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16

FALL 2020TM

t’s been 43 years since Elvis Presley passed, but there will always be a Graceland to welcome us to the place he called home.

Located in Memphis, Tenn., the over 10,000-square-foot mansion, which Presley bought in 1957 for $102,500, became his retreat from the clamor of stardom — a place where family was welcome (and stayed). The place is complete with the Jungle Room (a Polynesian-style haunt on the fi rst fl oor complete with shag carpet on the fl oor and ceiling), a pool room, a TV room with three TVs, a separate building where his father Vernon managed his personal business, a trophy building stuffed with personal

memorabilia and a racquetball building. The Meditation Garden is where Elvis and many of his family members are buried.

When Elvis passed in 1977, mourners held a candlelight vigil outside the mansion and repeat the ceremony on every anniversary. Partially to help pay off mounting debts, Graceland opened to the public in 1982. The house remains as Presley furnished it, but the property has been extensively expanded, with a 200,000-square-foot exhibit and entertainment complex titled Elvis Presley’s Memphis and the 450-room Guest House resort.

The mansion is now the second-most-famous house in the United States (behind only the White House) with over 500,000 visitors a year. Visitors can experience home life as Elvis did, pose at the gate, have a moment of silence at the Meditation Garden, gawk at the impressive wall festooned with gold records, eat good Southern cooking at Vernon’s Smokehouse or classic American fare at Gladys’ Diner (named after Elvis’ parents), and leave a “love letter” on the graffi ti wall.

Graceland is also home to the

For Elvis Fans, All Roads Lead To The Golden Music Gates. By David Cohea

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One Lifelong Collector Shows How Being A Fan Means There’s Never Enough Elvis. By David Cohea

Owning A P iece Of The KingJoe Krein,

from upstate New York, became an Elvis fan at age 12 when his grandmother gave him a stash of LPs and 45s.

He says he was into a lot of bands back then, but there was something about Elvis that had him hooked.

He started out collecting “all the [Elvis] vinyl” he could fi nd. He’d heard that the fi rst album fetched a good price and was so proud when he was able to buy one used. “I thought I was in the money,” he says. “I didn’t even consider that long scratch right down the middle.”

Eventually a collector taught him the basics. “The fi rst thing he told me is that it’s not how much you own, but the quality of what you have,” he says. “And quality means provenance, condition and rarity.”

Krein especially likes ’50s-era

memorabilia, from when Elvis was fi rst making it big. There are plenty of collectibles from the era, as Elvis’ image was licensed for a universe of items sold to young consumers — record players, bracelets, toy guitars, bubble gum cards, autograph books — even dog tags, after Elvis went into the Army.

Elvis’ recording career hit a lull in the ’60s, resulting in slim pickings for collectors — records and movie paraphernalia, mostly. His image in the Hollywood glare became more reserved, his movies grew formulaic, and popular music moved on.

Then came his ’68 comeback TV special. At 33 years old, reunited with his old band and sporting a variety of jaw-dropping outfi ts, the Presley swagger came roaring back, and soon the fl oodgates of superstardom opened wide again for him. The next year, he opened a four-week gig at the International Hotel in Las Vegas, and his fl ashy, lip-curling, hip-fl inging performances told everyone the King of Rock ’n’ Roll was back. He went on to perform more than 600 sell-out shows in Vegas, completely redefi ning the Vegas spectacle for generations to come.

For Elvis collectors, there is a mother lode of Elvis Vegas collectibles to be had, from menus (festooned with Elvis’ image), table cards, posters, postcards, matchboxes, dice and swizzle sticks. Krein says that ’70s memorabilia is another favorite he collects — pins, tour programs and posters, jewelry, belt buckles, lipstick cases.

After the King’s death in 1977, Elvis memorabilia fl ooded the market. One source, according to Krein, is an aunt of Presley who was living at Graceland; afraid she was soon going to get thrown out, “she sold stuff off left and right.”

Joan Deary was the curator of Elvis Presley records at RCA when Colonel Tom Parker sold the record company rights to all previously unreleased Elvis recordings. Deary found an amazing hoard of tapes at Graceland, recordings that became the basis of a six-LP Golden Celebration set released in 1984. While she was there, Deary loaded up stacks and stacks of acetates (master pressings never intended for general release), one of which eventually ended up in Krein’s collection — the single “G.I. Blues,” released in 1960 when the movie of the same name was in the theaters.

The collecting business was one thing before the internet, with

more face-to-face selling at fan conventions. eBay changed

things considerably, making collecting Elvis a more

anonymous and pricey enterprise.

