More than a phrase... it's a community, a history, and an evolution.

 Exploration #001
Research Status: 🟡 Research in Progress
Originally Published: July 17, 2026
Last Updated: July 17, 2026

 Estimated Reading Time: 7 minutes 

For the past year, I've been researching and documenting our organization's story and history.

Along the way, I found myself asking a question I had never really considered before.

When someone says "The Elvis World," what does that truly mean?

If you're an Elvis fan, you probably already know what that phrase means, or at least how it makes you feel to be a part of it.

But where did it come from?

How did it evolve?

And what exactly makes up "The Elvis World" today?

At first, I thought the answer would be simple.

It wasn't.

The more I researched, the more I realized that while Elvis' life has  been remarkably well documented, the history of the community that  formed around him hasn't.

I discovered that firsthand while researching where the TCP Memorial Benefit fits within what we all simply call "the Elvis World." Finding individual pieces of history wasn't the hard part. The challenge was connecting them.

At first glance, it seems simple enough: Elvis, fans, fan clubs, and places for them to gather. And, in many ways, that's true.

But the deeper I looked, the more I realized there is so much more to the story.

We all know what someone means when they say "the Elvis World," yet I couldn't find a single place that truly connects the dots, from the early fan clubs and international conventions to festivals, tribute  artists, charitable organizations, photographers, volunteers, and the  countless people who have dedicated their lives to preserving and  celebrating Elvis' legacy for nearly fifty years.

As I continued researching, I began noticing something else. It wasn't just the history that was scattered—it was the evolution.

• Fans became communities.
• Fan clubs evolved from printed newsletters to websites and now social media.
• Elvis impersonators became respected Elvis Tribute Artists (ETAs).
• Conventions evolved into festivals.
• Contests grew into recognized championships.
• Shows evolved into full-scale concert experiences.

Those aren't just changes in terminology. They tell the story of how  "The Elvis World" has continually evolved—from fan clubs and conventions  during Elvis' lifetime to today's festivals, championships, charitable  organizations, and worldwide community of fans.

That's what inspired this project.

Not to tell Elvis' history, but to better understand, document, and  connect the history of the community that grew because of him, the people and organizations who have preserved, celebrated, and carried his  legacy forward for nearly fifty years.

One of the first things I discovered is that the Elvis fan experience wasn't the same everywhere.

In the United States, Elvis himself was the center of the fan  experience. Fans joined clubs, collected records, read newsletters, and,  if they were fortunate, attended one of his concerts.

Internationally, however, the experience was very different. Because Elvis never toured outside North America, millions of fans around the world never had the opportunity to see him perform in person. Fan clubs, conventions, and organized gatherings became an important way for international fans to celebrate Elvis, connect with one another, and share their passion during his lifetime.

Looking back, I believe those early international gatherings helped lay part of the foundation for what would later become today's Elvis festivals and the broader Elvis fan community.

Then came August 16, 1977.

The concerts stopped.

But the gatherings didn't.

In many ways, they grew stronger.

Fans found new reasons to come together, not to see Elvis, but because of Elvis.

Memorial events became annual traditions.

Fan clubs expanded.

Festivals were born.

Tribute artists emerged.

Charitable organizations formed.

Friendships that began through Elvis became lifelong relationships.

As I continue my research, one thought keeps coming back to me.

At its heart, I believe "The Elvis World" has always been about Elvis, and always will be.

But today, in a world where Elvis is only a click away through music, video, books, documentaries, and social media, fans still choose to gather together.

I don't believe that's by accident.

I believe "The Elvis World" has evolved into something more than simply a shared admiration for Elvis. It has become a community built on friendships, relationships, traditions, and experiences that began because of him.

In an age when we have unprecedented access to Elvis from virtually anywhere in the world, fans still choose to gather in person. To me, that's one of the greatest examples of how "The Elvis World" has evolved. Being part of this community has become an experience in itself.

What I'm trying to connect is that "The Elvis World" isn't one thing, one time in history, one event, one fan club, or one organization.

It's the ever-evolving community that has grown around Elvis Presley for generations.

I don't pretend to have all the answers.

I don't pretend I'm asking all the right questions.

In fact, as I continue documenting the chapters of "The Elvis World" and exploring new questions, I fully expect many of my thoughts and conclusions to evolve as new information comes to light.

I also recognize that this project may receive mixed reviews, and that's perfectly OK.  My hope is that readers will see these chapters for what they are: an invitation to explore, question, and connect the history of the Elvis fan community.

The purpose of this project isn't to prove one organization, one event, or one perspective is more important than another.

It's to connect the dots.

Over time, I believe some of us have unintentionally forgotten why this community exists in the first place. It's always been about Elvis. Every fan club, festival, convention, championship, charity,  photographer, volunteer, and organization has contributed something  unique to his legacy.

We all have a place in "The Elvis World."

My hope is simply to better understand those places, connect them, and preserve their stories for future generations.

History isn't preserved by one person.

It's discovered, documented, and connected together.

If this project resonates with you, I invite you to follow along and become part of the journey. Share your memories, challenge my assumptions, and help connect even more dots. Together, we can ensure the history of The Elvis World is preserved for future generations.

— Paul Lipps
2nd Generation Family Steward
TCP Memorial Benefit

This is a living document. As new research, documentation, and  firsthand accounts become available, this Preface and the chapters that  follow will continue to evolve. Please refer to the "Last Updated" date  for the most current version.

Exploring the Festivals, Traditions, and Titles Along the Road to Memphis

Exploration #002
Research Status: 🟡 Research in Progress
Originally Published: July 27, 2026
Last Updated: July 27, 2026

Estimated Reading Time: 17 minutes

As Elvis Week approaches and another group of talented Elvis tribute artists prepares to compete for the Ultimate title, we began exploring the journey that brings them to Memphis.

How did today’s Elvis festival and ETA competition world develop?  Which events helped shape it?  What gives a festival title historical meaning—and what can winning it mean to a performer’s career?

This exploration looks at the Elvis festival world primarily through the journey of an Elvis tribute artist: the events that helped develop the field, the titles that carry historical or professional meaning, and the preliminary contests that can ultimately lead to Memphis.

It is not intended to declare one festival better than another.  Instead, it explores the different ways these events and titles have  earned their places within the Elvis world.

Research Note: This exploration was developed by the TCP Memorial Benefit FAN Club™ using  publicly available information as of July 2026.  It examines festivals and ETA titles through several different lenses, including historical connection, influence, continuity, and career significance.  It is not an official evaluation, ranking, or endorsement by Elvis Presley Enterprises, Images of the King, or any individual festival or event.

Scope Note: The events included here illustrate different parts of the ETA festival journey and are not intended to constitute a complete directory of every significant competition.  As a living exploration, this article may be expanded as additional histories are researched and documented.  Festival organizers, performers, and fans are invited to share information and supporting materials for consideration in future updates.

The Ultimate Elvis Tribute Artist Contest final stands by itself.

Held during Elvis Week in Memphis, it is the conclusion of Elvis  Presley Enterprises’ official preliminary contest system and the highest  competitive goal within that system.

