A creole language, or simply a creole, is a stable language that has originated from a pidgin language that has been nativized (that is, acquired by children). The vocabulary of a creole language consists of cognates from the parent languages, though there are often clear phonetic and semantic shifts. On the other hand, the grammar often has original features but may differ substantially from those of the parent languages. Most often, the vocabulary comes from the dominant group and the grammar from the subordinate group, where such stratification exists. For example, Jamaican Creole features largely English words superimposed on West African grammar.

Overview

A creole is believed to arise when a pidgin, which was developed by adults for use as a second language, becomes the native and primary language of their children — a process known as nativization. The pidgin-creole life cycle was studied by Hall in the 1960s.

Creoles share more grammatical similarities with each other than with the languages from which they are phylogenetically derived. However, there is no widely accepted theory that would account for those perceived similarities. Moreover, no grammatical feature has been shown to be specific to creoles.

Many of the creoles known today arose in the last 500 years, as a result of the worldwide expansion in European maritime power and trade in the Age of Discovery, which led to extensive European colonial empires and an intense slave trade. Like most non-official and minority languages, creoles have generally been regarded as degenerate variants or dialects of their parent languages. Because of that prejudice, many of the creoles that arose in the European colonies have become extinct. However, political and intellectual changes in recent decades have improved the status of creoles, both as living languages and as object of linguistic study. Some creoles have even been granted the status of official or semi-official languages.

Linguists now recognize that creole formation is a universal phenomenon, not limited to the European colonial period, and an important aspect of language evolution (see ). For example, in 1933 Sigmund Feist postulated a creole origin for the Germanic languages.

History

Origin

The English term creole comes from French créole, which is cognate with the Spanish term criollo and Portuguese crioulo, all descending from the verb criar ("to breed" or "to raise"), ultimately from Latin creare ("to produce, create"). The specific sense of the term was coined in the 16th and 17th century, during the great expansion in European maritime power and trade that led to the establishment of European colonies in other continents.

The terms criollo and crioulo were originally qualifiers used throughout the Spanish and Portuguese colonies to distinguish the members of an ethnic group that were born and raised locally from those who immigrated as adults. They were most commonly applied to nationals of the colonial power, e.g. to distinguish españoles criollos (people born in the colonies from Spanish ancestors) from españoles peninsulares (those born in the Iberian Peninsula, i.e. Spain). However in Brazil the term was also used to distinguish between negros crioulos (blacks born in Brazil from African slave ancestors) and negros africanos (born in Africa). Over time, the term and its derivatives (Creole, Kreyol, Kriol, Krio, etc.) lost the generic meaning and became the proper name of many distinct ethnic groups that developed locally from immigrant communities. Originally, therefore, the term "creole language" meant the speech of any of those creole peoples.

Geographic distribution

As a consequence of colonial European trade patterns, most of the known European-based creole languages arose in the equatorial belt around the world and in areas with access to the oceans, including the coastal regions of the Americas, western Africa, Goa and along the west coast of India, and along the coast of Southeast Asia up to Indonesia, Macau, the Philippines, Malaysia, and Oceania.

Many of those creoles are now extinct, but others still survive in the Caribbean, the north and east coasts of South America, western Africa, Australia (see Australian Kriol language), and in the Indian Ocean.

Atlantic Creole languages are based on European languages with elements from African and possibly Amerind languages. Indian Ocean Creole languages are based on European languages with elements from Malagasy and possibly other Asian languages. There are, however, creoles like Nubi and Sango that are derived solely from non-European languages.

Social and political status

Because of the generally low status of the Creole peoples in the eyes of prior European colonial powers, creole languages have generally been regarded as "degenerate" languages, or at best as rudimentary "dialects" of the politically dominant parent languages. Because of this prejudice, the word "creole" was generally used by linguists in opposition to "language", rather than as a qualifier for it. This prejudice was compounded by the inherent instability of the colonial system, leading to the disappearance of creole languages, mainly due to dispersion or assimilation of their speech communities.

Another factor that may have contributed to the relative neglect of creole languages in linguistics is that they do not fit the 19th century neogrammarian "tree model" for the evolution of languages, and its postulated regularity of sound changes (such as the earliest advocates of the wave model, Johannes Schmidt and Hugo Schuchardt, the forerunners of modern sociolinguistics). This controversy of the late 19th century profoundly shaped modern approaches to the comparative method in historical linguistics and in creolistics.

Because of social, political, and academic changes brought on by decolonization in the second half of the 20th century, creole languages have experienced revivals in the past few decades. They are increasingly being used in print and film, and in many cases, their community prestige has improved dramatically. In fact, some have been standardized, and are used in local schools and universities around the world. At the same time, linguists have began to come to the realization that creole languages are in no way inferior to other languages. They now use the term "creole" or "creole language" for any language suspected to have undergone creolization, terms that now imply no geographic restrictions nor ethnic prejudices.

Classification of creoles

Historic classification

According to their external history, four types of creoles have been distinguished: plantation creoles, fort creoles, maroon creoles, and creolized pidgins. By the very nature of a creole language, the phylogenetic classification of a particular creole usually is a matter of dispute; especially when the pidgin precursor and its parent tongues (which may have been other creoles or pidgins) have disappeared before they could be documented.

Phylogenetic classification traditionally relies on inheritance of the lexicon, especially of "core" terms, and of the grammar structure. However, in creoles, the core lexicon often has mixed origin, and the grammar is largely original. For these reasons, the issue of which language is the parent of a creole — that is, whether a language should be classified as a "Portuguese creole" or "English creole", etc. — often has no definitive answer, and can become the topic of long-lasting controversies, where social prejudices and political considerations may interfere with scientific discussion.

Substrate and superstrate

The terms substrate and superstrate are often used when two languages interact. However, the meaning of these terms is reasonably well-defined only in second language acquisition or language replacement events, when the native speakers of a certain source language (the substrate) are somehow compelled to abandon it for another target language (the superstrate). The outcome of such an event is that erstwhile speakers of the substrate will use some version of the superstrate, at least in more formal contexts. The substrate may survive as a second language for informal conversation. As demonstrated by the fate of many replaced European languages (such as Etruscan, Breton, and Venetian), the influence of the substrate on the official speech is often limited to pronunciation and a modest number of loanwords. The substrate might even disappear altogether without leaving any trace.