Krein, who launched his own website (elvis2001.net) as a way to meet up with other collectors, says the Elvis collecting fi eld is not quite what it was — it’s

$2,500Sealed

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Note: Value of items fl uctuate based on demand, condition and seller. Items and pricing from elvis2001.net and Heritage Auctions

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It Was The Year Where All We Wanted To Know Was: Who Shot J.R.? By Matt Roush

The cast of Dallas (clockwise from top left): Patrick Duffy, Victoria Principal, Barbara Bel Geddes, Larry Hagman, Linda Gray, Jim Davis and Charlene Tilton

INSIDE Take a trip back to 1980

hat a difference a decade makes.

As 1980 heralded the dawn of a new era, sweeping transformations loomed for anyone glued to the tube. CNN began broadcasting 24-hour

news in June, ESPN televised the NFL Draft for the fi rst time and MTV was just a year away from becoming a youth obsession, with a myriad of cable programmers soon to follow, upending the industry. But already, TV viewers could sense that times were changing.

Many of our favorite shows that carried us through the 1970s were in a tumultuous state of transition in 1980. On Little House on the Prairie, Laura (Melissa Gilbert) was no longer a “half-pint,” and got married to Almanzo (Dean Butler). The Waltons was beginning its fi nal season, after matriarch Olivia (Michael Learned) moved to Washington, D.C., with the Red Cross — the actress was ready to move on — and John-Boy was being played by a new actor (Richard Thomas had previously left the show).

Even more disorienting, All in the Family had become Archie Bunker’s Place, and in November, laid the beloved Edith Bunker (Jean Stapleton) to rest as widower Archie grieved, in a performance that would earn Carroll O’Connor a prestigious Peabody Award. Happy Days said goodbye to Richie Cunningham as Ron Howard left the regular cast to pursue his dream of directing. (Richie would eventually head to Hollywood to be a screenwriter.) M*A*S*H was somehow operating without Radar (Gary Burghoff), who went through the revolving door in 1979. And in a more contentious departure over salary, Suzanne Somers of the top-rated sitcom Three’s Company made her last full-time appearance as Chrissy, only to appear in future episodes on the other side of a 60-second telephone call to her former roomies.

Still, what most will remember about the year of 1980 in television was a shot heard round the world, as the nation focused on an all-consuming question: Who shot J.R.?Steee-rike!

The wait for an answer was excruciating for millions of Dallas fans because it didn’t come quickly. On the evening of March 21 on CBS, an unknown assailant gave that double-crossing, cheating scoundrel J.R. Ewing (the devilishly charismatic Larry Hagman) his just deserts, plugging him twice and leaving him fi ghting for life.

But the ugly business of show business, in the form of a disruptive actors strike launched in July, would delay the start of the traditional fall season for months, keeping everybody on edge in the ultimate cliffhanger. The furor even upstaged the presidential contest that year, as

Republicans reportedly distributed campaign buttons declaring “A Democrat shot J.R.” Not until late November, long after Ronald Reagan beat Jimmy Carter in a landslide, would viewers learn that J.R.’s mistress and sister-in-law Kristin Shepard (Mary Crosby) was the culprit.

The actors strike also contributed to a memorable Emmy Awards in September, when all but one nominated actor boycotted the ceremony in support of the union. Powers Boothe showed up to accept the Emmy for his role as cult leader Jim Jones in the CBS miniseries Guyana Tragedy: The Story of Jim Jones, noting in his speech, “This is either the most courageous moment of my career or the stupidest.”

Hagman, who was nominated, stayed home. So did Barbara Bel Geddes, who won for Best Actress in a Drama Series as Miss Ellie, one of the more improbable suspects in her son’s shooting.Ewing Spinoff

The resounding success of Dallas led to a boom in outrageous serialized drama, turning the ’80s into the golden age of the primetime soap opera. Right before the 1980 New Year, CBS launched the Dallas spinoff Knots Landing, a suburban potboiler set on a California cul-de-sac where Ewing black sheep Gary (Ted Shackelford) and wife Valene (Joan Van Ark) moved alongside neighbors including nurturing Karen (Michele Lee) and eventually the

scene-stealing vixen Abby (Donna Mills). More relatable to many than the antics of the Texas oil barons, Knots Landing would outlast Dallas and also run 14 memorable seasons.