Memphis also encompasses more of Elvis Presley’s story than any other location.  It was central to his recording career, the city where he  made his home, the location of Graceland, and his final resting place.

An ETA does not simply add the Memphis final to a list of festival titles to win. The performer must first win an authorized preliminary to  qualify—and then compete in Memphis for the title of Ultimate Elvis  Tribute Artist.

For that reason, the Memphis final is not included among the festival titles explored below. It is the destination toward which the official  preliminary journey leads.

For some performers, a festival title carries additional meaning  because of the location’s connection to Elvis Presley’s life and career.

Tupelo represents the beginning of the Elvis story.

Elvis was born there on January 8, 1935, and the city continues to  preserve his birthplace and childhood history.  Its Ultimate preliminary allows an ETA to compete in the community where Elvis’s life began.

The historical connection: Elvis’s birth and childhood.

Indianapolis represents the final chapter of Elvis’s live-performance  career.  Elvis gave his final concert at Market Square Arena on June 26,  1977.

The TCP Memorial Benefit FAN Club was founded later that year with a  mission rooted in remembrance. 

Its first Indiana Elvis Festival was held June 24–26, 1978, concluding on the first anniversary of Elvis’s final  concert.

The organization later helped establish a permanent marker recognizing the former Market Square Arena site. Its present-day festival and Ultimate preliminary continue that historical connection.

The historical connection: Elvis’s final concert and the memorial movement that followed it.

Las Vegas represents Elvis’s return to regular live performance and one of the most influential periods of his career.

His 1969 engagement at the International Hotel began a residency era  that helped define his later concert image—and much of the visual  language still associated with Elvis tribute artistry.

The historical connection: Elvis’s return to regular live performance and his Las Vegas years.

Nashville was central to Elvis’s recording career, particularly through his extensive work at RCA Studio B.

Although the festival is not held at an Elvis-owned property, its  location connects the competition to an essential part of Elvis’s  recorded legacy.

The historical connection: Elvis’s RCA recording career and Nashville sessions.

Many festivals take place in cities or states where Elvis once performed.

That connection can add meaning to an event, but it should be measured carefully. Simply holding an Elvis festival in a place Elvis visited does not necessarily give it the same historical significance as a contest connected to his birthplace, primary recording centers, residency years, or final concert.

The strongest historical connections are those in which the location and the event together help preserve or interpret a recognizable chapter  of Elvis’s story.

Not every significant Elvis festival belongs within an ETA championship journey.  Some events have earned important places in the Elvis world through their historical settings, cultural reach, fan participation, or  distinctive programming rather than through a conventional ETA contest.

Bad Nauheim has an exceptional connection to Elvis because he lived there during his U.S. Army service from 1958 to 1960.

The festival offers a Music Contest that encourages bands and solo  performers to present their own interpretations of Elvis songs. It is  not structured as a conventional ETA championship or an Ultimate  preliminary.

Bad Nauheim therefore belongs prominently within the story of  Elvis-related destinations and festivals, but not necessarily on a list  of ETA titles to pursue.

Porthcawl has become one of the world’s largest and most culturally distinctive Elvis gatherings.

Its importance comes primarily from its size, community  participation, entertainment, and international visibility. It does not  currently provide the same formal championship pathway as an established  Ultimate or Images of the King preliminary.

These examples help demonstrate why festival significance and championship significance are related—but not identical.

Today’s ETA world did not emerge through a single organization or event.

It developed gradually through fan clubs, tribute concerts, impersonator competitions, professional tribute artists, festivals,  promoters, audiences, independent championships, and eventually EPE’s  official Ultimate system.

Several traditions deserve particular attention when tracing that evolution.

Founded in 1987, Images of the King helped pioneer the international ETA championship model approximately two decades before EPE established  the Ultimate contest.

Its importance comes from its longevity, its distinguished list of champions, and its role in helping ETA competition develop into a serious international field.

Images operates independently of the Ultimate system, but winning its World Championship remains a substantial career achievement.

Elvis Explosion has developed into one of America’s most substantial independent ETA competitions.

Its 2026 event is promoted as the 29th annual Elvis Explosion, with as many as 40 tribute artists competing through multiple rounds for  $25,000 in total prize money.

Although the competition does not currently serve as an Ultimate or Images of the King preliminary, its longevity, competitive  field, prize package, and recognition among established performers give  the title independent professional value.

Elvis Explosion demonstrates an important part of the ETA journey: a  competition does not have to lead directly to Memphis to become a  meaningful career destination of its own.

TCP’s involvement in organized Elvis tribute events began with its first Indiana Elvis Festival in 1978—well before the emergence of  today’s established ETA festival circuit.

The present-day Indiana Elvis FANtasy Fest began in 1993 and has  maintained an annual event tradition, an ETA competition during its  in-person festival years, EPE sanctioning, a charitable purpose, and a  connection to the same FAN Club and founding family.

TCP’s documented festival activity beginning in 1978 places it among the early organizations contributing to the development of organized  Elvis tribute events.

Tupelo combines an authentic Elvis location with one of the strongest competitive reputations among Ultimate preliminaries.

Its history of producing performers who later succeeded in Memphis  gives the Tupelo title considerable professional credibility. Its  location adds a level of historical meaning few other competitions can  duplicate.

Parkes Elvis Festival has grown from a small local celebration into one of the largest and most internationally recognized Elvis festivals in the world. Its extraordinary attendance, community participation, media coverage, and cultural visibility demonstrate the remarkable global reach of Elvis Presley’s continuing legacy.

As an official Ultimate Elvis Tribute Artist Contest preliminary, Parkes also provides tribute artists with significant audience exposure and a competitive pathway to Memphis. Its combination of large-scale celebration, international recognition, and professional opportunity has earned Parkes a distinctive and influential place within the modern Elvis festival world.

The original Collingwood Elvis Festival operated from 1995 through 2019 and became one of Canada’s most influential ETA events.

Its return is occurring in two stages:

• 2026: An Elvis Weekend Showcase without a competition
• 2027: Competition returns as an official Ultimate preliminary

The six-year interruption remains an important part of its history, but the 2027 preliminary will restore Collingwood as an active  championship destination.

Because the revived event has a new production structure, the original festival and its return are best understood as two connected eras rather than one uninterrupted organizational run.

Lake George developed one of North America’s most substantial ETA competitions during its original 2004–2019 run.

The event returns in September 2026 with an ETA competition serving as an Images of the King preliminary. Its established history and  restored championship pathway return Lake George to the active ETA  festival conversation.

As with Collingwood, acknowledging the interruption does not diminish the original event’s importance. It simply distinguishes a revived  tradition from one that operated without a missing year.

Longevity is more complicated than comparing founding dates.

Several different questions must be considered:

• When was the championship, festival, or organization founded?
• Was the event presented annually?
• Did the competition experience an interruption?
• Did the presenting organization or ownership change?
• Did its championship affiliation change?
• Was an alternative event presented during the COVID period?
• Is the current event a continuation, revival, or new production connected to an earlier tradition?

