Cultural depictions of Elvis Presley
Elvis Presley has inspired artistic and cultural works since he entered the national consciousness. From that point, interest in his personal and public life has never stopped; some scholars have studied many aspects of his profound cultural influence. Billboard historian Joel Whitburn declared Presley the "#1 act of the Rock era"; the following lists cover various media which include items of historic interest, enduring works of high art, recent representations in popular culture. Only people and works with Wikipedia articles are included. For purposes of classification, popular culture music is a separate section from operas and oratorios. Television covers live action series, TV movies and North American animation but not Japanese anime, which appears with manga and graphic novels. 2001 Audi Wackel-Elvis campaign 2015 State Farm "Magic Jingle Elvis" commercial, directed by Roman Coppola Known Andy Warhol's sikscreens featuring the image of Elvis Presley and their current location, including art museums worldwide, as well as prices met, when known.
Totals paid for eight of the silkscreens below as of April 3, 2019 total US$280,000,000.i) "Single Elvis", 1963, acquired in 2009 for a price still undetermined by billionaire Eli Broad and owner of The Broad Museum, in Los Angeles, CA, where it is now located. Similar original silkscreens, all from 1963, are located at 1) the Museum Ludwig in Cologne, Germany, 2) the National Gallery of Australia in Parkes, Canberra, 3) the Akron Art Museum, in Akron OH 4) The Andy Warhol Museum in Pittsburgh, PA and 5) the Modern Wing of the Art Institute of Chicago, in Chicago Il. Note: On May 11, 2004, a "Single Elvis " was sold at Christie's in NYC for US$3,367,500 ii) "Elvis I and II", 1963-64, one located at the Art Gallery of Ontario, Ontario, with another at the Berlin Pergamon Museum of Art in Berlin, Germany. Iii) "Double Elvis", 1963, sold in 1989 by the Estate of Albert Grossman, to the New York Museum of Modern Art for US750,000. Another 21 original silkscreens similar to, or resembling the aforementioned are said to exist, including those located at the 1) Seattle Art Museum, in Seattle, WA the Guggenheim Museum Bilbao, in Bilbao, Spain.
In March of 2019, it was disclosed that the home had just been purchased by Harry Morton the son of one of its previous owners, the co-founder of the Hard Rock Cafe chain Peter Morton, for US$$25.46 million- See v) below, iv) "Double Elvis", 1963, sold at New York's Sotheby's on May 9, 2012 for US$37.1 million, its buyers being billionaires Jose Mugrabi and Steve Wynn, respectively. Six years on May 17, 2018 at Christie's in New York, Wynn sold it for US$37,000,000, the buyer being the British art dealer Brett Gorvy, co-owner of the Levy-Gorby Gallery in NY, London and Geneva, he in turn confirmed his purchasing of the Double Elvis being done on behalf of one of his clients. Another original quite alike the latter and entitled "Elvis 2 times" 1963, can be found at the Whitney Museum of American Art in New York. V) "Elvis X2", 1963, bought for US$15.7 million. At Christie's on 13 November 2007 and located at the Art Gallery of Ontario in Toronto. Canada- vi) "Triple Elvis", 1963, purchased at Christie's on November 13, 2014 for US$81.9 million by billionaires Doris and Donald Fisher, who lent it to the San Francisco Museum of Modern Art.
Four other similar silkscreens from 1963, can be found at 1) the Richmond Art Museum in Richmond, VA, its original owners being philanthropists Frances and Sydney Lewis. At one point, it was loaned to the Mississippi Museum of Art in Jackson, MS, thereby remain there until July 8, 2018 and 2) the Metropolitan Museum of Art, in New York, this one with two of the figures mixed and a third, isolated. 3) The Luigi e Peppino Agrati Collection, shown at Milan's Italian Gallery in May 2018, its three heads joined at the ears and 4) the Saatchi Gallery, England, the three images so much apart from each other that the middle one only meets the other two at its feet. Vii) "Elvis five" located at The Andy Warhol Museum in Pittsburgh, PA. vii) "Eight Elvises", 1963, a one of a kind large silkscreen sold on 26 October 2008 by Italian art collector Annibale Berlingieri, for US$100 million. It is thought to have been purchased by the House of Thani's Qatari Royal family. Viii) "Elvis eleven times", 1963, the largest Elvis by Warhol in existence, as well as being a unique piece located at The Andy Warhol Museum in Pittsburgh, PA ix) "Campbell's Elvis", 1962, Warhol's first painting in which he superimposed two images onto a single canvas, auctioned at Christie's on 10 November 2010 for US$1.45 million.
