said Presley. "I did what I do now and a few girls in the audience screamed. I didn't know what for. Afterwards my manager said to keep on doing that. So I've been doing it ever since. I don't know what you'd call it though."
I went away from the conference and into the huge auditorium to watch Presley's act. I'd never seen him perform except on television.
I was impressed with the way he'd handled himself during the interview. He wasn't the brightest performer I'd ever interviewed but certainly one of the coolest. He'd frankly admitted he "didn't understand classical music" but had some in his record collection which he "didn't ever play."
His English failed him at times but never his poise. Asked about his "range" he'd answered, "What's that?", and admitted he didn't read music but learned his songs by ear and could accompany himself on the guitar with chords.
His voice couldn't explain his popularity. He himself admits it's "just a style".
The quartet that accompanies Presley appeared on stage. There were squeals of recognition from the audience and more during the few songs they sang. Between songs they talked about Elvis or simply referred to "him", each time drawing an explosion of shrieks from the crowd.
When the quartet retired backstage a master of ceremonies appeared and whipped the crowd to frenzy with promises that "he" was about to appear.
By the time Presley did step into the spotlight his audience was well primed. The auditorium became a nightmare of piercing shrieks and screams front 18,000 young throats. Each time he moved the deafening sound swelled to even greater intensity. This went on for at least five minutes during which time Presley moved casually around the stage in his gold lame suit posturing almost awkwardly and smiling into the crowd.
Then he began to sing. But his performance was more a pantomime. He, his quartet and musicians, could only be heard in snatches when he wasn't contorting his body or face. Screams and shrieks poured in waves from all sides of the huge auditorium and increased in direct proportion to the intensity of his gyrations which closely resemble those of a burlesque dancer.
He jerks the lower part of his torso, and his legs backwards and forwards, stands on the sides of his feet and when his hands aren't rigidly in the air above his head they're dangling loosely at his sides or placed flat on his thighs.
Directly behind me were two young girls, somewhere in age between fourteen and sixteen. They sat tensely crouched forward with their hands closed into fists and alternately in the air or pressed tightly into their laps. Their faces were moist with perspiration, their eyes wide and staring and fixed unwaveringly on Presley.
Each time he moved two spontaneous screams split the air. Sometimes the two of them screamed once - sometimes several times in succession. They appeared to be on the verge of hysteria.
Within my range of vision there were dozens more about the same age in the same attitudes. The crowd was estimated at 18,000 mostly teenagers.
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I was outside and yet in the very midst of a kind of emotional violence I'd never witnessed before and couldn't understand or assess and I felt vague uneasiness that mounted at times to fear. The few adults sitting in nearby seats began to leave - one of them shaking his head in bewilderment. I left shortly afterwards.
Responsible intelligent adults who have seen Presley in action, and their own and other children in reaction, are alarmed. Some parent, who saw Presley's Toronto performance left the auditorium "shocked" and "disturbed" by what they'd seen - with uneasy questions in their minds and no answers.
Dr. Edward Rosen, of the University of Toronto's Department of Psychiatry, who recently conducted a Journal Teen Session on emotional problems, suggested that this strong emotional reaction to Presley is characteristic of the present generation of teenagers and that their parents would likely have behaved quite differently if Elvis had appeared when they were youngsters.
"In the past few decades." Dr. Rosen said, "we have witnessed the release of our teenagers from adult control.
"In the last generation there was a general agreement among parents about what was acceptable behaviour for youngsters and children were expected to abide by the rules.
"Nowadays," he went on, "parents try to deal with the problem on an individual family basis. There are fewer socially accepted standards of behaviour. The teenagers have developed group methods of opposing their parents and the technique has become very successful. There are few parents today who can withstand the onslaught of 'all the kids are doing it so it must be all right'."
In other words, the teenagers themselves are establishing their own rules of behaviour, instead of complying with the rules agreed upon by their parents.
"Over the years," Dr. Rosen pointed out, "what the kid, think is 'all right' has changed from collecting photographs to squeals and screams and some other forms of contortionism which strike some parents not as elemental but as crude and vulgar."