“Oldest,” “longest-running,” “continuously operated,” and “revived” are not interchangeable descriptions.

Images of the King is the oldest continuing major ETA championship brand among the competitions examined in this exploration.

It has operated through different ownership eras and locations, and  no contest was conducted in 2020. It leads in overall championship age, though not necessarily in uninterrupted presentation by the same  organization.

The current Indiana Elvis FANtasy Fest has maintained an annual event tradition since 1993.

Its continuity includes:

• The same FAN Club
• The same founding family
• The same charitable purpose
• Continuous EPE sanctioning
• A conventional ETA competition during its in-person festival years
• A  2020 Online A-Thon that preserved the annual event tradition when the in-person festival and conventional contest could not be held
• No missing year in its official annual event count

Behind the present festival is TCP’s longer organizational history, beginning in 1977 and including its first Indiana Elvis Festival in  1978.

This gives Indiana a distinctive combination of organizational, family, charitable, sanctioning, and annual event continuity.

Parkes traces its beginnings to an Elvis birthday celebration held in 1993 and has grown into one of the largest annual Elvis festivals in  the world.

Its history represents both substantial longevity and the remarkable growth of Elvis festival culture outside the United States.

The 2026 Elvis Explosion is promoted as the event’s 29th annual competition.

Its longevity is especially notable because it developed outside the two championship pathways discussed most often today: the Ultimate Elvis Tribute Artist Contest and Images of the King.

Through its large competitive fields, multi-round format, substantial prize packages, and participation by established performers, Elvis  Explosion has built a recognizable competitive tradition of its own.

Its history illustrates a different kind of continuity: the long-term development of an independent ETA competition as a career destination rather than a preliminary step toward another championship.

The original Collingwood Elvis Festival operated for 25 years through 2019.

No Collingwood festival was presented from 2020 through 2025. The  Elvis Weekend returns in 2026 as a showcase, with an Ultimate  preliminary scheduled to follow in 2027.

The most accurate description is:

A historic 25-year Elvis festival and ETA  competition, interrupted after 2019 and revived under a new production  beginning in 2026, with competition returning in 2027.

Lake George operated for 16 consecutive years from 2004 through 2019.

After an absence from 2020 through 2025, it returns in 2026 with an Images of the King preliminary.

The most accurate description is:

Founded in 2004, presented for 16 consecutive years through 2019, and revived in 2026 with an Images of the King preliminary.

A festival’s earlier accomplishments remain part of its legacy, but honoring that history should not require overlooking years when the event was not held or changes in the organization presenting it.

A revived event can preserve, celebrate, and build upon an earlier festival’s accomplishments without being described as one uninterrupted organizational run.

Recognizing both the original legacy and the new era provides a more complete and accurate history.

Historical importance and longevity are only part of what gives a title professional value.

An ETA planning a competitive journey may also consider:

• Whether the contest is an authorized Ultimate preliminary
• Whether winning provides advancement to Memphis
• The strength of the competitive field
• The reputation of previous champions
• Audience size and industry exposure
• The prize package
• Travel requirements and expenses
• Professional bookings generated by winning
• The event’s longevity and recognition
• The title’s personal or historical meaning
• The performer’s current stage of career development

A large festival may offer extraordinary exposure. A smaller,  long-running event may carry substantial historical meaning. An  independent championship may provide a prestigious title without leading  to Memphis.

The most valuable opportunity therefore depends partly on what the individual performer hopes to accomplish.

The following are not presented as a definitive ranking. They illustrate different kinds of meaningful opportunities an ETA might consider while building a competitive career.

Their order should not be interpreted as an official judgment that one festival is universally more important than another.

An Ultimate preliminary held in Elvis’s birthplace, combining a powerful historical setting with a respected competitive reputation.

A long-running Ultimate preliminary whose annual event continuity, early TCP festival roots, connection to Elvis’s final concert, and  history of established champions give its title both professional and  historical meaning.

A major international Ultimate preliminary offering exceptional audience exposure at one of the largest Elvis celebrations in the world.

A pioneering independent ETA championship with a history dating to 1987.  Winning Images remains a significant career achievement even though it is not part of EPE’s Ultimate system.

A long-established independent competition in La Crosse, Wisconsin,  known for its large competitive field, multiple-round format,  substantial prize package, and participation by accomplished ETAs.

Elvis Explosion does not currently provide a direct Ultimate pathway to Memphis, but winning it can remain a significant independent career achievement.

A respected Canadian festival competition with an established audience, substantial history, and recognized place within the ETA  festival world.

A major Australian event and Ultimate preliminary offering significant public exposure and international competitive value.

An Ultimate preliminary held in a city central to Elvis’s recording  history, giving the title both competitive and geographical  significance.

An established Ultimate preliminary in one of America’s best-known live-entertainment destinations.

Beginning in 2027, its returning Ultimate preliminary will connect a  new competitive era with Collingwood’s distinguished 25-year festival  legacy.

Its renewed career value can be more fully evaluated after the 2027  contest establishes the strength of its field, production, audience, and  prize package.

Returning in 2026 as an Images of the King preliminary, Lake George brings an established competitive history into a new era.  Its original 16-year run gives the restored title historical  credibility, while its revival creates new opportunities for today’s  performers.

Other Ultimate and Images of the King preliminaries—including events in Virginia, Illinois, Niagara Falls, Norway, the United Kingdom, and other regional and international markets—may also become meaningful parts of an ETA’s individual journey.

This is a starting point for exploration, not the final word on every festival or title that matters.

Which contests connect strongly to chapters in Elvis’s life?

Tupelo, Indiana, Las Vegas, and Nashville.

Which traditions contributed to the development of ETA competition?

Images of the King, Indiana/TCP, Elvis Explosion, Tupelo, Parkes, and Collingwood.

Which events demonstrate longevity or organizational continuity?

• Images of the King: Championship age
• Indiana: Continuity through the same FAN Club and founding family
• Parkes: International festival longevity
• Elvis Explosion: Independent competition longevity

Which preliminary offers exceptional present-day audience exposure?

Parkes.

Which titles combine career value with a pathway to Memphis?

Established Ultimate preliminaries such as Tupelo, Indiana, Parkes, Cooly Rocks On, Nashville, and Branson.

Which titles carry substantial value independently of the Ultimate system?

Images of the King and Elvis Explosion.

Which historic competitions are beginning new chapters?

Collingwood and Lake George.

No single measurement tells the complete story.

Images of the King represents the emergence of the international ETA championship. Elvis Explosion demonstrates the professional importance an independent competition can earn through longevity, competitive strength, and prize value.

Tupelo combines Elvis history with a powerful competitive reputation. Parkes demonstrates the enormous international reach of Elvis’s legacy. Indiana connects early organized tribute-festival history with long-term continuity. Collingwood and Lake George show how historic events can return in new forms.

Each matters for different reasons.

The purpose of this exploration is not to determine which Elvis festival is objectively the best.

It is to better understand the journey.