X) "Gold Boot Elvis Presley", 1957. In the private collection of actor Tom Lacy of the NBC TV series Law & Order xi) "Red Elvis," 1962, bought in February 2000, for US$2.9 million and adjudicated, after a Connecticut Superior Court ruling, to its original owner, multi millionaire art collector Peter Brant. Xii) "Elvis 21 times", 1962, sold at Sotheby's on May 3, 1993 for a still undis
Love Letters from Elvis
Love Letters from Elvis is the fourteenth studio album by American singer and musician Elvis Presley, released in 1971. The album was critically panned upon release, failed to crack the top 20 of the Billboard album charts but did reach #12 on the US Top Country Albums chart and #7 on the UK best-selling albums chart; the album was made up of leftovers from Elvis' marathon June 1970 recording sessions in Nashville. Most of the other 35 songs recorded during those sessions had been used in Elvis' 1970 albums That's the Way It Is and Elvis Country. Wanting to squeeze out a third album from the sessions, RCA records had producer Felton Jarvis mix and compile the remaining songs; the song's title track was a rare instance of Presley re-recording a past hit in the studio, his original version of "Love Letters" having been released as a single in 1966. "Got My Mojo Working" is edited down from an impromptu jam session. Three songs from this album were released on singles; the single "Life / Only Believe" was released in March 1971 and reached only #53 on the US Billboard Singles chart.
It was Elvis's lowest chart position for a single since "Almost in Love" had reached #95 in late 1968. "Heart Of Rome" was placed on the B-side of the non-album track "I'm Leavin'" released as a single in August 1971 it reached #23 in the UK and #83 in Australia. Elvis Presley - lead vocals, acoustic rhythm guitar James Burton - lead guitar Chip Young - rhythm guitar Norbert Putnam - bass David Briggs - piano Jerry Carrigan - drums The Imperials Quartet – backing vocals The Jordanaires – backing vocals on "When I'm Over You" The Nashville Edition – backing vocals on "It Ain't No Big Thing" Love Letters from Elvis at Discogs
Elvis (1973 album)
Elvis is the eighteenth studio album by American singer and musician Elvis Presley, released in July 1973. It sold over 1 million copies worldwide. To differentiate it from his eponymous 1956 release it is sometimes called The "Fool" Album, after its first track. In the US "Fool" was issued as the B-side of "Steamroller Blues" from the Aloha from Hawaii Via Satellite album. In the UK the sides were flipped and "Fool" was issued as the A-side, it reached No. 15. The album tracks "Fool" and "Where Do I Go From Here" were recorded in March 1972. "It's Impossible" is a live recording from the Hilton Hotel in Las Vegas from February 1972. The remaining tracks were leftovers from the March and May 1971 recording sessions at RCA's Studio B in Nashville. Three songs feature Presley on piano: "It's Still Here", "I'll Take You Home Again, Kathleen" and "I Will Be True"; these three selections were all released together for a second time as part of the 1980 boxed set, Elvis Aron Presley. The song "Fool" was released in this collection.