However, there is dispute over the extent to which the terms "substrate" and "superstrate" are applicable to the genesis or the description of creole languages. The language replacement model may not be appropriate in creole formation contexts, where the emerging language is derived from multiple languages without any one of them being imposed as a replacement for any other. The substratum-superstratum distinction becomes awkward when multiple superstrata must be assumed (such as in Papiamentu), when the substratum cannot be identified, or when the presence or the survival of substratal evidence is inferred from mere typological analogies. On the other hand, the distinction may be meaningful when the contributions of each parent language to the resulting creole can be shown to be very unequal, in a scientifically meaningful way. In the literature on Atlantic Creoles, "superstrate" usually means European and "substrate" non-European or African.

Decreolization

Since creole languages rarely attain official status, the speakers of a fully formed creole may eventually feel compelled to conform their speech to one of the parent languages. This decreolization process typically brings about a post-creole speech continuum characterized by large scale variation and hypercorrection in the language.

Shared Features

It is commonly assumed a priori that, compared to other languages, creoles have a simpler grammar and more internal variability. However, these notions may be little more than prejudices.

Phylogenetic or typological comparisons of creole languages have led to divergent conclusions. Similarities are usually higher among creoles derived from related languages, such as the languages of Europe, than among broader groups that include also creoles based on non-Indo-European languages (like Nubi or Sango). French-based creoles in turn are more similar to each other (and to varieties of French) than to other European-based creoles. It was observed, in particular, that definite articles are mostly prenominal in English-based creole languages and English whereas they are generally postnominal in French creoles and in the variety of French that was exported to the colonies in the 17th and 18th century. Moreover the European languages which gave rise to the creole languages of European colonies all belong to the same subgroup of Western Indo-European and have highly convergent grammars; to the point that Whorf joined them into a single Standard Average European language group. French and English are particularly close, since English, through extensive borrowing, is typologically closer to French than to other Germanic languages. Thus the claimed similarities between creoles may be mere consequences of similar parentage, rather than characteristic features of all creoles.

Creole genesis

There are a variety of theories on the origin of creole languages, all of which attempt to explain the similarities among them. outline a fourfold classification of explanations regarding creole genesis:

Theories focusing on European input

Theories focusing on non-European input

Gradualist and developmental hypotheses

Universalist approaches

Theories focusing on European input

The monogenetic theory of pidgins and creoles

The monogenetic theory of pidgins and creoles hypothesizes that they are all derived from a single Mediterranean Lingua Franca, via a West African Pidgin Portuguese of the 17th century, relexified in the so-called "slave factories" of Western Africa that were the source of the Atlantic slave trade. This theory was originally formulated by Hugo Schuchardt in the late 19th century and popularized in the late 1950s and early 1960s by Taylor, Whinnom, Thompson, and Stewart. However, this hypothesis is no longer actively investigated.

The domestic origin hypothesis

Proposed by for the origin of English-based creoles of the West Indies, the Domestic Origin Hypothesis argues that, towards the end of the 16th century, English-speaking traders began to settle in the Gambia and Sierra Leone rivers as well as in neighboring areas such as the Bullom and Sherbro coasts. These settlers intermarried with the local population leading to mixed populations, and, as a result of this intermarriage, an English pidgin was created. This pidgin was learned by slaves in slave depots, who later on took it to the West Indies and formed one component of the emerging English creoles.

The European dialect origin hypothesis

The French creoles are the foremost candidates to being the outcome of "normal" linguistic change and their creoleness to be sociohistoric in nature and relative to their colonial origin. Within this theoretical framework, a French creole is a language phylogenetically based on the French language, more specifically on a 17th century koiné French extent in Paris, the French Atlantic harbours, and the nascent French colonies. Two descendants of the non-creole colonial koiné are still spoken in Canada (mostly in Québec and among the Acadian people of the Eastern Maritime provinces), the Prairies, Louisiana, Saint-Barthélemy (leeward portion of the island) and as isolates in other parts of the Americas. Approaches under this hypothesis are compatible with gradualism in change and models of imperfect language transmission in koiné genesis.

Foreigner talk and baby talk

The Foreigner Talk (FT) hypothesis argues that a pidgin or creole language forms when native speakers attempt to simplify their language in order to address speakers who do not know their language at all. Because of the similarities found in this type of speech and speech directed to a small child, it is also sometimes called baby talk.

suggest that four different processes are involved in creating Foreigner Talk:

Accommodation

Imitation

Telegraphic condensation

Conventions

This could explain why creole languages have much in common, while avoiding a monogenetic model. However, , in analyzing German Foreigner Talk, claims that it is too inconsistent and unpredictable to provide any model for language learning.

While the simplification of input was supposed to account for creoles' simple grammar, there are a number of problems with this explanation: # There are too many grammatical similarities amongst pidgins and creoles despite having very different lexifier languages. # Grammatical simplification can be explained by other processes, i.e. the innate grammar of Bickerton's language bioprogram theory. # Speakers of a creole's lexifier language often fail to understand, without learning the language, the grammar of a pidgin or creole. # Pidgins are more often used amongst speakers of different substrate languages than between such speakers and those of the lexifier language.

Another problem with the FT explanation is its potential circularity. points out that FT is often based on the imitation of the incorrect speech of the non-natives, that is the pidgin. Therefore one may be mistaken in assuming that the former gave rise to the latter.

Imperfect L2 learning

The imperfect L2 learning hypothesis claims that pidgins are primarily the result of the imperfect L2 learning of the dominant lexifier language by the slaves. Research on naturalistic L2 processes has revealed a number of features of "interlanguage systems" that one also sees in pidgins and creoles:

invariant verb forms derived from the infinitive or the least marked finite verb form;

loss of determiners or use as determiners of demonstrative pronouns, adjectives or adverbs;

placement of a negative particle in preverbal position;

use of adverbs to express modality;

fixed single word order with no inversion in questions;

reduced or absent nominal plural marking.

Imperfect L2 learning is compatible with other approaches, notably the European dialect origin hypothesis and the universalist models of language transmission.

Theories focusing on non-European input

Theories focusing on the substrate, or non-European, languages attribute similarities amongst creoles to the similarities of African substrate languages. These features are often assumed to be transferred from the substrate language to the creole or to be preserved invariant from the substrate language in the creole through a process of relexification: the substrate language replaces the native lexical items with lexical material from the superstrate language while retaining the native grammatical categories. The problem with this explanation is that the postulated substrate languages differ amongst themselves and with creoles in meaningful ways. argues that the number and diversity of African languages and the paucity of a historical record on creole genesis makes determining lexical correspondences a matter of chance. coined the term "cafeteria principle" to refer to the practice of arbitrarily attributing features of creoles to the influence of substrate African languages or assorted substandard dialects of European languages.