Tupelo represents Elvis’s beginning. Nashville represents his  recorded legacy. Las Vegas represents his return to regular live  performance. Indianapolis represents his final concert and the  remembrance movement that followed it.

Images of the King represents the emergence of the modern ETA  championship. Elvis Explosion demonstrates how an independent  competition can become an important career destination of its own.  Parkes reflects the extraordinary international reach of Elvis’s  continuing legacy.

Collingwood and Lake George represent respected competitive traditions entering new eras.

Within Elvis Presley Enterprises’ official contest system, all roads ultimately lead to Memphis.

But the wider ETA journey also includes independent titles, historic  competitions, international festivals, and personal milestones that may  carry meaning beyond any one championship system.

For an Elvis tribute artist who wants to do more than collect trophies, that journey can become something larger:

A championship journey through the life, career, history, and continuing legacy of Elvis Presley.

The Elvis World Project is a living exploration. 

Do you represent a festival or competition whose history belongs in this conversation?  

We welcome documented information, photographs, programs, news coverage,  and other supporting materials for consideration in future updates.

— Paul Lipps
2nd Generation Family Steward
TCP Memorial Benefit

This is a living document. As new research, documentation, and  firsthand accounts become available, this Preface and the chapters that  follow will continue to evolve. Please refer to the "Last Updated" date  for the most current version.

Exploring Who Owns Elvis and Why Responsible Commercialization Can Help Preserve His Legacy

Exploration #003
Research Status: 🟡 Research in Progress
Originally Published: August 19, 2026
Last Updated: August 19, 2026

Estimated Reading Time: 14 minutes

Every so often, I see comments from fans who believe Elvis Presley has become too commercialized.

They see a new product, movie,  attraction, licensing agreement or ticket package and say, “It is all  about the money.”  Some feel that people are disrespecting Elvis by  continuing to make money from his name nearly 50 years after his death.

I understand where that feeling comes from.

For many fans, Elvis is not simply an  entertainer.  He is connected to their memories, friendships, families  and important moments in their lives.  When someone means that much to  you, it is natural to feel protective of him.

My perspective comes from spending most of my life around the Elvis world, producing events and studying business and business management. Together, those experiences have led me to this conclusion:

Commercialization is not  automatically the enemy of Elvis’s legacy.  When managed responsibly, it  is one of the things that makes preserving his legacy possible.

Research Note: This exploration was developed by the TCP Memorial Benefit FAN Club™  using publicly available information as of August 2026.  It combines  documented facts with my personal perspective as a lifelong member of  the Elvis community and an event producer.  It is not an official  statement or endorsement by Elvis Presley Enterprises, Authentic Brands  Group, the Presley family or any other company or individual discussed  in this article.

Scope Note: The ownership and management of Elvis-related intellectual property,  recordings, publishing rights, trademarks, real estate and personal  effects involve separate legal agreements and entities.  This  exploration is intended to explain the larger structure in  understandable terms, not to provide a complete legal analysis.   Additional documentation, corrections and perspectives are welcome for  consideration in future updates.

The simplest answer is that nobody owns Elvis.

Elvis Presley was a person, not a  product.  

What can be owned or controlled today are the different legal  rights, properties and business assets connected to him.

Those interests are divided among several parties.

The Presley family trust owns Graceland  mansion, its original grounds and Elvis’s personal effects retained by  the family.  Riley Keough now serves as trustee of her mother Lisa Marie  Presley’s estate.

Elvis Presley Enterprises, commonly known  as EPE, operates Graceland as a tourist destination and manages many of  the commercial activities associated with Elvis.

Authentic Brands Group owns the  controlling interest in Elvis Presley Enterprises and manages many of  the trademarks, licensing rights and commercial uses of Elvis’s name,  image and likeness.

The recordings, songs, films and  television appearances involve still other companies, publishers,  songwriters and rights holders.

Therefore, when we ask, “Who owns Elvis?” there is no single answer.

The better question is:

Who owns or controls each particular part of the Elvis Presley legacy?

In December 2004, Lisa Marie Presley and  the Promenade Trust entered into an agreement to transfer an 85 percent  interest in the Presley business.  The transaction was completed in  February 2005.

According to filings with the U.S.  Securities and Exchange Commission, the trust received approximately  $50.1 million in cash, securities valued at approximately $26.7 million  and repayment of approximately $25.1 million in Presley-business debt.

Altogether, the reported components of  the transaction were valued at approximately $101.9 million at closing,  the equivalent of roughly $175 million in July 2026 dollars.  It is  important to understand that this was not all cash.  Part of the value  came through securities, and part came from the repayment of existing  business debt.

The family trust retained a 15 percent  interest in Elvis Presley Enterprises.  More importantly from a  historical and emotional standpoint, it also retained ownership of  Graceland mansion and Elvis’s personal effects.

The operating company entered into a  90-year lease for Graceland.  Under that agreement, the company received  the right to operate the attraction and collect its operating revenue  while also assuming the costs and expenses related to operating  Graceland.

Elvis’s personal effects were licensed to  the company so they could continue to be preserved, displayed and  shared with the public.

Sources: U.S. Securities and Exchange Commission filing and U.S. Bureau of Labor Statistics CPI Inflation Calculator

I think this is an important part of the arrangement that many people either forget or do not fully understand.

Lisa Marie did not simply sell Elvis,  Graceland and all of his belongings.  The family trust retained its  ownership interest in EPE, the mansion and Elvis’s personal effects,  while placing responsibility for operating Graceland and carrying its  related expenses with the commercial business.

That distinction is central to understanding the deal.

It separated family ownership of the most  personal and historic assets from the enormous financial and  operational responsibility of presenting them to the public.

At the time of the Presley transaction,  deals involving music catalogs and intellectual property were not new,  although the enormous wave of individual artists selling their catalogs  that we see today had not yet arrived.

The Beatles’ publishing catalog had  changed hands decades earlier.  Michael Jackson purchased ATV Music,  which included many Lennon-McCartney compositions and songs associated  with other major artists, in 1985.

Berry Gordy sold Motown Records in 1988,  later selling interests in the Jobete publishing catalog to EMI through a  series of transactions beginning in 1997.

Also in 1997, David Bowie raised $55  million through what became known as “Bowie Bonds,” using future  royalties from his catalog to secure the investment while retaining the  underlying ownership rights.

Therefore, Lisa Marie’s decision was not made in an industry where selling or monetizing intellectual property was unheard of.

What has changed since 2004 is the scale  and frequency of these transactions.  Today, artists and estates  regularly treat music catalogs, trademarks, likeness rights and other  intellectual property as valuable business assets that can be sold,  licensed, financed or professionally managed.

In 2013, Authentic Brands Group and Joel  Weinshanker acquired the Elvis intellectual-property interests and  Graceland operating business previously held by CORE Media Group.

Once again, the purchase did not include family ownership of Graceland mansion or Elvis’s personal effects.

Source: 2013 acquisition announcement

This created a relationship in which the family and the commercial business need each other.

The family-owned property and artifacts  give the Graceland experience its authenticity.  The operating business  supplies the employees, security, maintenance, preservation, marketing  and infrastructure required to make those treasures available to the  public.

