Below is an NPR story that mentions Anne Fulchino's role in hiring
Elvis' Presley's photographer. If you start listening at about
the 1 minute 20 second
mark you will hear the background and the mention of Anne.
*Submitted by Phil Fulchino
Below is an excerpt from a new book out that highlights part of
the role that Anne Fulchino, daughter of Ralph and Lena Fulchino
( Revere, Massachusetts), played in the life and career of Elvis
Presley. I have attached part of the story to the bottom of page
four in our Media Section and added the link at the bottom of
the story in case you wish to read more. But the main part concerning
Anne is on this page.
Baby, Let's Play House:
Elvis Presley and the Women Who Loved Him
Noted Journalist Explores How Presley's Relationships With Women
Affected His Life and Music
January 8, 2010; Written by Alanna Nash
Editor's note: Friday (Jan. 8) marks the 75th anniversary of Elvis
Presley's birth. Coinciding with the date, It Books this week
released Baby, Let's Play House: Elvis Presley and the Women Who
Loved Him. Written by noted music journalist Alanna Nash, it explores
his relationships with women and how they influenced his music
and life. Courtesy of It Books, the following excerpt, a chapter
titled "Love Times Three," delves into Presley's life
in 1956 just as his career was reaching new heights. For more
information about the book, visit the publisher's Web site.
Elvis was scheduled to appear on The Steve
Allen Show on July 1, 1956, but two weeks before, the variety
show host announced that the pressure to cancel the hip-wiggling
sensation had been so strong that if Elvis did appear, he "will
not be allowed any of his offensive tactics."
Allen, a savvy show business veteran, considered
the controversy "a piece of good luck," he said later.
All the media hype and attention "worked to our advantage,"
and Elvis was never really in danger of being canceled.
The host, who was also a comedian, jazz
musician, writer, actor, poet, and television pioneer, had tuned
in Stage Show one night, where he saw "this tall, gangly,
kind of goofy-looking but cute, offbeat kid." He only caught
two minutes of him, but "I could see he had something, [and]
made a note to our people to 'book that kid.' I didn't even know
Partly to capitalize on the outrage over
Elvis's movements on The Milton Berle Show, Allen scratched his
head for a different way to spotlight him and also keep his movements
contained. As he recalled nearly forty years later, "I personally
came up with the two ideas that made Elvis look so good that night
-- the singing 'Hound Dog' to an actual dog, and the Range Roundup
sketch with Andy Griffith and Imogene Coca," the latter of
which was a spoof on the Ozark Jubilee, the Grand Ole Opry, and
Elvis's barn dance home, the Louisiana Hayride.
Some of Elvis's fans were offended at the
notion of their idol singing to a live basset hound. But Elvis
took it all in stride, even agreeing to be ?tted for a tuxedo
(the twitchy basset would wear a top hat) for the occasion.
At the morning rehearsal on June 29, Elvis
became reacquainted with Al Wertheimer, a young photographer only
slightly older than Elvis who had photographed him during his
?fth Stage Show appearance. RCA's Anne Fulchino had hired the
German emigre as part of her dedication to making Elvis a huge
With no budget for publicity -- or certainly
nothing like the $200 or $300 a day Columbia Records paid freelance
shutterbugs -- she'd gone in search of "talented, hungry
kids who'd work cheap," striking a deal in which the photographers
were free to shop their pictures and make a few bucks once she'd
?nished her campaign. That's the way she worked with Wertheimer.
She picked him over a temperamental photographer
she'd originally considered because Al, a quiet, laid-back, easygoing
person, "had the right personality" to shadow the singer
in close quarters and a variety of circumstances. "I also
knew he could handle the Colonel."
She made the right choice. After late 1956,
Parker lowered an iron curtain around Elvis, restricting media
access to only a handful of carefully orchestrated events. Before
that happened, Wertheimer, a night person like Elvis, would travel
with him for a week, shooting some 3,800 frames, all unposed and
in natural light, to chronicle both his professional and personal
life -- onstage, backstage, in the recording studio, at home with
his parents and friends, and on the road with his fans.
No other photographer would capture such
startlingly intimate moments or chronicle such an important phase
of Elvis's career. The resulting photos, elegant, eloquent, and
iconic, "were probably the ?rst and the last look at the
day-to-day life of Elvis Presley," Wertheimer has written.
"I was a reporter whose pen was a camera."
While RCA needed images that promoted Elvis
as an explosive young singer on the rise, Wertheimer had another
agenda. "Basically I was covering the story because Elvis
made the girls cry, and I couldn't understand what he had that
was that powerful, that brought all that raw emotion to the surface."
As Fulchino predicted, Al was so unobtrusive
and good at his job that many of the people who surrounded Elvis
hardly knew he was there. And Elvis himself enjoyed being documented,
allowing closeness that embarrassed even the photographer, particularly
for an image Wertheimer calls The Kiss, a brief encounter between
Elvis and a fan in the stairway of the Mosque Theatre in Richmond,
According to Wertheimer, Diane Keaton,
the actress and photographer, has called it "the sexiest
picture ever taken in the whole world."..............................