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Spotlight Exhibit: The Colonel Says, 'How Much Does It Cost If It's Free'

Presented by Country Music Hall of Fame and Museum at Country Music Hall of Fame and Museum

October 1, 2009-December 31, 2010

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The exhibit, which is located within the Museum’s permanent exhibition and titled after one of Parker’s famous slogans, The Colonel Says, “How Much Does It Cost If It’s Free,” is now open and will run through March 2010.

Incorporating photographs, business documents, letters, apparel and promotional materials from the Museum’s collection and from Elvis Presley Enterprises, Inc., “Graceland,” the exhibit will trace Parker’s life and career, from his days as an immigrant carnival worker to his time as a powerful, pioneering artist manager.

Colonel Parker managed Elvis Presley from 1955 until the singer’s death in 1977. Prior to managing Presley, Parker helped transform Eddy Arnold into a country superstar with his own radio shows, movie roles, Las Vegas bookings, and an unparalleled resumé of #1 records. In steering the careers of both men, Parker revolutionized the artist management role, displaying an unprecedented marketing savvy while exercising near-total control. His energetic, all-encompassing management style created a blueprint that is still followed today.

Parker, a purposeful, perceptive, and mysterious character, was born Andreas Cornelis van Kuijk in Breda, Holland, and entered the United States illegally in 1929. After serving in the Army for three years in Hawaii, he moved to Florida, where he joined the Johnny J. Jones and Royal American carnivals, passing himself off as a native West Virginian under the name of his former commanding officer, Thomas Parker.

After several years of carnival life, Parker settled down and became director of the Tampa Humane Society (he was, among other things, Tampa’s chief dog officer) where he developed a remunerative range of pet service-pitches that translated seamlessly into showbiz promotion.

He started off with Gene Austin, Roy Acuff, and Ernest Tubb, focusing at first on Florida tours exclusively but gradually expanding his show-business activities until in 1944 he met Eddy Arnold on a Jamup & Honey tent show. He managed Arnold as his exclusive client from 1945 until 1953, developing a range of unique promotions that helped make the singer one of the most prolific hit-making artists of all time.

By early 1955, Parker had set his sights on the emerging Elvis Presley, whom he placed as an opening act on tours by his new client, Hank Snow. By August, Parker had acquired a controlling interest in Presley’s management contract, and two months later set up a deal for RCA to purchase Presley’s contract from Sun Records for the unheard-of sum of $35,000.

Under Parker’s exclusive guidance, Presley went on to become one of the most influential cultural figures of the twentieth century--a tribute to a talent and a gift for communication that continues to defy definition. Parker secured for Presley broad national exposure through television at a time when other managers feared that the new medium would undercut the value of personal appearances. Calling the shots in Hollywood, Parker made Presley a #1 box-office star and kept the entertainer’s career alive during his two-year stint in the Army.

Among the artifacts on display in The Colonel Says, “How Much Does It Cost If It’s Free” are:

• Button, press kit and other promotional materials generated by Parker for his clients
• Eddy Arnold scrapbook assembled by Parker’s office, illustrating the large number of news articles and advertisements generated for his clients
• Plaster bust of Parker sculpted by Marvin Thompson in 1972. Parker commissioned the rendering and gave it to Eddy Arnold as a gift.
• Two of Parker’s prized belt buckles, including a gold elephant belt buckle given to him as a gift from Elvis Presley. Inscribed on the back: “To the Colonel ‘Who Never Forgets’—Elvis—July, 1973.”
• Two of Parker’s handpainted shop coats, which Parker often wore to promote various Presley projects and achievements
• Personal correspondence from Parker, including a1955 telegram to Sun Records founder Sam Phillips, in which Parker explains his new role as Presley’s manager

Spotlight exhibits are narratives that supplement themes or aspects of the Museum’s core exhibition, Sing Me Back Home: A Journey Through Country Music. These short-term, informal displays either provide a closer look at a particular person or aspect of country music, or spotlight recently donated items or special anniversaries. Rotated often, spotlight exhibits also offer a glimpse into the Museum’s unique collection, which includes recorded discs, historical photographs, films and videotapes; thousands of posters, books, songbooks, periodicals and sheet music; personal artifacts such as performers’ instruments, costumes and accessories; and more.