My family has spent nearly 50 years preserving Elvis’s memory, producing events and raising money in his name.

That experience has taught me something very practical:

Preservation costs money.

Historic properties require repairs,  insurance, utilities and security.  Clothing, photographs, documents,  automobiles and other artifacts must be properly stored, protected and  displayed.

Museums require trained employees, archival work, exhibit construction and climate-controlled environments.

Events also require venues, equipment, performers, insurance, advertising and staff.

Love inspires people to do this work, but love alone cannot pay for it.

Graceland is the best example.

After Elvis died in 1977, the estate  faced substantial expenses and limited available cash.  Maintaining  Graceland reportedly cost hundreds of thousands of dollars each year.

By 1982, the estate’s leadership and advisers made the decision to open Graceland to the public.

That was a commercial decision.  Visitors were charged admission, merchandise was sold and Graceland became a tourism business.

It was also one of the most important preservation decisions ever made for Elvis’s legacy.

If commercialization were automatically disrespectful, then opening Graceland to the public would have been disrespectful.

History has shown us the opposite.

The business generated the revenue  necessary to maintain the property, preserve the collection and keep  Graceland in the Presley family.

Commerce did not replace preservation.  Commerce made preservation sustainable.

We should also remember that Elvis was part of a commercial entertainment industry while he was alive.

His records were sold.

Tickets were sold to his concerts.

His films were produced for paying audiences.

Programs, photographs, souvenirs and officially licensed merchandise were marketed to his fans.

Elvis’s talent was genuine, his impact  was historic and his relationship with his audience was deeply personal.   None of that changes the fact that his career was also a business.

The commercial activity surrounding Elvis did not begin after his death.  What changed was the responsibility for managing it.

Today, the people and companies overseeing various parts of his legacy must balance several interests:

• Protect Elvis’s image and history
• Maintain valuable properties and artifacts
• Serve longtime fans
• Reach new generations
• Defend trademarks and other legal rights
• Create enough revenue to sustain the entire operation
• Preserve assets that continue to benefit Elvis’s family

Those responsibilities sometimes pull in different directions.

Not every decision will please every fan.

Elvis’s business arrangement is also not unusual.

Bob Dylan, Bruce Springsteen, Paul Simon,  Neil Young, Stevie Nicks, David Bowie’s estate and many other major  artists or their families have sold all or part of their music catalogs  and related rights.

These transactions can provide financial  security for an artist’s family, simplify estate planning and transfer  the enormous responsibility of worldwide licensing and administration to  companies equipped to handle it.

The Associated Press has documented how catalog sales have become a major and increasingly common part of the music industry.

Source: Associated Press overview of major music-catalog transactions

The Elvis legacy is even more complicated than a traditional music catalog.

It includes:

• Graceland
• Personal artifacts
• Music
• Films
• Television appearances
• Trademarks
• Merchandise
• Tourism
• Live events
• An identity recognized almost everywhere in the world

Managing something of that size requires a professional business organization.

Most fans, myself included, want the most personal parts of Elvis’s legacy to remain with his family.

Elvis worked hard throughout his life to  provide for those he loved.  There is nothing inherently disrespectful  about a properly managed legacy continuing to benefit his descendants.

In fact, the commercial success of the  Elvis business may be one of the things that helps make continued family  ownership possible.

His grandchildren did not inherit only something valuable.  They also inherited a tremendous responsibility.

Graceland is a family home, but it is also a National Historic Landmark visited by people from around the world.

Elvis’s personal belongings are family  possessions, but they are also historically significant artifacts that  millions of people want to see.

A successful business structure helps the  family retain those personal parts of Elvis’s story while professional  organizations carry much of the responsibility for preserving, operating  and promoting them.

Without a profitable operation, the expenses would not simply disappear.

Someone would still have to pay for:

• Security
• Maintenance
• Insurance
• Staffing
• Preservation

If the income were not there, difficult decisions could eventually have to be made about the property or collection.

Commercial success reduces that risk and  helps create the possibility that Graceland and Elvis’s personal effects  can remain connected to his family for future generations.

The business of Elvis’s legacy extends well beyond Graceland.

Independent producers, festival  directors, tribute artists, musicians, fan clubs and other organizations  help keep Elvis’s music and memory alive in communities around the  world.

Elvis tribute artists and live  productions are not inherently bad for Elvis’s legacy.  When presented  with talent, respect and professionalism, I believe they are very good  for it.

A tribute artist may be the first person who inspires a younger fan to explore Elvis’s original recordings.

A festival can bring hundreds or  thousands of people together to celebrate the music.  These events  support performers, musicians, venues, hotels, restaurants, local  businesses and charitable organizations.

They also keep Elvis’s music in front of a live audience.

Elvis Presley Enterprises recognized the  importance of tribute artists when it created the Ultimate Elvis Tribute  Artist Contest in 2007.

The stated purpose of that program is to  find the tribute artist who best represents the legacy of Elvis Presley  through vocals, style, stage presence and overall performance.

Source: Ultimate Elvis Tribute Artist Contest

When a producer or festival director uses  protected Elvis trademarks, photographs, branding or an official EPE  program, obtaining the appropriate permission or license is part of  doing business responsibly.

Not every tribute performance operates  under the same legal requirements.  Those requirements depend on how  Elvis’s name, image, music and trademarks are being used and how the  event is represented to the public.

However, when a license or permission is required, organizers should respect those rights.

Those licensing fees are not simply money  being taken away from an event.  They are part of the larger commercial  structure that protects Elvis’s identity and supports the continued  management of his legacy.

In my view, properly licensed and  professionally produced events strengthen the Elvis world.  They create  opportunities for artists, serve the fans and contribute to the  legitimate business surrounding Elvis’s name.

Choosing to avoid a required license,  improperly using protected branding or allowing the public to believe an  event is officially connected to EPE when it is not does something very  different.

In my opinion, that does not strengthen  Elvis’s legacy.  It weakens the system intended to protect it and places  responsible producers at an unfair disadvantage.

Those of us who produce events connected to Elvis have a responsibility.

We should honor the music, respect the  legal rights involved and be honest with fans about whether an event is  officially licensed or independently produced.

The live Elvis world is not  the enemy of the original Elvis Presley legacy.  At its best, it is one  of the ways that legacy continues to live.

None of this means fans must approve of  every decision made by EPE, Authentic Brands Group, a record company, a  filmmaker, an event producer or anyone else working with Elvis’s legacy.

Fans should ask questions.

Does a product treat Elvis respectfully?

Is a film historically responsible?

Does an attraction preserve his dignity?

Does a licensing agreement strengthen the legacy or simply place his image on something because it can make money?

Does a live production represent itself honestly and treat Elvis’s music with respect?

Those are fair questions.

There is an important difference between commercialization and exploitation.

Commercialization uses Elvis’s name, work  or legacy to generate revenue.  Responsible commercialization also  protects the quality, meaning and long-term value of that legacy.