For a representative debate on this issue, see the contributions to ; for an more recent view, .

Because of the sociohistoric similarities amongst many (but by no means all) of the creoles, the Atlantic slave trade and the plantation system of the European colonies have been emphasized as factors by linguists such as .

Gradualist and developmental hypotheses

One class of creoles might start as pidgins, rudimentary second languages improvised for use between speakers of two or more non-intelligible native languages. Keith Whinnom (in ) suggests that pidgins need three languages to form, with one (the superstrate) being clearly dominant over the others. The lexicon of a pidgin is usually small and drawn from the vocabularies of its speakers, in varying proportions. Morphological details like word inflections, which usually take years to learn, are omitted; the syntax is kept very simple, usually based on strict word order. In this initial stage, all aspects of the speech — syntax, lexicon, and pronunciation — tend to be quite variable, especially with regard to the speaker's background.

If a pidgin manages to be learned by the children of a community as a native language, it may become fixed and acquire a more complex grammar, with fixed phonology, syntax, morphology, and syntactic embedding. Pidgins can become full languages in only a single generation. "Creolization" is this second stage where the pidgin language develops into a fully developed native language. The vocabulary, too, will develop to contain more and more items according to a rationale of lexical enrichment.

Universalist approaches

Universalist models stress the intervention of specific general processes during the transmission of language from generation to generation and from speaker to speaker. The process invoked varies: a general tendency towards semantic transparency, first language learning driven by universal process, or general process of discourse organization. The main universalist theory is still Bickerton's language bioprogram theory, proposed in the 1980s. Bickerton claims that creoles are inventions of the children growing up on newly founded plantations. Around them, they only heard pidgins spoken, without enough structure to function as natural languages; and the children used their own innate linguistic capacities to transform the pidgin input into a full-fledged language. The alleged common features of all creoles would then be the consequence of those innate abilities being universal.

Recent study

The last decade has seen the emergence of some new questions about the nature of creoles: in particular, the question of how complex creoles are and the question of whether creoles are indeed "exceptional" languages.

The creole prototype

Some features that distinguish creole languages from noncreoles have been proposed (by Bickerton, for example).

John McWhorter has proposed the following list of features to indicate a creole prototype:

a lack of inflectional morphology (other than at most two or three inflectional affixes),

a lack of tone on monosyllabic words, and

a lack of semantically opaque word formation.

McWhorter hypothesizes that these three properties exactly characterize a creole. However, the creole prototype hypothesis has been disputed:

Henri Wittmann (1999) and David argue that languages such as Manding, Soninke, Magoua French and Riau Indonesian have all these three features but show none of the sociohistoric traits of creole languages. Others (see overview in ) have demonstrated creoles that serve as counterexamples to McWhorter's hypothesis — the existence of inflectional morphology in Berbice Dutch Creole, for example, or tone in Papiamentu.

Exceptionalism

Building up on this discussion, McWhorter proposed that "the world's simplest grammars are Creole grammars," claiming that every noncreole language's grammar is at least as complex as any creole language's grammar. Gil has replied that Riau Indonesian has a simpler grammar than Saramaccan, the language McWhorter uses as a showcase for his theory. The same objections were raised by Wittmann in his 1999 debate with McWhorter.

The lack of progress made in defining creoles in terms of their morphology and syntax has led scholars such as Robert Chaudenson, Salikoko Mufwene and Henri Wittmann to question the value of creole as a typological class; they argue that creoles are structurally no different from any other language, and that creole is a sociohistoric concept — not a linguistic one — encompassing displaced population and slavery.

spell out the idea of creole exceptionalism, claiming that creole languages are an instance of nongenetic language change due to language shift with abnormal transmission. Gradualists question the abnormal transmission of languages in a creole setting and argue that the processes which created today's creole languages are no different from universal patterns of language change.

Given these objections to creole as a concept, articles such as Against Creole Exceptionalism and Deconstructing Creole have arisen which question the idea that creoles are exceptional in any meaningful way. Additionally, argues that some Romance languages are potential creoles but that they are not considered as such by linguists because of a historical bias against such a view.

See also

Related articles

Creolistics

Gradualism

Language change

Language contact

Lingua franca

Mixed language

Nicaraguan Sign Language

Relexification

Substratum

Creoles by main parent language

Arabic-based creole languages

Dutch-based creole languages

English-based creole languages

French-based creole languages

German-based creole languages

Malay-based creole languages

Ngbandi-based creole languages

Portuguese-based creole languages

Spanish-based creole languages

References

Publications

Wittmann, Henri (1999). "Prototype as a typological yardstick to creoleness." The Creolist Archives Papers On-line, Stockholms Universitet.

Wittmann, Henri (2001). "Lexical diffusion and the glottogenetics of creole French." CreoList debate, parts I-VI, appendixes 1-9. The Linguist List, Eastern Michigan University|Wayne State University

External links

Society for Pidgin and Creole Linguistics (SPCL)

Association for Portuguese and Spanish Lexically Based Creoles (ACBLPE)

Language Varieties Web Site

Groupe Européen de Recherches en Langues Créoles

Groupe d'Etude et de Recherche en Espace Créolophone (GEREC)

Associação Brasileira de Estudos Crioulos e Similares (ABECS)

Society for Caribbean Linguistics (SCL)

The Online Dictionary of Language Terminology

Answer.com: Definition "Creoles"

Name	Beyoncé Knowles
Background	solo_singer
Birth name	Beyoncé Giselle Knowles
Born	September 04, 1981
Origin	Houston, Texas, United States
Instrument	Vocals, piano
Genre	R&B;, soul, pop
Occupation	Singer, songwriter, record producer, actress, dancer, entertainer, choreographer, model, video director
Associated acts	Destiny's Child, Jay-Z, Solange Knowles, Suga Mama, Lady Gaga
Years active	1997–present
Spouse	Jay-Z (2008-present)
Label	Columbia
Url

Beyoncé Giselle Knowles (born September 4, 1981), commonly known simply by the mononym Beyoncé ( ), is an American Pop/R&B; singer, songwriter, actress and fashion designer. Born and raised in Houston, Texas, she enrolled in various performing arts schools and was first exposed to singing and dancing competitions as a child. Knowles rose to fame in the late 1990s as the lead singer of the R&B; girl group Destiny's Child, one of the world's best-selling girl groups of all time.