Dr. Rosen suggests this situation is being "exploited by professional techniques because it has become a profitable business."
He explained the shocked reaction of an adult to a Presley demonstration in these words: "The mature human response to a Presley audience is one of awe and almost horror. The reaction is not unlike that of a normal person who, for the first time, is confronted by a frankly psychotic person. Think of yourself in a room full of people who appear detached and removed from reality, eyes glazed in a fixed stare, carrying out movements that seem automatic and controlled from an outside source. You would probably feel a degree of anxiety and fear, depending on sensitive you are. Your feelings could he relieved only by seeing these people change back to normal reality. The possibility that they may not return to normal terrifies you."
Teenage reaction, of course, is as different as the difference in age and maturity.
Dr. Rosen said, "Adolescents are vulnerable and disposed to states of unreality. They are in a period of change. They are in an in-between stage and have left their child-like patterns of living and are trying to cross over into adulthood. In this cross-over stage they are without their old tried and-true bearings and have not yet developed new and assured ways of self-expression. They are at the mercy of their own immature impulses and are readily influenced by outside forces.
The reports are that the girls in a Presley audience behave for the most part in the same way: that they hold their bodies in the same positions, make the same kind of motions with their arms, and have much the same expressions on their faces and scream in much the same way and I suggest," he went on, "that this similarity of behaviour is not just a coincidence. They don't all just happen to be affected by Presley in exactly the same way. They are merely imitating their close neighbour with whom they are in visual and emotional contact and communication.
"In this way each child is not in direct control of her own behaviour but becomes the victim of a fast-spreading, cumulative mass feeling. In short, the audience becomes a mob.
"They are practising the art of holding back their own will and self-direction for the experience of being suspended in an in-between uncontrolled state in which their feelings can be fanned to greater and greater heights while they enjoy the passive pleasure of being dominated by another person. It is an exaggeration of the feeling you have when you allow yourself to float on the surface of the water and let the waves and wind move you about."
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Above photo taken from Paul Sweeney's book 'One Night In Toronto' - sadly the article only included the one Elvis photo |
J. K. Thomas, consulting psychiatrist and author of the Journal's column "How To Stay Married" feels that the disturbing aspect of Presley's performances and teenage reaction to them is their sexual content.
"Certain forms of mob hysteria have social approval," he points out. "Spectators may groan, shout and cry in thousands at a World Series baseball game without incurring disapproval. When movie stars or Royalty appear, hundreds of police are required to keep enthusiasm within socially approved limits. The attraction of one sex for another, dancing and romancing, is more or less socially approved.
"The problem of Presley may be that if the hysteria has a sexual tinge, it fails to meet with social approval and society begins to get scared at this point."
Dr. Karl Bernhardt, the Journal's child psychologist and assistant director of the Institute of Child Study at the University of Toronto, is inclined to believe than there is some danger in this kind of "mass hysteria."
"Adolescents go to see Elvis Presley expecting to be excited," he said, "and when you get them all together in a crowd, all excited, you get something that approaches mass hysteria and this is extremely contagious. They are in a semi-hypnotic, trance-like state being controlled by and reacting to outside stimuli.
"On one hand, I doubt that in most cases it would any permanent damage but I suspect that once a person voluntarily loses control to this extent he would he more likely to lose control a second time and a third time, perhaps under different circumstances.
"As far as the sexual overtones of Presley's performance are concerned, I doubt that the adolescent audience is aware of it - at least not in an intellectual sense. They would probably be surprised if anyone said to them, 'Your frenzy and screaming is your response to sex stimuli".
"At this age they are susceptible to anything with a sex connotation without consciously relating it to sex."
Is this strange emotional experience harmful to adolescents? Will it have any permanent effect on them or will it be forgotten as soon as they leave the theatre or arena and take up their ordinary lives again?
Dr. Rosen said he didn't know for sure. "Only time and research will determine whether these emotional baths are harmful to adolescents. Presley may or may not be succeeded by another entertainer of the same kind. Perhaps he's a phenomenon of this era.