Exploitation occurs when Elvis is misrepresented, treated without dignity or used without meaningful concern for his history.

Not everything bearing Elvis’s name is  automatically worthy of support.  At the same time, the mere fact that  something generates revenue does not make it disrespectful.

We can debate individual decisions without pretending the business itself is the enemy.

Elvis is not remembered because of money.

He is remembered because of his voice, talent, charisma, generosity and cultural impact.

He is remembered because his music  continues to reach people and because millions of fans have carried  their love for him from one generation to another.

However, money is one of the tools that keeps that legacy visible and sustainable.

Revenue helps preserve Graceland.

It protects artifacts.

It funds exhibits, productions and events.

It supports employees whose work is dedicated to maintaining and presenting Elvis’s history.

It allows new movies, programs, releases and experiences to introduce Elvis to people who were not alive during his lifetime.

Some projects will be better than others.  Some decisions will deserve praise, while others may deserve fair criticism.

But “someone is making money from Elvis” is not, by itself, proof that Elvis is being disrespected.

The Elvis world has always included both emotion and business.  The challenge is not to eliminate the business side.

Without it, much of what fans treasure could become financially impossible to maintain.

The purpose of this exploration is not to argue that every commercial decision involving Elvis is automatically good.

It is to better understand why the business exists and how that business can support preservation.

Elvis’s name, image, music, home and  personal effects do not belong to one company or one person.  They are  part of a complex structure involving family ownership, commercial  management, licensing agreements, record companies, publishers and other  rights holders.

Graceland demonstrates how commerce can support preservation.

The 2004 transaction demonstrates how family ownership and professional business management can exist together.

Modern music-catalog sales demonstrate that monetizing intellectual property is a normal part of the entertainment industry.

Licensed festivals and professional live  productions demonstrate how third-party businesses can help carry  Elvis’s music and legacy into new communities and generations.

No single measurement tells the complete story.

The real question is not whether money should be made from Elvis’s legacy.  That has been happening since Elvis was alive.

The better question is whether that money  is being made in a way that respectfully protects, strengthens and  carries his legacy forward.

These are my conclusions based on the  information I have found and my own experience within the Elvis world.   As additional facts, documents and perspectives are shared, our  understanding may continue to evolve.

That is the purpose of The Elvis World Project:

To ask questions, connect the dots and preserve the story together.

That is a conversation worth having.

The Elvis World Project is a living exploration.

Do you have documentation, firsthand knowledge or another perspective that belongs in this conversation?

We welcome corrections, historical  materials, photographs, business records, news coverage and other  supporting information for consideration in future updates.

— Paul Lipps
2nd Generation Family Steward
TCP Memorial Benefit

This is a living document. As new research, documentation, and  firsthand accounts become available, this Preface and the chapters that  follow will continue to evolve. Please refer to the "Last Updated" date  for the most current version.

Exploration #004
Research Status: 🟡 Research in Progress
Originally Published: September 21, 2026
Last Updated: October 1, 2026
Estimated Reading Time: 14 minutes

As I’ve become more involved in the Elvis world over the past 10 years, there’s something about ETA contests that I’ve found myself thinking about more and more — and something Andrea and I have discussed behind the scenes at TCP many times.

Then I read Allie West’s recent article, “Left in the Dark: The Unspoken Truth About ETA Scoring.”   I appreciate Allie starting this conversation about something I believe is worth openly exploring, because when questions and misunderstandings surrounding ETA contests aren’t talked about, they can sometimes create division within the Elvis world that simply isn’t needed. 

She opened with a line that caught my attention:

“I’m tired of tiptoeing around the elephant in the room.”

Maybe that’s what we’ve been doing too.

Not because we’re afraid of the conversation, but because, for us, the contest is one of the most difficult and sensitive parts of producing an Elvis festival.

We care deeply about the ETAs who walk onto our stage. We understand the time, money, travel, rehearsal and personal commitment they put into honoring Elvis. We know what these performers contribute to the Elvis world, and we also understand how much a contest result can mean to someone who has invested so much into that moment.

But over the years, I’ve also watched something else happen. An ETA wins one contest and finishes fifth at another. Someone many people expected to make the finals doesn’t. Fans disagree with the judges. ETAs leave disappointed. Questions start being asked about judging, scoring and fairness.

And sometimes those questions become something bigger. They create division.

That concerns me because TCP Memorial Benefit began nearly 50 years ago for exactly the opposite reason. We came together because of a shared love and respect for Elvis Presley. Our purpose was to honor his memory, bring his fans together and do something positive in his name. Today, I believe that also means supporting and appreciating the Elvis Tribute Artists who invest so much of themselves in keeping his music and legacy in front of audiences.

So I think this conversation is worth having. Not to defend judges or criticize ETAs. Not to suggest that every contest, everywhere, has always been perfect, and certainly not to dismiss legitimate concerns when they exist.

For this discussion, I want to start with a contest where everyone involved is acting honestly, the rules are being followed, and the judging is being done in good faith.

And then ask a question:

How can the same ETA win one contest, finish fifth in another, and perhaps not even make the finals somewhere else?

After watching these contests and thinking about this for years, I’ve come to believe there’s something we don’t talk about enough:

Winning an ETA contest can truly be a perfect storm.

And the difference between first place and fifth place may actually be much, much smaller than those two placements make it feel.

When I call winning an ETA contest a “perfect storm,” I don’t mean luck determines the winner.

The ETA absolutely matters. Talent matters. Preparation matters. Knowing Elvis matters. Song selection, vocals, appearance, stage presence and the performance itself all matter.

But the ETA is not the only variable.

Think about everything that has to come together on one particular weekend. There is the ETA himself and the performance he gives that day. What songs did he choose? Is he portraying the era of Elvis that best fits him? Is his voice at its best? Did he connect with the audience? Was he comfortable on that stage? Did everything simply click?

Then there is the field of contestants around him. Who else entered this particular contest? What Elvis eras are they portraying? What songs did they choose? Did one of them have an unusually great performance that night? How strong is the field from top to bottom?

Then there are the judges. Even when every judge is knowledgeable, impartial and sincerely trying to apply the same criteria, they are still human beings evaluating a performance. One judge may hear something in a vocal that another doesn’t. One may notice a movement or mannerism another misses. Something about an ETA’s stage presence may connect more strongly with one judge than another.

That doesn’t automatically mean one of them is wrong.

Then add the environment — the stage, sound, lighting, band or tracks, performance order, audience energy and all the little things that can make one performance feel different from another.

Change any one of those variables and you haven’t necessarily changed how talented the ETA is.

But you may have changed the contest.

That’s why I don’t think a contest result should ever be interpreted as a permanent ranking of Elvis Tribute Artists. Winning first place doesn’t necessarily mean, “I am a better ETA than everyone who finished below me.” And finishing fifth doesn’t mean, “There are four ETAs here who are simply better than I am.”

It means that on this particular day, with these particular performances, against this particular field, in front of this particular group of judges, under these particular circumstances, the scores produced this result.

Change the contest, and the result may change too.