During the hiatus of Destiny's Child, Knowles released her debut solo album Dangerously in Love (2003), which spawned the number one hits "Crazy in Love" and "Baby Boy" and became one of the most successful albums of that year, earning her a then record-tying five Grammy Awards. Knowles is one of the most honored artists by the Grammys, and third among female artists, with 16 awards—13 as a solo artist and three as a member of Destiny's Child.

Knowles began her acting career in 2001, appearing in the musical film . In 2006, she starred in the lead role in the film adaptation of the 1981 Broadway musical Dreamgirls, for which she earned two Golden Globe nominations. Knowles launched her family's fashion line, House of Deréon, in 2004, and has endorsed such brands as Pepsi, Tommy Hilfiger, Armani and L'Oréal. In 2010, Forbes ranked Knowles at number two on its list of the 100 Most Powerful and Influential Celebrities in the world; she was also listed as the most powerful and influential musician in the world. Time also included Knowles on its list of the "100 Most Influential People in the World". She is listed at number 52 on VH1's list of the 100 Greatest Artists of All Time and is named the second most influential artist of the 2000s decade by BET.

Knowles is currently the only artist in history to have all her studio albums win the Grammy Award for Best Contemporary R&B; Album. She has attained five Billboard Hot 100 number one singles as a solo performer and four with Destiny's Child. In the United States, Knowles' has sold over 11.2 million albums and nearly twenty-five million singles. According to Columbia Records her record sales, when combined with Destiny's Child, have surpassed 130 million. On December 11, 2009, Billboard listed Knowles as the most successful female artist of the 2000s decade and also the top Radio Artist of the decade. In February 2010, the RIAA listed her as the top certified artist of the decade.

Early life and career beginnings

Knowles was born in Houston, Texas, the daughter of Mathew Knowles, a professional record manager, and Tina Knowles, a costume designer and hair stylist. Knowles' father is African American and her mother is of Creole (African, Native American, and French) descent. Knowles was baptized after her mother's maiden name, as a tribute to her mother. Knowles' interest in music and performing began after participating in a school talent show. She sang John Lennon's Imagine and won the competition. At age seven, Knowles started gaining attention from the press, having been mentioned in the Houston Chronicle as a nominee for the local performing arts award The Sammy. In the fall of 1990, Knowles enrolled in Parker Elementary School, a music magnet school in Houston, where she would perform on-stage with the school's choir. and later went to Alief Elsik High School, located in the Houston suburban munincipality, Alief. Knowles was a soloist in the choir of her church, in St. John's United Methodist Church.

At the age of eight, Knowles met LaTavia Roberson while in an audition for an all-girl entertainment group. They, along with Knowles' friend Kelly Rowland, were placed into a group that performed rapping and dancing. Originally named Girl's Tyme, they were eventually cut down to six members. Knowles had her first "professional setback" after that defeat but regained confidence after learning that pop stars Britney Spears and Justin Timberlake had also the same experience. He dedicated his time and established a "boot camp" for their training. The move reduced Knowles' family's income by half and her parents were forced to move into separated apartments.

Music and film career

1997–2001: Destiny's Child era

.]] The group changed its name to Destiny's Child in 1993, based on a passage in the Book of Isaiah. To date, Survivor has sold over ten million copies worldwide, over forty percent of which were sold in the U.S. alone. The album spawned other number-one hits—"Bootylicious" and the title track, "Survivor", the latter of which earned the group a Grammy Award for Best R&B; Performance by a Duo or Group with Vocals. After releasing their holiday album, 8 Days of Christmas, the group announced a hiatus to pursue solo projects. In 2002, Knowles co-starred in the comedy film Austin Powers in Goldmember, playing Foxxy Cleopatra, opposite of Mike Myers. Knowles recorded her first solo single, "Work It Out", for the film's soundtrack. The following year, Knowles starred opposite Cuba Gooding, Jr. in the romantic comedy film, The Fighting Temptations, and recorded numerous songs for the film's soundtrack, including "Fighting Temptation" and a cover version of "Fever". During this time, Knowles was featured on her then-boyfriend Jay-Z's hit single, "'03 Bonnie & Clyde". She also recorded a version of 50 Cent's "In Da Club" and released it in March 2003. Luther Vandross and Knowles remade the duet "The Closer I Get to You", which was originally recorded by Roberta Flack and Donny Hathaway in 1977. Their version won a Grammy Award for Best R&B; Performance by a Duo or Group with Vocals the following year, and Vandross' "Dance with My Father", which also featured Knowles, won the Grammy for Best Male R&B; Vocal Performance.

After Williams and Rowland released their solo efforts, Knowles released her début solo album, Dangerously in Love, in June 2003. The album also topped seven charts worldwide, while it reached number two in Australia. It remains as Knowles' best-selling album to date, with sales of 4.7 million copies in the United States, as of July 2009. Worldwide, the album has sold more than eleven million copies.

The album yielded two number one singles. "Crazy in Love", featuring Jay-Z, was released as the album's lead single, which peaked at number one on the Billboard Hot 100 for eight consecutive weeks, as well as topping many charts worldwide. The song's music video won three awards at the 2003 MTV Video Music Awards in the categories of Best Female Video, Best R&B; Video, and Best Choreography. The second single, "Baby Boy" with dancehall singer Sean Paul, spent nine weeks at number one on the 'Hot 100, one week longer than "Crazy in Love". In support of the album, Knowles embarked on her first solo concert tour, the Dangerously in Love Tour, in November 2003. The tour only reached Europe, before Knowles joined Alicia Keys, Missy Elliott, and Tamia for the Verizon Ladies First Tour in March 2004. At the 46th Grammy Awards, Knowles received a then record-tying five Grammy Awards, which included the Grammy for Best Contemporary R&B; Album, Best Female R&B; Vocal Performance for "Dangerously in Love 2", Best R&B; Song for "Crazy in Love", and an additional two awards with Luther Vandross. Knowles shared this distinction with four other female artists: Lauryn Hill, Alicia Keys, Norah Jones and Amy Winehouse, up until 2010, when she won six Grammy Awards in one night.

2004–2007: Destiny's Child reunion and B'Day

In 2004, Knowles planned to release a follow-up to Dangerously in Love, which would feature some of the left-over recordings. However, her musical aspirations were put on hiatus due to conflicting schedules, including her recording with Destiny's Child for what would be their final album. After a three-year journey that involved concentration on individual solo projects, Knowles rejoined Rowland and Williams for their final album, Destiny Fulfilled in November 2004. The album spawned three hit singles, "Lose My Breath", "Soldier" and "Cater 2 U". In support of the album, Destiny's Child embarked on the 2005 Destiny Fulfilled ... And Lovin' It world tour, which began in April 2005; culminating in September of that year. During the Barcelona, Spain stop of their tour, Rowland announced they would disband after the end of their final North American leg in September 2005. In October 2005, Destiny's Child released a compilation album, #1's, which included all of their number-one hits and most of their well-known songs. It also included three new tracks, including the song "Stand Up for Love", released from the album. #1's debuted at number one on Billboard 200 and certified platinum by the RIAA. In March 2006, Destiny's Child reunited to accept a star on the Hollywood Walk of Fame.