Within a year, ABC would take on the Ewings with its own Dynasty, epitomizing a period of Reagan-era wealth and glamour in the lurid and opulent shenanigans of Denver’s Carrington and Colby clans. As Blake and Krystle Carrington, John Forsythe and Linda Evans were constantly bedeviled by his vengeful ex, Alexis, played to the diva hilt by Joan Collins. Whenever Krystle and Alexis went after each other in epic catfi ghts, whether in lily ponds or mud puddles, it was front-page news.There Was More Than Soaps

Critics may have dismissed the soaps as guilty pleasures, but they took notice of a revolutionary series that premiered to initial low ratings and immediate high prestige on NBC in the 1980-81 season. Hill

Street Blues, from Steven Bochco and Michael Kozoll, was hailed for its gritty realism and dark humor in the depiction of an urban police station. The adult situations, pungent dialogue and boldly tragicomic twists elevated the cop genre, setting a tone that would infl uence high-end TV drama for years to come, including another MTM Enterprises standout of the 1980s, St. Elsewhere.

Other higher-brow premieres that kept 1980 television from seeming like a so-called “vast wasteland” included two enduring PBS standouts: Carl Sagan’s dazzling Cosmos, which over 13 weeks opened our minds to imagining our place in the universe; and Masterpiece Theatre spinoff Mystery!, an anthology of classic British whodunits that had an early success with the droll Rumpole of the Bailey and would become a home for dramatizations of the best of Sherlock Holmes, Agatha Christie and P.D. James.

There’s always a place for exotic escapism on TV, and while the original Hawaii Five-O wrapped its 12-season run in 1980, within months CBS would be back in the Aloha state with Magnum, P.I., making an international star of Tom Selleck as the rakish, mustachioed Vietnam vet. Another star was born when Tom Hanks dressed in drag, alongside Peter Scolari, in the campy ABC sitcom Bosom Buddies. It aired for only two seasons, but was a launchpad for Hanks’ legendary Hollywood career.

Creating much less of a splash from June to October of 1980, an edgy comic was trying out wacky ideas like “Stupid Pet Tricks” on NBC’s short-lived The David Letterman Show. His time would come, two years later, and late night in the 1980s would never be the same.Matt Roush, “TV Guide Magazine’s” senior critic, is a nationally respected television journalist. He has served on the jury for the American Film Institute’s annual AFI Awards, selecting the best TV shows of the year. He has also served on the nominating committee for the Broadcast Television Journalists Association’s Critics’ Choice Awards.

STAR POWER Michael Warren and Charles Haid in Hill Street

Blues; Tom Selleck as Magnum P.I.; and Bosom Buddies with then-unknowns Peter Scolari

and Tom Hanks.

(Michele Lee) and eventually the

It Was The Year Where All We Wanted It Was The Year Where All We Wanted

BEAUTIFUL PEOPLE Dynasty stars John Forsythe, Joan Collins and Linda Evans

GLAMOUR COUPLE Joan Van Ark and Ted Shackelford in Knots Landing

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It Was Magic!

FALL 2020

It Was The Year Where All We Wanted It Was The Year Where All We Wanted It Was The Year Where All We Wanted It Was The Year Where All We Wanted It Was The Year Where All We Wanted It Was The Year Where All We Wanted To Know Was: Who Shot J.R.? To Know Was: Who Shot J.R.? To Know Was: Who Shot J.R.?

hat a difference a decade makes.

As 1980 heralded the dawn of a new era, sweeping transformations loomed for anyone glued to the tube. CNN began broadcasting 24-hour

news in June, ESPN televised the NFL Draft for the fi rst time and MTV was just a year away from becoming a youth obsession, with a myriad of cable programmers soon to follow, upending the industry. But already, TV viewers could sense that times were changing.

It Was Magic!

1980 Relive the pop culture events and icons that have a lasting impact 40 years later. Page 13

OUT FOR JUSTICESuperheroes from the Incredible Hulk to Wonder Woman dominated 1970s primetime television. Page 20

OWNING THE KINGElvis Presley may be gone, but his memory lives on for collectors of memorabilia. Page 16

Inside

here’s a scene in the HBO series

The Sopranos where Tony Soprano’s gang is hanging out in a backroom of the Bada

Bing strip club, counting the day’s take from some illegal operation. On

the TV, an organized crime expert talks about the decline of the mob in America. While the group grimaces at their pressing reality, Silvio (Steven Van Zandt) rises to do his Michael Corleone impression from The Godfather: Part III. “Just when I thought I was out, they pull me back in,” he mutters, fl ailing his hands. The wiseguys all laugh — and keep counting.

Some things are eternal, like vice, dirty deeds and our fascination with those who deal in such things. America has always loved its outlaws and naked peeks into the criminal night world.