Four other songs in this album were reissued in other albums: "It's Impossible", "Padre", " For Lovin' Me" and "Don't Think Twice, It's All Right". After more than 20 years of being out-of-print on vinyl, RCA reissued this album in March 1994 on the CD format, again in 2010 on the Follow that Dream collectors label. Elvis at Discogs APL1-0283 Elvis Guide part of The Elvis Presley Record Research Database
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Rock and roll
Rock and roll is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s from musical styles such as gospel, jump blues, boogie woogie, rhythm and blues, along with country music. While elements of what was to become rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954. According to Greg Kot, "rock and roll" refers to a style of popular music originating in the U. S. in the 1950s prior to its development by the mid-1960s into "the more encompassing international style known as rock music, though the latter continued to be known as rock and roll." For the purpose of differentiation, this article deals with the first definition. In the earliest rock and roll styles, either the piano or saxophone was the lead instrument, but these instruments were replaced or supplemented by guitar in the middle to late 1950s; the beat is a dance rhythm with an accentuated backbeat, always provided by a snare drum.
Classic rock and roll is played with one or two electric guitars, a double bass or string bass or an electric bass guitar, a drum kit. Beyond a musical style and roll, as seen in movies, in fan magazines, on television, influenced lifestyles, fashion and language. In addition and roll may have contributed to the civil rights movement because both African-American and white American teenagers enjoyed the music, it went on to spawn various genres without the characteristic backbeat, that are now more called "rock music" or "rock". The term "rock and roll" now has at least two different meanings, both in common usage; the American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the other hand, regards it as the music that originated in the mid-1950s and developed "into the more encompassing international style known as rock music"; the phrase "rocking and rolling" described the movement of a ship on the ocean, but was used by the early twentieth century, both to describe the spiritual fervor of black church rituals and as a sexual analogy.
Various gospel and swing recordings used the phrase before it became used more – but still intermittently – in the 1940s, on recordings and in reviews of what became known as "rhythm and blues" music aimed at a black audience. In 1934, the song "Rock and Roll" by the Boswell Sisters appeared in the film Transatlantic Merry-Go-Round. In 1942, Billboard magazine columnist Maurie Orodenker started to use the term "rock-and-roll" to describe upbeat recordings such as "Rock Me" by Sister Rosetta Tharpe. By 1943, the "Rock and Roll Inn" in South Merchantville, New Jersey, was established as a music venue. In 1951, Ohio, disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it; the origins of rock and roll have been fiercely debated by historians of music. There is general agreement that it arose in the Southern United States – a region that would produce most of the major early rock and roll acts – through the meeting of various influences that embodied a merging of the African musical tradition with European instrumentation.
The migration of many former slaves and their descendants to major urban centers such as St. Louis, New York City, Chicago and Buffalo meant that black and white residents were living in close proximity in larger numbers than before, as a result heard each other's music and began to emulate each other's fashions. Radio stations that made white and black forms of music available to both groups, the development and spread of the gramophone record, African-American musical styles such as jazz and swing which were taken up by white musicians, aided this process of "cultural collision"; the immediate roots of rock and roll lay in the rhythm and blues called "race music", country music of the 1940s and 1950s. Significant influences were jazz, gospel and folk. Commentators differ in their views of which of these forms were most important and the degree to which the new music was a re-branding of African-American rhythm and blues for a white market, or a new hybrid of black and white forms. In the 1930s, swing, both in urban-based dance bands and blues-influenced country swing, were among the first music to present African-American sounds for a predominantly white audience.
One noteworthy example of a jazz song with recognizably rock and roll elements is Big Joe Turner with pianist Pete Johnson's 1939 single Roll'Em Pete, regarded as an important precursor of rock and roll. The 1940s saw the increased use of blaring horns, shouted lyrics and boogie woogie beats in jazz-based music. During and after World War II, with shortages of fuel and limitations on audiences and available personnel, large jazz bands were less economical and tended to be replaced by smaller combos, using guitars and drums. In the same period on the West Coast and in the Midwest, the development of jump blues, with its guitar riffs, prominent beats and shouted lyrics, prefigured many developments. In the documentary film Hail! Hail! Rock'n' Roll, Keith Richards proposes that Chuck Berry developed his brand of rock and roll by transposing the familiar two-note lead line of jump blues piano directly to the electric guitar, creatin