In late 2005, Knowles once again put her second album on hold, after landing a role in Dreamgirls, the film adaptation of the 1981 hit Broadway musical about a 1960s singing group, loosely based on Motown all-female group, The Supremes. Released in December 2006, Dreamgirls starred Jamie Foxx, Eddie Murphy, and Jennifer Hudson. Knowles recorded several songs for the film's soundtrack, including the original song, "Listen". In the film, she portrays the Diana Ross-based character, Deena Jones. In 2007, Knowles received two Golden Globe Award nominations for the film; Best Actress - Motion Picture Musical or Comedy and Best Original Song for "Listen". Continuing her film career, Knowles co-starred in the film, The Pink Panther, playing the role of Xania, an international pop star, opposite Steve Martin, who plays Inspector Clouseau. Released on February 10, 2006, the film débuted at number one at the box office, doing $21.7 million in ticket sales in its first week of release. She worked on the album with previous musical collaborators, Rich Harrison, Rodney Jerkins and Sean Garrett, at the Sony Music Studios in New York City. She co-wrote and co-produced nearly all songs included on the album, which was completed in three weeks. The album titled, B'Day was released in the United States on September 5, 2006, to coincide with the celebration of her twenty-fifth birthday. It débuted at number one on the Billboard 200, giving Knowles her second consecutive number one album in the US. It also peaked in the top-ten in eighteen charts worldwide. To date, the album has sold more than six million copies worldwide. It earned Knowles the Grammy Award for Best Contemporary R&B; Album at the 49th Grammy Awards.

Its lead single, "Déjà Vu" featuring Jay-Z, topped the Hot R&B;/Hip-Hop Songs and Hot Dance Club Songs charts in the United States. and became Knowles' second UK solo number-one single. The album's second international single, "Irreplaceable", topped the charts in five countries, while reaching the top-five in the UK, Canada and Netherlands. The song received a Grammy nomination for Record of the Year at the 50th Grammy Awards. On April 3, 2007, Knowles re-released B'Day, as a deluxe edition, featuring five new tracks and Spanish-language versions of "Irreplaceable", and "Listen". Her following single, "Beautiful Liar" with Colombian singer Shakira, was the first single released from the deluxe edition. The song became another number one hit for Knowles, topping eleven charts worldwide. It won the award for Most Earthshattering Collaboration at the 2007 MTV Video Music Award. In support of the album, Knowles embarked on her lengthy The Beyoncé Experience concert tour, visiting over ninety venues worldwide, which was made into the concert DVD The Beyoncé Experience Live!. Knowles made history at the 35th Annual American Music Awards for being the first woman to win an International Artist Award. Upon its release, it received generally mixed to positive reviews from most music critics; according to the music review aggregation of Metacritic, the album received an average score of 62/100. The album debuted at number one on the US Billboard 200, giving Knowles her third consecutive number one album in the US. Eventually, she became the third female artist of the 2000s decade to have her first three albums debut at the top spot of the US Billboard 200 albums chart. To date, I Am... Sasha Fierce has sold over six million copies worldwide.

The album was proceeded with the release of its two lead singles, "If I Were a Boy" and "Single Ladies (Put a Ring on It)". The first single, "If I Were a Boy" topped eight charts worldwide, including the United Kingdom and reached the top-ten in many other charts. "Single Ladies (Put a Ring on It)" peaked at number one on the US Billboard Hot 100, becoming Knowles' fifth number-one single and was also successful in other international markets, peaking in top-ten positions around the world. The song's music video has achieved fame for its intricate choreography, which has been credited as having started the "first major dance craze of both the new millennium and the Internet". This prompted a legion of imitations and parodies from men and women all around the world, including celebrities such as pop singers Justin Timberlake, Joe Jonas, US President Barack Obama and actor Tom Hanks. It received nine nominations at the 2009 MTV Video Music Awards and ultimately won the award for Video of the Year, and an additional two awards, though its loss in the Best Female Video category to Taylor Swift's "You Belong with Me" led to controversy during the ceremony.

On January 18, 2009, Knowles performed at the Lincoln Memorial in honor of the inauguration of Barack Obama. Knowles also sang her cover of the R&B; classic most famously sang by Etta James, "At Last", as President Obama and his wife Michelle had their first dance as President and First lady of America, on January 20, 2009, at the Neighborhood Inaugural Ball. During this time, Knowles released the fourth single off I Am... Sasha Fierce, "Halo". The song peaked at number five on the Billboard Hot 100, becoming Knowles' twelfth top-ten single on the Hot 100 as a solo artist. With this feat, Knowles achieved the most top tens on the Hot 100 among any other female artists in the 2000s. In support of the album, Knowles headlined her second worldwide concert tour, the I Am... Tour, which began in March 2009; culminating in February 2010. In April 2009, Knowles starred opposite Ali Larter and Idris Elba in a thriller film called, Obsessed. The film proved to be a commercial success, and grossed $11.1 million on its first day of release, and ended its opening weekend at number one, with a total of $28.5 million. "Video Phone", was released as the eighth single from I Am... Sasha Fierce in November 2009 and featured pop singer Lady Gaga. The song's music video received two nominations at the 2010 BET Awards for "Video of the Year" and "Best Collaboration", winning the former category on April 27, 2010. It also received five nominations at the 2010 MTV Video Music Awards, in the categories of Best Choreography, Best Collaboration, Best Pop Video, Best Female Video and Best Art Direction.