And here’s the part I don’t think most fans — and perhaps even some contestants — realize:

The difference between first place and fifth place can be incredibly small.

The placement makes the gap feel large. The actual scores may tell a very different story.

This is where I think placement can sometimes fool us.

When we hear that one ETA finished first and another finished fifth, our minds naturally create a pretty big distance between them. First sounds like the best. Fifth sounds like he was considerably behind the winner. And someone who didn’t make the Top 10 can feel even farther away.

But what if they weren’t?

Under the current Ultimate Elvis Tribute Artist Contest scoring system, judges evaluate four areas: Vocals, Appearance, Stage Presence and Overall Performance. Vocals are weighted more heavily, accounting for 40% of the score, while the other three categories each account for 20%.

Now imagine a hypothetical contest where the final scores looked something like this:

1st Place — 472 points
2nd Place — 467 points
3rd Place — 462 points
4th Place — 456 points
5th Place — 451 points

To the audience, there’s a winner and there’s a fifth-place finisher. Those sound like two very different outcomes.

But across multiple judges evaluating multiple areas of a performance, only 21 points separate first from fifth.

Those 21 points don’t necessarily represent one major difference between those ETAs. They can be scattered across an entire judging panel. Maybe one judge saw an Appearance score as an 8 instead of a 9. Another thought the Stage Presence was an 8 instead of a 9. Another heard something in the vocal performance slightly differently. Another gave a 9 for Overall Performance where someone else saw an 8.

Individually, none of those judgments seems dramatic. Added together, they create a placement.

And the same thing can happen around the Top 10 cutoff.

Imagine these scores:

8th — 427 points
9th — 424 points
10th — 421 points
11th — 419 points
12th — 416 points

Now think about how differently those results feel.

One ETA hears his name called and advances to the Top 10. Another doesn’t. For the contestant who finished 11th, that can feel like a major dividing line. His competition is over while someone else’s continues.

But in this hypothetical example, 10th and 11th are separated by only two points.

Not twenty. Not fifty. Two points across an entire panel of judges.

That’s why I think we need to separate two things that sound like they mean the same thing, but don’t:

Placement and distance.

Placement tells us the order in which the scores finished. It doesn’t tell us how far apart those performances actually were.

First through fifth could represent performances separated by a significant margin, or they could represent five outstanding performances packed relatively close together. The same is true of making the Top 10. The person who finishes 11th isn’t necessarily in some completely different class from the person who finishes 10th. They may have been incredibly close.

But the awards ceremony — and the record afterward — doesn’t show us that. It says one person finished first, another finished fifth, one advanced and another didn’t.

Imagine winning a contest one weekend and finishing fifth at another a few weeks later, or making the Top 10 at one contest and missing it at the next. It’s understandable to wonder: What happened? Did I suddenly get worse? Did the judges not understand what I was doing? Was something wrong with the contest?

Those are understandable questions.

But there’s another possibility that I think deserves much more attention:

Maybe almost nothing happened.

Maybe you performed just as well. Maybe you were only a few points away from winning again. Maybe you missed the Top 10 by two points. Maybe this particular field was exceptionally strong. Maybe a few judges saw a few individual elements slightly differently. Maybe another ETA simply had an exceptional performance that day.

The words “first,” “fifth,” “Top 10” and “didn’t advance” make the differences feel large.

The numbers behind those words may tell a very different story.

And sometimes the difference isn’t small. Sometimes, according to the scores, there isn’t a difference at all.

The Ultimate Elvis Tribute Artist Contest rules actually anticipate ties.

Interestingly, the tiebreaking order is different at a preliminary than it is in the Semifinal and Final Rounds in Memphis.

At a preliminary, the first tiebreaker is Vocals. If Vocals are also tied, the rules then compare Overall Performance, Appearance and Stage Presence, in that order.

In the Semifinal and Final Rounds in Memphis, however, the first tiebreaker is Overall Performance — not Vocals, even though Vocals carry the greatest weight in the regular scoring system. If Overall Performance is also tied, the rules then compare Vocals, Appearance and Stage Presence, in that order. And if contestants remain tied through all of those categories in the Final Round, they perform another song so the judges can score them again and determine a winner.

I think that’s worth stopping on for a moment.

The same scoring categories and percentages are used at both levels, yet the rules use a different first tiebreaker. At a preliminary, it is Vocals. In Memphis, it is Overall Performance.

To me, that reinforces something important about what is actually being judged. This isn’t simply a singing competition. It’s an Elvis tribute artist competition. Vocals are enormously important, but ultimately the judges are evaluating the complete performance and portrayal of Elvis Presley.

And think about what the existence of a tiebreaking procedure tells us in the first place. Two ETAs can perform through a competition, be evaluated by the same judges under the same criteria, accumulate all of those individual scores — and the scoring system can still say those two performers are tied.

A contest ultimately has to produce a result. Someone has to advance, someone has to finish first, and someone has to finish second. There will also be a last person into the Top 10, which means someone else will be the first person out. That’s simply the nature of competition.

But I think sometimes we take the result the contest is required to produce and give it more meaning than it was ever capable of carrying.

A contest has to create separation, even when very little separation may actually exist.

A trophy tells us who won that contest. It doesn’t necessarily settle the larger question of who is the “better” Elvis Tribute Artist.

Imagine those two tied ETAs entering another contest a month later. There could be different judges, different competitors, different songs, a different stage, a different room and different performances on a different night.

Why would we automatically expect them to finish in exactly the same order?

Take that idea beyond two tied performers and apply it to an entire field of talented ETAs whose scores may already be relatively close.

You could take many of the same ETAs and hold another contest the following weekend, and even if everyone involved is honest and following the exact same rules, I don’t think we should automatically expect the same result.

In fact, even if we somehow recreated the same contest — same ETAs, same judges, same stage, same rules and the same songs — I’m not convinced we’d necessarily get the exact same order.

Because we couldn’t recreate the performances.

A vocal might be a little stronger. A movement might feel more natural. Someone might connect with the room differently. A judge might notice something he or she didn’t notice the first time. An ETA who had a great night last Saturday might have an extraordinary night this Saturday.

That’s performance, and that’s human judgment. Neither one is perfectly repeatable.

Which brings me back to the question I started with. How can an ETA win one contest, finish fifth at another and perhaps not make the Top 10 somewhere else?

Maybe the better question isn’t:

“How could the judges get it that different?”

Maybe it’s:

“Why would we expect two different contests to produce exactly the same result?”

There’s another person in this conversation I don’t want to overlook: the Elvis fan.

Anyone who has spent time around the ETA world knows that fans develop connections with particular performers. They follow their careers, travel to see them, become friends with them, celebrate their successes and watch them grow. Sometimes they’ve been following an ETA’s journey for years.

So when that ETA enters a contest, he isn’t always taking that journey alone. His fans are taking part of it with him.

They may have watched him prepare. They know how badly he wants it. They’ve seen performances where they thought he was incredible. They may have traveled hundreds of miles hoping to watch him qualify for Memphis or win an Ultimate preliminary.