That fascination is as old as printing presses and cheap pamphlets in Elizabethan England decrying “Murder Most Foul!” in lurid detail. In the 19th century, dime novels reveled in the escapades of Billy the Kid and Jesse James. All this would blossom darkly with the advent of movies. Early silent gangland classics include The Black Hand (1906), The Musketeers of Pig Alley (1912) and Underworld (1927), starring Clive Brook as “Rolls Royce” Wensel and George Bancroft as “Bull” Weed.

During the roaring Jazz Age of the 1920s, wealth and crime were closely woven, with Prohibition-era speakeasies furnished with illicit

booze by the likes of Al Capone. Gangland wars were epic both on the street and in the popular imagination, and characters inspired by triggermen like Machine Gun Kelly returned again and again to the silver screen.

Two early talkies, The Public Enemy starring James Cagney and Little Caesar with Edward G. Robinson, are considered classics of gangland cinema. The unrelenting violence and mayhem of organized crime found perfect expression in the two, with Robinson shooting his way to the bottom of the Chicago crime barrel and Cagney as the face of unbridled fury (except when turned toward his beloved mother).

The popular romance with gangsters grew as the Depression set in, with bank robbers getting some measure of comeuppance against a reviled banking system. John Dillinger’s exploits would be parlayed to the big screen many times, including Public Hero No. 1 (1935), High Sierra (1941) with Humphrey Bogart, Dillinger (1945) starring Lawrence Tierney, Baby Face Nelson (1957) with Leo Gordon, Dillinger (1973) starring Warren Oates and Public Enemies (2009) starring Johnny Depp. There was also a 1991 TV fi lm, called Dillinger, which starred Mark Harmon.

In the fi lm noir of the ’40s and ’50s, cops and robbers vied for the hearts of women who wanted it both ways (and so did we). Set deep

in the night when evil comes out from under its rock to play, crime bosses and hoodlums crossed paths with fl atfoots and G-men, and there always was a woman half in shadow nearby, deciding between light and darkness — Yvonne De Carlo in Criss Cross (1949) and Gloria Grahame in The Big Heat (1953).

Sometimes women stepped into the leading role — Faye Emerson played a bank robber in Lady Gangster (1942) as did Peggy Cummins in Gun Crazy (1950). Then there were all of those eeeeevil femme fatales — Lizabeth Scott in Too Late for Tears (1949) or Jane Greer against Robert Mitchum in Out of the Past (1947).

With the advent of television, shows focused on crime-fi ghters who could deal hard hits to the mob — like the ABC series The Untouchables (1959-63), starring Robert Stack as the unbeatable Eliot Ness fi ghting crime in 1930s Chicago. In ABC’s Naked City (1958-63), detectives of the NYPD’s 65th Precinct took on the city’s ne’er-do-wells. (Every episode concluded with: “There are 8 million stories in the Naked City. This has been one of them.”) Efrem Zimbalist Jr. played another G-man as Inspector Lewis Erskine on ABC’s The F.B.I. (1965-74). These no-nonsense, “just-the-facts, ma’am” crime-fi ghters were clean-cut and powerfully groomed, giving the impression that crime didn’t stand a chance against the minions

of law and order.In the late 1960s, Hollywood’s

Hays Code (the motion picture censorship guidelines) was abandoned, allowing studios and fi lmmakers greater latitude to address formerly off-topic subjects. Arthur Penn’s Bonnie and Clyde (1967) reveled in the Depression-era bank robber Clyde Barrow (Warren Beatty) and his girlfriend Bonnie Parker (Faye Dunaway). Martin Scorsese’s Mean Streets (1973)

Bloody And Brutal, Why Do We Love Every Little Nuance About These Gangsters, Films And Shows? By David Cohea

James Cagney and Jean Harlow in The Public Enemy

TM

THE PAST IS A BLAST! ReMIND magazine offers fresh takes on popular entertainment from days gone by. Each issue has dozens of brain-teasing puzzles, trivia quizzes, classic comics and monthly themed features from the 1950s-1990s!

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The Sopranos, (L to R)

Tony Sirico, Steven Van

Zandt, James Gandolfi ni,

Michael Imperioli

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The Untouchables

(1949) or Jane Greer against Robert Mitchum in Out

With the advent of television, shows focused on crime-fi ghters who could deal hard hits to the

The (1959-63), starring

Robert Stack as the unbeatable Eliot Ness fi ghting crime in 1930s

Naked City (1958-63), detectives of the NYPD’s 65th Precinct took on the city’s ne’er-do-wells. (Every episode concluded with: “There are 8 million stories in the Naked City. This has been one of them.”) Efrem Zimbalist Jr. played another G-man as Inspector Lewis

(1965-74). These no-nonsense, “just-the-facts, ma’am” crime-fi ghters were clean-cut and powerfully groomed, giving the impression that crime didn’t stand a chance against the minions

Al Pacino in The Godfather

See page 2 for more ReMIND favorites, most of which you can still fi nd on your TV today.