Knowles led the 52nd Grammy Awards, receiving ten nominations, including Album of the Year for I Am… Sasha Fierce, Record of the Year for "Halo", and Song of the Year for "Single Ladies (Put a Ring on It)". She also received two other nominations for, Best Traditional R&B; Vocal Performance for "At Last" and Best Song Written for a Motion Picture, Television or Other Visual Media for "Once in a Lifetime" from the soundtrack, . This tied her with Lauryn Hill for most Grammy nominations in a single year by a female artist. Knowles ultimately set the record for the most Grammy awards won on a single night by a female artist, when she won six awards from her ten nominations; Song of the Year, Best R&B; Song, and Best Female R&B; Vocal Performance for "Single Ladies (Put a Ring on It)", Best Female Pop Vocal Performance for "Halo", Best Contemporary R&B; Album and Best Traditional R&B; Vocal Performance for "At Last". In February 2010, Knowles featured on Lady Gaga's song, "Telephone". The song reached number one on the US Pop Songs chart, thus becoming the sixth number-one on the chart for both Knowles and Gaga. With this, they both tied with Mariah Carey for most number-ones since the Nielsen BDS-based Top 40 airplay chart launched in 1992. It received a Grammy nomination for Best Pop Collaboration with Vocals at the 53rd Grammy Awards.

2010-present: Untitled fourth studio album

During the final UK stop of her I Am... Tour at the Trent FM Arena in Nottingham, England in 2009, Knowles announced plans to release a new album in 2010. She said, "This is my last show for this tour in the UK, so hopefully, I'll see you all in a year with a new album." Producer Rodney "Darkchild" Jerkins also confirmed the news on twitter, posting he is working on some tracks for the album. In an interview with MTV News, Jonsin noted that while he wants to go even more '80s than their collaboration on "Sweet Dreams", he's also looking to try out other genres with Knowles, saying "Even some sexy mid-tempos, see if she likes that and I'll try that too."

In July 2010, it was revealed that Knowles had expressed interest in recording a song for the album that was written by Irish band, The Script. She heard a song the band recorded for their second album, when it was passed around their record company, Sony Music. In August 2010, singer-songwriter Ne-Yo tweeted that he was excited to work with Knowles immediately following his session with Mary J. Blige. In an interview with Access Atlanta, Ne-Yo spoke of the album saying, "It’s coming along nicely. I can’t speak too much on it, but it’s another direction for her, and she’s carving out her own niche. In a minute nobody will be in Beyonce’s lane. They really can’t get in her lane now, but they really can’t get in her lane after this album." He also had the following to say about working with Knowles in an interview with MTV News:

"The thing about working with Beyoncé is that she definitely has her own agenda ... she's an artist that knows exactly what she wants to do. ... She's going to give you directions [like] 'Here's where I'm going, so here's where I need you to be' ... and, you know, I'm a person that follows direction well. [And she'll be like], 'So this is the sound, this is the vibe; make it happen.' And I write and she likes it or she doesn't. And in this case she did, and there you have it."

On September 17, 2010, producer Sean Garrett told Popeater.com that the album "[is] going to be her biggest album ever", and said "We're going to take it to a whole other level." In an interview with Entertainment Weekly at the 2010 MTV Video Music Awards, Garrett stated "I think we are doing a lot of up-tempo records for this one. She’s in such a good place right now in life that she is interested in making party music, definitely." During this time, producer Los Da Mystro tweeted that he heard a new track from Knowles that was written by The Dream, who worked with Tricky Stewart on "Single Ladies (Put a Ring on It)". When asked to clarify what she meant by creating her own genre, in an interview with MTV during the New York screening of her I Am... World Tour DVD release, Knowles replied "Well, I wouldn't say I'm inventing a new genre ... I'm mixing every type of genre that I love and I'm inspired by every type of genre. ... It's not R&B;. It's not typically pop. It's not rock. It's just everything I love all mixed together in my own little gumbo of music." She also revealed that Fela Kuti, The Stylistics, Lauryn Hill, Stevie Wonder and Michael Jackson's Off the Wall have inspired the album. Rap-Up has confirmed the album will be released in 2011.

Musical style and performance

Music and voice

Knowles' music is generally contemporary R&B;, but she also incorporates pop, funk, hip hop, and soul genres into her work. While she almost exclusively releases English songs, Knowles did record several Spanish records for the re-release of B'Day. Destiny's Child had already recorded a Spanish song and received favorable responses from their Latin fans. Knowles took Spanish in school when she was young, but can now only speak a few words of the language. Prior to recording the Spanish titles on the re-released version of B'Day, she was coached phonetically by American record producer Rudy Perez.

Since Destiny's Child, Knowles is artistically involved in her career. Some of her songs are autobiographical, which she has admitted are taken from personal experiences, as well as her friends'. Knowles has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. Knowles was recognized as a songwriter during the run of Destiny's Child in the 1990s and early to mid-2000s. She won the Pop Songwriter of the Year award at the 2001 American Society of Composers, Authors, and Publishers Pop Music Awards, becoming the first African-American female and second female songwriter of all time to accomplish the feat.

|format=Ogg|filename2=Destiny's Child, Emotion.ogg|title2="Emotion"|description2=Knowles' prominent use of melisma and other vocal ornamentation earns her both praise and criticism from critics and fans.|format2=Ogg}}

Knowles possesses a mezzo-soprano vocal range that spans more than three octaves. She has often been identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that she has the voice that defines the group, writing that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Other critics praise her range and power. In reviewing her second album B'Day, Jody Rosen of Entertainment Weekly writes "Beyoncé Knowles is a storm system disguised as a singer. On her second solo album, B'Day, the songs arrive in huge gusts of rhythm and emotion, with Beyoncé's voice rippling over clattery beats; you'd have to search far and wide—perhaps in the halls of the Metropolitan Opera — to find a vocalist who sings with more sheer force...No one—not R. Kelly, not Usher, to say nothing of her rival pop divas—can match Beyoncé's genius for dragging her vocal lines against a hip-hop beat." Chris Richards of the The Washington Post writes, "Even when she's coasting, she soars above her imitators. It's all in her voice—a superhuman instrument capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars. Smitten, scorned, amorous, antagonistic—Beyoncé sings from all of these vantage points with undeniable virtuosity." Cove magazine ranked Knowles seventh on their list of "The 100 Outstanding Pop Vocalists", giving her 48 out of 50 points based on several criteria ranging from her vocal ability to range to harmony.

Knowles has often been criticized for oversinging. A prominent employer of melisma, she earns frequent comparison to such artists as Mariah Carey, whose vocal embellishments have been known to detract from the melody of their songs. Eye Weekly writes, "There’s no question that Beyoncé is one of the best singers in pop, maybe one of the best alive...[However] as judicious as her singing can be, the effect in sum is still like being hit in the head with a fist in a velvet glove."