Teenage vogue may suddenly switch to something less disturbing. If he is succeeded by another like himself and illegitimate births and forced adolescent marriages rise, our own successors might be justified in marking this period as a stage in the social progress of breaking down emotional and behavioural inhibition."
Until sufficient time has elapsed and enough research has been done to discover whether or not Presley is having a permanent harmful effect on our children, parents, of course, will have to use their own judgment about the situation. If Dr. Rosen's argument about the breakdown of parental control over children is correct, however, how are we going to exercise any control over the situation?
"In a period of change such as adolescence," said Dr. Rosen, "children need firm but kind control and direction. They are unable to handle too much freedom because they don't know what they want and are not too sure they can direct themselves. There is nothing that relaxes a teenager more than the presence of an emotionally strong adult who can understand the degree of freedom and control that a teenager can tolerate.
Only good judgment can prevent errors of over-control or too much freedom. Without such control teenagers are at the mercy of their own immature impulses and are readily influenced by outside forces." |
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Spotlight by Piers Beagley / Original magazine supplied by Paul Gansky
-Copyright EIN June 2025. Do Not reprint or republish without permission.
Click here to comment on this article
Spotlight "Elvis Presley: Hollywood Hot Shot or Flop?" Movieland magazine 1956: From Movieland magazine the October 1956 issue.
... 'The most controversial performer in show business today is husky, long-haired, hip-swinging, rock 'n' roll singer Elvis Presley. ... and he can afford to smile at the controversy the mere mention of his name arouses. To date such controversy has meant a million gross within his first show biz year as well as a comfortable seven-year Hollywood film contract.
Hal Wallis, who signed Martin and Lewis to their first Hollywood contract, is the astute producer who is willing to gamble on having the right answer to the question: "Elvis Presley - Hollywood Hot Shot or Flop?"
The third in an EIN series looking at early, original magazine articles about Elvis Presley.
Go here to discover more & with some lovely rare photos..
(EIN Spotlight by Piers Beagley / Paul Gansky)
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Spotlight "The Impact of Elvis Presley" LIFE magazine 1956: From the well-respected LIFE magazine August 27 1956 issue.
'Elvis - a Different Kind of Idol' Presley’s impact piles up fans, fads and fears.
In it they note that, "Up to a point, the country can withstand the impact of Elvis Presley as a familiar and acceptable phenomenon" as the US had seen it before with Sinatra and Rudy Vallee.
"The rewards of this, bump and grind, fearless expression are almost unbelievable for the young man who gave up his truck driving job two years ago to become a full-time singer."
Luckily the local Trinity Baptist Church was saying a Prayer For Elvis with the Reverent Gray noting that Elvis "had achieved a new low in spiritual degeneracy."
Elvis' career certainly lasted a little longer than the LIFE magazine writers expected back in 1956!
The second in an EIN series looking at early, original magazine articles about Elvis Presley.
Go here to discover more & with some lovely rare photos..
(EIN Spotlight by Piers Beagley / Paul Gansky)
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Spotlight "Elvis Presley: Sun's Newest Star": Printed in the US 'Cowboy Songs' June 1955 issue this was the first national magazine article about Elvis.
The magazine was dedicated to "Hillbilly - Western Songs" and "Favorite Folktunes", country musicians Webb Pierce, Ferlin Husky and The Davis Sisters were all noted on the font cover - along with "Elvis Presley - A Dream Come True".
The article noted that, 'Elvis Presley 'Sun’s Newest Star' at 19 is already enjoying the first reality of life’s dream: to sing for people and hear the spontaneous applause that means he’s made a hit!'
It is interesting that despite the magazines focus on folktunes / country songs the article praises Elvis for his "authentic treatment of Rhythm and Blues songs".
The first in an EIN series looking at early, original magazine articles about Elvis Presley.
Go here to discover more..
(EIN Spotlight by Piers Beagley / Paul Gansky)
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Magazine Review -'Remembering Elvis... The King at 90': LIFE magazine commemorates Elvis' upcoming 90th birthday. It is described as:
“Celebrate the King of Rock 'n' Roll with this keepsake biography of Elvis Presley, lavishly illustrated with dozens of historic photos, including many from the archives of LIFE magazine.