Then the results are announced, and their favorite ETA doesn’t win.

Their disappointment can be very real too.

And just like the ETA, the fan may be trying to understand what happened. How could he win last month and finish fifth tonight? How could he not make the Top 10? I thought he was clearly one of the best performers here.

There’s nothing wrong with having a favorite. That passion is part of what makes the Elvis world special. ETAs build relationships with audiences because they connect with people, and those fans become genuinely invested in their journey.

But I think this is another place where understanding placement versus distance becomes important.

A fan sees the performer they love finish fifth. What they don’t necessarily see is that perhaps only a handful of points separated him from first. They don’t see every number on every judge’s sheet. They don’t experience the performance from exactly the same perspective as the judges. And naturally, they aren’t watching without emotion — they’re rooting for someone.

That’s part of being a fan.

In fact, maybe this helps explain why contest results can sometimes create so much disagreement afterward. The ETA is disappointed. His family may be disappointed. His fans are disappointed. Meanwhile another ETA, another family and another group of fans are celebrating one of the biggest moments of their journey.

Those emotions are all happening in the same room at the same time.

That’s another reason I think we should be careful about turning a contest result into something larger than it is. We can celebrate our favorites, disagree with a result and still respect the people who finished ahead of them.

Because the person standing on the other side of that result has a journey too.

I think this is another area where the conversation can become complicated.

When we talk about “the judges,” it can sometimes sound as though they are supposed to function like a scientific measuring instrument. Put an ETA in front of them, measure the performance and arrive at the correct number.

But that isn’t what an ETA contest is.

The EPE scoring system gives judges specific criteria to evaluate and a common scoring structure. That creates consistency in what judges are being asked to consider. It doesn’t mean every person will experience every performance identically.

It is also important to remember that this is an Elvis tribute contest, not simply a vocal contest.

Under the current EPE system, Vocals account for 40% of the score. Appearance, Stage Presence and Overall Performance together account for the other 60%.

That matters.

The person with the strongest technical singing voice is not automatically supposed to win. Judges are being asked to evaluate the complete tribute performance.

At our festival, as is the case with many events like ours, judges are generally volunteers. They are people willing to give their time because they care about Elvis and the Elvis world. Some may have professional music or entertainment experience. Others may have decades of knowledge as Elvis fans. They may not all be professional vocal coaches — but most music fans aren’t.

That doesn’t mean knowledge and expertise don’t matter. They absolutely do.

But expertise can take different forms.

Someone who has listened to Elvis for 40 or 50 years may not be able to explain the technical mechanics of vocal resonance or breath support, but they may immediately recognize phrasing that sounds authentic to Elvis. Someone else may have an exceptional understanding of Elvis’s stage movements, wardrobe or different periods of his career.

And even two extremely knowledgeable Elvis people can notice different things in the same performance.

Fair does not necessarily mean identical.

Two honest, knowledgeable judges can watch the same ETA, apply the same criteria and arrive at slightly different scores. Likewise, two properly run contests can produce different placements. The existence of those differences by itself doesn’t establish that either contest was unfair.

This is another idea I’ve heard discussed, and in a perfect world I think some form of additional judge education or training could certainly have value.

Clearer guidance can help. Better understanding of the scoring criteria can help. Making sure judges understand exactly what is expected of them before the contest can help.

But there are also practical questions that come with formal training or certification.

Who develops the training? Who decides what someone must know about Elvis to qualify? Who administers it? Who keeps it current? Who pays for it? Does the volunteer judge pay? Does the preliminary producer pay? Does EPE administer it?

Those aren’t arguments against training. They’re simply realities that have to be considered.

And even with the best training imaginable, I don’t believe we could completely eliminate differences in human judgment.

Training might reduce inconsistency.

It cannot make five human beings see and hear a live performance exactly the same way.

TCP and the Indiana Elvis FANtasy Fest have been producing Elvis tribute contests since 1993.

When Elvis Presley Enterprises created the Ultimate Elvis Tribute Artist Contest program in 2007, IEFF became part of that system and has continued working within EPE’s framework. EPE provides rules, scoring criteria and guidelines for its licensed preliminary contests, and our approach has always been that when we are operating within their program, we don’t simply make changes on our own. If something needs to be different, we work with EPE and seek their approval.

You might think that after more than 30 years of producing contests, judging would somehow become the easy part.

For me, almost the opposite has happened.

The longer we have done this, the more I have come to appreciate how difficult this part of the festival really is.

We see what the ETAs put into it. We see the travel, rehearsals, wardrobe, expenses and time away from their families. We see how much Elvis means to many of them and how seriously they take the responsibility of portraying him.

And then eventually we have to call names.

Somebody advances. Somebody doesn’t.

Somebody wins.

Someone who hoped this would be his year goes home disappointed.

That is one of the hardest parts of producing our festival because these aren’t numbers standing on the stage. They’re people.

They are also an important part of the Elvis world.

Whatever disagreements we may have about contests, judging or scoring, I never want us to lose sight of that.

I started this article by saying that Andrea and I have talked about these issues behind the scenes at TCP for years.

For me, much of that conversation has been about trying to better understand what a contest result actually means and why two honestly and fairly conducted contests can produce very different results.

Andrea has been looking at it from another perspective.

As Contest Director for the Indiana Elvis FANtasy Fest, she’s been thinking about the experience from the contestant’s side: what an ETA puts into getting onto that stage, what he takes away from the experience, and whether there are things we can do to better support him on that journey.

Those are conversations we’re continuing to have, and Andrea is working on some ideas that we’ll share separately when the time is right.

For this discussion, though, I think the more important thing is understanding what a contest can — and cannot — tell us.

A contest has to produce a winner. It has to establish an order. It has to determine who advances and who doesn’t. But that order doesn’t necessarily tell us how much distance existed between those performers, and it certainly doesn’t define the value of an ETA or everything he brings to the Elvis world.

The person who finished fifth may have been remarkably close to the person who finished first. The person who finished 11th may have missed the Top 10 by only a couple of points. Two performers may have been so evenly matched that the rules themselves had to break a tie.

And next weekend, with another performance, another field and another group of judges, the order could be different.

That doesn’t diminish the winner. Winning matters, and becoming an Ultimate Elvis Tribute Artist or qualifying to compete on that stage is a tremendous accomplishment.

But perhaps understanding how these contests actually work can help us put both winning and losing into better perspective.

TCP Memorial Benefit began nearly 50 years ago because people who loved Elvis wanted to come together, honor his memory and do something positive in his name. After more than three decades of producing ETA contests, I still believe that should be our compass.

We can celebrate the winner. We can be disappointed when our favorite doesn’t advance. We can disagree with a result. We can continue looking for ways to improve contests.

And we can do all of those things without allowing competition to divide people who came together because of the same person in the first place.

Elvis.

Maybe that’s the biggest thing I’ve taken away from thinking about all of this.

An ETA contest result is important.

But it is also a snapshot — one group of performers, one judging panel, one set of performances, on one particular day.

And sometimes winning really is the result of everything coming together at exactly the right moment.

A perfect storm.