Stage and alter ego

In 2006, Knowles introduced her all-female tour band Suga Mama, which includes bassists, drummers, guitarists, horn players, keyboardists and percussionists. They débuted at the 2006 BET Awards and re-appeared in the music videos for "Irreplaceable" and "Green Light". Babara Ellen of The Guardian writes, "whether charismatic and soulful, or teasing and flirty, Beyoncé is, above all, in charge. Probably the most "in charge" of any female artist I've seen onstage". In reviewing her I Am... Tour, Alice Jones of The Independent writes, "Watching Beyoncé sing and strut her stuff can feel at best overawing, at worst, alienating. She takes her role as entertainer so seriously she's almost too good." The New York Times writes, "there is a breathtaking elegance in her acute desire to entertain". The Daily Mail writes, "many industry experts have been tipping Beyoncé as the next Michael Jackson. While it’s far too early for such comparisons, she certainly proved that she is one of the most exciting and talented performers around and may well go down in history as such".

Althought Knowles has been criticized for lip-synching in some of her performances, reviewers have praised her live vocal performances. In reviewing one of her performances, Jim Farber of The Daily News writes "Beyoncé showed off pipes of steely power. As the song's signature horn riff pumped away, she soared over the melody with athletic ease. The way Beyoncé used her body intensified the sense of triumph. With her hair teased into Medusa-like tresses, a pelvis in perpetual churn and legs long enough to make Tina Turner proud, Beyoncé's presence punctuated her singing like an exclamation point." Stephanie Classen of the Star Phoenix declares "Beyoncé is no ordinary performer... from note one, the 27-year-old powerhouse rose above all the gimmicks, mastering the show like a sexy alien overlord princess. Nothing but extraterrestrial origins could explain that voice....[Beyoncé] could perform circles around any other pop star today." Newsday writes, "she proves that hot choreography and strong vocals don't have to be mutually exclusive... No worries of lip-synching here."

Known for being sexy, seductive and provocative when performing on stage, Knowles has stated that's her alter ego, Sasha Fierce.

Public image

" during her I Am... Tour]] Knowles has stated, "I like to dress sexy and I carry myself like a lady," but she has said that the way she dresses on stage is "absolutely for the stage". As someone who is fond of fashion, Knowles combines its artistic elements with her music videos and performances. According to Italian fashion designer Roberto Cavalli, she uses different styles and tries to harmonize it with the music while performing. The B'Day Anthology Video Album showed many instances of fashion-oriented footage, depicting classic to contemporary wardrobe styles. People magazine recognized Knowles as the best-dressed celebrity in 2007. Knowles' mother wrote a 2002-published book, titled Destiny's Style: Bootylicious Fashion, Beauty and Lifestyle Secrets From Destiny's Child, an account of how fashion had an impact on Destiny's Child's success.

As one of the most media-exposed black celebrities in the United States, Knowles has often received criticism that some believe is due to racism and sexism. Toure of Rolling Stone stated that since the release of Dangerously in Love, "[Beyoncé] has become a crossover sex symbol a la Halle Berry ..." In 2007, Knowles was featured on the cover of the Sports Illustrated Swimsuit Issue, the first non-model and non-athlete woman to pose on the issue and the second African American model after Tyra Banks. In the same year, Knowles appeared on billboards and newspapers across the United States showing her holding an antiquated cigarette holder. Taken from the back cover of B'Day, the image provoked response from an anti-smoking group, stating that she did not need to add the cigarette holder "to make herself appear more sophisticated". During the release of pop singer Rihanna's second album, A Girl Like Me, many critics felt that her image was too heavily similar to Knowles'. Amina Taylor of The Guardian, noted Rihanna as the "Bajan Beyoncé". In March 2009, comparisons were made between the fashions of Knowles and R&B; singer Ciara, when the latter released the music video of her single, "Love Sex Magic". In the video, Ciara is seen wearing a black leotard and metallic glasses, similar to those worn by Knowles in both her "Single Ladies (Put a Ring on It)" and "Diva" videos. However, Ciara stated that her outfits were "inspired by the Vegas shows" she attended.

On April 24, 2009, Knowles appeared on Larry King Live, where she gave herself a more political image and talked about everything from singing at President Barack Obama's inauguration, to racism that she has faced being an African-American. In September 2010, Knowles made her runway modelling debut at Tom Ford’s Spring/Summer 2011 fashion show, walking down the catwalk in a sequined dress with va va voom hair.

Influences and legacy

Knowles has cited various artists who have influenced her musical style. She grew up listening to songs of Anita Baker and Luther Vandross, the latter of whom she eventually collaborated with, but often credits her pop music hero, Michael Jackson, as the reason why she does music. Knowles credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal "runs" as a child, as well as helping her pursue a career as a musician. She was also exposed to the jazz music of Rachelle Ferrell, after singing Ferrell's songs during her voice lessons and cites her as a musical influence. Knowles also cites influences from American artists such as Tina Turner, Prince, Aaliyah, Diana Ross, and Janet Jackson.

Aside from her musicial influences, Knowles has also influenced various contemporary artists, including pop singer Rihanna, who stated Knowles is "one of the artists that I admire a lot." With the release of Rihanna's sophomore album, critics noted that it was too similar to Knowles'. The media even made negative reviews comparing her music, music videos and performances to Knowles'. Knowles is also cited as a musical influence to X Factor UK winners, Alexandra Burke. and Leona Lewis, who stated Knowles' "definitely inspiring for females." Actress and comedian Mo'Nique who was inspired by Knowles, hosted the BET Awards in 2004 and opened the ceremony performing Knowles' song, "Crazy in Love". She also hosted in 2007 and performed, "Déjà Vu". Actress Gwyneth Paltrow made her live television singing debut at the 2010 Country Music Awards and told Access Hollywood that she got her inspiration from Knowles', stating "I studied Beyoncé a lot and her concerts for her kind of confidence… and I’m lucky that I know some singers in real life." Pop singer Miley Cyrus told Seventeen magazine that she "want[s] to be like Beyoncé", stating "She is the ultimate woman. You look at her and you don't think, I wonder what her personal life is like. You look at her and you go, That girl on the stage is a superstar. You don't care about anything else; you only care about her music. So I would hope that would be me in the future." Furthermore, British singer Cheryl Cole told Hello! magazine that she thinks Knowles "is what every woman should aspire to be." Knowles' music video for "Single Ladies (Put a Ring on It)" has achieved fame for its intricate choreography, which has been credited as having started the "first major dance craze of both the new millennium and the Internet". Celebrities have also tried the choreography, including pop singers Justin Timberlake Stephen Thomas Erlewine of Allmusic found American pop singer Katharine McPhee's songs on her, self-titled, début album to have heavy influences from Knowles' music.