Ray Liotta, Robert De Niro, Paul Sorvino and Joe Pesci in Goodfellas

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E-EDITION: In this rapidly changing news environment, make sure your digital account is activated so you can read the latest local news. A digital copy of your newspaper is included with your membership. Visit helenair.com/activate to activate your account.

HOLLY K. MICHELSholly.michels@lee.net

A spokeswoman for Mon-tana Republican U.S. Sen. Steve Daines said Friday the senator still feels the presidential elec-tion is not yet settled.

Daines, along with many of his Republican colleagues in the U.S. Senate, have not acknowl-edged Joe Biden’s status as pres-ident-elect after The Associated Press and all other major news outlets called the race for Biden last Saturday.

A few prom-inent Repub-licans, such as Trump’s former national secu-rity adviser, John Bolton, told NPR on Friday that GOP lawmakers should “ac-knowledge the reality” of Biden winning the election.

In Montana, Republican Sec-retary of State Corey Stapleton has been an outlier to date. Sta-pleton, who lost a bid in the pri-mary for the GOP’s U.S. House nomination, tweeted last Sat-urday encouraging Republican President Donald Trump to ac-cept the outcome.

“I have supported you, Mr. President, we (Montana) have supported you — and @real-DonaldTrump accomplished some incredible things during your time in o� ce! But that

TYLER MANNINGtyler.manning@helenair.com

Helena Public Schools added 61 COVID-19 cases during the last two weeks, which was its biggest spike yet.

These cases bring the school district’s total to 120 since the beginning of the pandemic, nearly doubling the total count. Cases have now been reported

at every Helena school except Bryant and Warren elementary schools, as well as the Access to Success high-school diploma program for adult learners.

School district Superinten-dent Tyler Ream said this in-crease mirrors what is happen-ing in the greater Helena area. He said some of the positive cases were students and sta� members enrolled in the Digital Learning Initiative, who have not been in the schools for months.

“I’m unsure what the state

considers a ‘school-associated case,’” Ream said. “We report every student or employee re-gardless of whether or not they are in the Digital Learning Initia-tive or not.”

Ream also said public health o� cials have not identifi ed any Helena school as a source of transmission, which means that most of the school-associ-ated cases were not contracted in the schools. Ream attributed this to this year’s school sched-ule, which brings one group of

students into the classroom on Monday and Tuesday and a separate group of students into the classroom on Thursday and Friday, limiting close contacts within the schools.

The new cases seem to be more sporadic and not exponential, according to Ream. He said there has never been an increase of more than three cases for a single school in a single day.

Ream said the increases are

Helena schools take extra precautions amid virus spike

THOM BRIDGE, INDEPENDENT RECORD

Bryant Elementary School custodian Mike Higgins uses a electrostatic sprayer to sanitize a kindergarten classroom at the school on Friday.

Daines, other GOP say counts not settled

NOLAN LISTERnolan.lister@helenair.com

About 75 supporters of Pres-ident Donald Trump took to the Montana Capitol grounds Saturday afternoon to oppose the 2020 presidential election results in conjunction with the Million MAGA March in Wash-ington, D.C.

Organizers of the local itera-tion of the so-called “Stop the

Steal” campaign, Helena resi-dents Jake Cocoran and Kate Co-coran, said they used Facebook to plan the demonstration, which stuck to the southeast corner of the intersection of Montana and Sixth avenues. The Associated Press reported that Facebook recently banned a large group called “Stop the Steal” after some members called for vio-lence and falsely claimed that

Democrats are stealing the elec-tion from Republicans.

“We ask that people do their own research, instead of listen-ing to everything the media tells them,” Jake Cocoran said.

Despite the AP’s more than 170-year history of calling pres-idential elections, Jake Cocoran insisted the AP and other media

Supporters gather at Capitol

Superintendent says sta�ng a big concern

PRESIDENTIAL ELECTION

Daines

MILLION MAGA MARCH

GARY MARSHALL, BMGPHOTOS.COM

More than 70 protesters joined the Million MAGA March Saturday at the Montana Capitol.

Please see SCHOOLS, Page A5 Please see COUNTS, Page A5

Please see MARCH, Page A5

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