“A detailed timeline traces Elvis's life from when he received his first guitar to his glory days filled with recording, acting, and gyrating for shrieking fans, to his great '68 comeback, and right up to his untimely death in 1977.
“Intimate photojournalism combines with insightful text to reveal Elvis behind the scenes: at Graceland and on the road, with Priscilla and Lisa Marie, in front of the cameras, and on the stage.
Explore the days of "Heartbreak Hotel," "Don't Be Cruel," "Blue Suede Shoes," "Jailhouse Rock," "Love Me Tender," "Blue Christmas" and so many other unforgettable hits.
Does the magazine add anything new to their previous "Remembering Elvis" publications?
EIN's Piers Beagley shelled out hard-earned cash hoping for something new, but sadly he was disappointed - Check out our review to find out why.
(Book Review, Source;ElvisInformationNetwork) |
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'The Elvis Files Vol. 1 1953-56' In Depth Book Review: The first volume of the Elvis Files story, chronicling Elvis' rise from his pre SUN discovery to becoming the world's biggest new sensation - nearly 600 pages & over 1,400 photos...
All ELVIS EVENTS in this Time Frame Period 1953-1956 are shown..
- Every Working Moment...
- The Early Tours
- Plenty of CANDID Moments.
- Elvis Interviews
- The TV Shows
There is an incredible impact to this book that can shock even the most blasé of Elvis fans who think they have seen it all before. The amazing amount of sensational images, interviews and informative articles gathered together within its 600 pages is stupefying.
Of all the books I have previously purchased about early Elvis none of them demonstrate the excitement and dynamic life of Elvis as well as this superb volume. No other series of Elvis photo-books comes close.
Click here to find out what it includes with lots of example pages, book extracts - plus great ELVIS photos
(Book Reviews, Source;EIN) |
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'Elvis Presley: The Searcher' EIN Spotlight: The 2018 HBO Documentary & SONY release
The three-hour, two-film presentation focuses on Elvis Presley the musical artist, taking the audience on a comprehensive creative journey from his childhood through the final 1976 Jungle Room recording sessions. The films include stunning atmospheric shots taken inside Graceland, Elvis’ iconic home, and feature more than 20 new, primary source interviews with session players, producers, engineers, directors and other artists who knew him or who were profoundly influenced by him.
In our extensive spotlight EIN tracks the publicity, interviews and the reviews...
Compiled by Piers Beagley
Go here for Everything You Need To Know
(Spotlight, Source;ElvisInformationNetwork) |
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"Baby, Let's Play House": Recorded at Sun Studios in February 1955, Presley’s historic rendition of "Baby, Let's Play House" reveals the comprehensive love for – and knowledge of – the blues. Compared to the Arthur Gunter original Elvis’s version is much more emphatic, playful, exuberant, tougher and scornful. The interplay between Bill Black’s thunderous bass-slapping, Elvis’s audacious, experimental vocal – he makes use of every trick in his rapidly expanding vocal repertoire – and Scotty Moore’s snarling rhythm guitar creates something that transcends such labels as country and blues.
“You may have a pink Cadillac but don’t you be nobody’s fool.” But who is Elvis singing to here?
In this EIN Spotlight respected author Paul Simpson takes a fascinating look at this Sun Studios Elvis classic..
(Spotlight, Source;PaulSimpson/ElvisInformationNetwork) |
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Did Elvis Record 'Tiger Man' At Sun?: A question that has puzzled Elvis fans through the years is whether he actually recorded the song ‘Tiger Man’ during his years at SUN studios.
The basic question is why did Elvis refer to 'Tiger man' several times in concert as “The second song that I ever recorded, not too many people heard it”?
And if Elvis DID record it, then why hasn’t any reference to it at SUN or proof of its existence been found?
Elvis would first perform ‘Tiger Man’ in concert at his first 1969 Las Vegas International season and would continue playing it through the years – usually in a medley with Mystery Train - until his last performance at Saginaw on May 3 1977. He would sing it over 150 times on stage!
The thought that there might be an acetate or undiscovered tape of Elvis at SUN singing ‘Tiger Man’ is a mouth-watering concept - but is it an unlikely fantasy or strong possibility?
Go here to our detailed 'TIGER MAN' spotlight as EIN's Piers Beagley puts in the hard yards to check the facts from the fantasy .
(Spotlight; Source;ElvisInfoNetwork) |
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'1956, Elvis Presley’s Pivotal Year': TIME magazine featured this recent article by SONY/FTD's music producer and consultant Roger Semon. The article helps explain to readers what the new deluxe box-set 'Young Man With The Big Beat' is all about.
... "In the mid-1950s, the post-war Eisenhower era of social conformity in America was at its peak, and musically, the most threatening image appeared to be Bill Haley’s kiss-curl as he sang “Rock Around The Clock.” That all changed on Jan. 28, 1956, when a raw and electric Elvis Presley made his breakthrough on the CBS program Stage Show. Presley’s good looks, sensuous moves and mesmerizing voice made him a sensation overnight. But it wasn’t until a third appearance on the show that Presley truly challenged the status quo. On Feb. 11, the singer performed “Heartbreak Hotel” and by April, the single would be #1 on the Billboard chart. At last, teenagers had music of their own to swoon over while their parents continued listening to Frank Sinatra and Mario Lanza....
Click HERE for the full article and fabulous Elvis Photos.
(Spotlight; Source;Time/ElvisInfoNet)
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EIN Website content © Copyright the Elvis Information Network.
Elvis Presley, Elvis and Graceland are trademarks of Elvis Presley Enterprises.
The Elvis Information Network has been running since 1986 and is an EPE officially recognised Elvis fan club.
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| 'The Wedding' Elvis & Priscilla EIN special Spotlight: |
| John Lennon And Elvis: It was "Thirty Years Ago Today" |
| Elvis at Madison Square Garden 40 Years Ago |
| 'Elvis In Ottawa' Spotlight & Elvis Interview: |
| '1956, Elvis Presley’s Pivotal Year': |
| 'Elvis In Concert' 1977 TV special; Should it be released officially? |
| Ernst Jorgensen interview about 'The Complete Masters' and more: |
| Dark Side of the Colonel |
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Audio-Visual |
| Graceland cam |
| EPE's Multimedia Elvis Gallery |
| Sirius Elvis Satellite Radio |
| Elvis Radio (ETA's) |
| Elvis Express Radio |
| Ultimate Elvis Radio |
| Elvis Only Radio |
| "Images in Concert" PhotoDatabase |
| Radio Interview: Vernon & Gladys Presley |
| Sanja's Elvis Week 2007 Photo Gallery |
| 'EIN's Best of Elvis on YouTube' |
| The Music of Elvis Presley - Australian Radio Show |
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Reference |
| All about Elvis |
| All about Elvis Tribute Artists |
| All about Graceland |
| All about Lisa Marie Presley |
| Ancestors of Elvis |
| Art Archives |
| Book Releases 2009 |
| Contact List |
| Elvis and Racism |
| Elvis as Religion |
| Elvis CDs in 2007 |
| Elvis DVDs in 2006 |
| Elvis Film Guide |
| '2007 New Releases' |
| Elvis Presley In Concert "downunder" 2006 |
| Elvis Online Virtual Library |
| Elvis Research Forum |
| Elvis Rules on Television |
| Graceland - The National Historic Landmark |
| How & where do I sell my Elvis collection? |
| Is Elvis the best selling artist? |
| Links to Elvis' family & friends |
| Links to other Elvis sites |
| Marty's Musings |
| Online Elvis Symposium |
| Parkes Elvis Festival 2009 (Australia) |
| Presley Law legal archives (Preslaw) |
| Presleys In The Press |
| Sale of EPE (Archives) |
| 6th Annual Elvis Website Survey |
| Spotlight on The King |
| "Wikipedia" Elvis biography |
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