Knowles served as the lead singer of one of the world's best selling girl groups of all time, Destiny's Child. She currently has a total of 41 Grammy Award nominations, which is more than any other female artist in history. She was one of six female artists, along with Lauryn Hill, Alicia Keys, Norah Jones, Amy Winehouse and Alison Krauss, who held the record for the most number of Grammys won by a female artist in a single night; the record being five awards, which she accomplished in 2004. At the 2008 World Music Awards, Knowles was honored the legend award for Outstanding Contribution To The Arts. Her début studio album, Dangerously In Love was listed as one of the top 200 definitive albums in music history by the Rock & Roll Hall of Fame. On December 11, 2009, Billboard listed Knowles as the most successful female artist of the 2000s decade and also the top Radio Artist of the decade. Knowles has several wax figures of herself at Madame Tussauds Wax Museums in major cities around the world, including New York, Washington, D.C., Amsterdam, Bangkok and Hollywood.

Other ventures

Clothing lines

Knowles and her mother introduced House of Deréon, a ready-to-wear contemporary women's fashion line, in 2005. The concept is inspired by three generations of women in their family, with the name Deréon paying tribute to Knowles' grandmother, Agnèz Deréon, who worked as a seamstress. According to Tina Knowles, the overall style of the line best reflects Knowles' taste and style. Launched in 2006, products of House of Deréon received public exhibitions during the group's shows and tours during the Destiny Fulfilled era. The store, which is available across the United States and Canada, sells sportswear, denim along with fur, outerwear and accessories including handbags. Knowles also teamed up with House of Brands, a local shoe company, to produce a range of footwear for House of Deréon.

In 2004, Knowles and her mother founded their family's company Beyond Productions, which provides the licensing and brand management for House of Deréon. In early 2008, they launched Beyoncé Fashion Diva, a mobile game with an online social networking component, featuring House of Deréon. The organization said it had previously attempted to reach Knowles through faxes, letters and rallies outside her concerts. However with no reply from Knowles, PETA confronted her at a dinner in New York. The clothing line was picked up by department stores including Macy’s and Dillard’s and specialty stores, Jimmy Jazz and Against All Odds.

Products and endorsements

In 2002, Knowles signed a promotional deal with Pepsi, which included appearances on TV commercials, radio and Internet advertisements, as well as in-store promotional materials. A 2004 Pepsi TV commercial in the theme of "Gladiators" featured Knowles with singers Britney Spears, Pink, and Enrique Iglesias, and the following year with Jennifer Lopez and David Beckham entitled "Samurai".

Knowles' range of commercial deals and products also includes beauty care products and perfumes. Knowles has worked with L'Oréal since the age of 18. She launched Tommy Hilfiger's True Star fragrance, in 2004. Knowles sang a cover version of "Wishing on a Star" for the True Star commercials, for which she earned $250,000. She also launched Hilfiger's True Star Gold in 2005 and Emporio Armani's Diamonds in 2007. Forbes reported that Knowles earned $80 million between June 2007 and June 2008, combined with her album, tour, fashion business, and promotional deals. This made her the world's second best-paid music personality for this span of time. In 2009, Forbes listed Knowles fourth on its list of the 100 Most Powerful and Influential Celebrities in the world, third on its list of the top-grossing musicians, and number one on the list of top Best-Paid Celebs Under 30 with over $87 million dollars in earnings between 2008 and 2009. In June 2010, Forbes placed Knowles at number three on its 2010 Celebrity Power List with $87 million in grosses thanks to a 93-date world tour, deals with Nintendo and L'Oréal and her House of Deréon clothing line. Knowles was also listed at number two on the list of the 100 Most Powerful and Influential Celebrities in the world and subsequently turned out to be the best paid female artist. On October 7, 2010, Forbes recognized Knowles as the ninth most overall powerful woman in the world. In December 2010, Forbes reported that Knowles earned $87 million from January 2010 to December 2010 and eventually ranked her at the ninth place on its list of the "Hollywood's 20 highest-earning men and women of 2010". Knowles was the only artist to break the top ten.

In February 2010, Knowles launched her debut fragrance, Heat. As part of the scent's advertising campaign, Knowles re-recorded her cover version of "Fever" for the fragrance's television commercial. In an interview with WWD Beauty, Knowles explained the concept behind the fragrance, stating "A lot of my performances have had fire involved, so we thought ‘Heat.’ Also, red is one of my favorite colors, as is gold. Everything, from the bottle design to the name and the ideas for the commercials—that’s me". In November 2010, it was revealed that the fragrance's television commerical had been banned from UK daytime TV, after it received 14 viewer complaints. The commercial, which begins with an image of the Knowles appearing to lie naked in a room, has been deemed "too sexually provocative" to be seen by young children and has not be shown on British TV before 7.30pm.

Philanthropy

Knowles has been exposed to issues of social awareness since a young child, as her father would sometimes take her into the community, including African-American society. In 2005, music producer David Foster, his daughter Amy Foster-Gillies, and Knowles wrote "Stand Up for Love", which would serve as the anthem of World Children's Day, an event which takes place annually around the world on November 20 to raise awareness and funds for children's causes worldwide. Destiny's Child lent their voices and support as global ambassadors for the 2005 World Children's Day program.

On October 4, 2008, Knowles attended the Miami Children's Hospital Diamond Ball & Private Concert at the American Airlines Arena in Miami, where she was inducted into the International Pediatric Hall of Fame. Seven-year-old Ethan Bortnick dedicated and performed "Over the Rainbow" to Knowles. After completing work on Cadillac Records, Knowles donated her entire salary to Phoenix House, an organization of rehabilitation centers around the country. Knowles visited a Brooklyn, New York, site in preparation for portraying singer Etta James, who was once addicted to heroin. During this time, she recorded with various artists for "Just Stand Up!", a charity single for the Stand Up to Cancer charity. Joining Knowles on the song was Mariah Carey, Leona Lewis, Rihanna, Leann Rimes and Mary J. Blige, among others. Knowles also teamed up with the "Show Your Helping Hand" hunger relief initiative and General Mills Hamburger Helper. The goal was to help Feeding America deliver more than 3.5 million meals to local food banks. Knowles encouraged her fans to bring non-perishable groceries to her U.S. concert tour stops.

In January 2010, Knowles participated in the . She appeared in London with Jay-Z, Rihanna, and U2's Bono and The Edge, where she performed a piano version of her song "Halo". Knowles was named the official face of the limited edition "Fashion For Haiti" T-shirt by the Council of Fashion Designers of America. The shirt, which reads: "To Haiti With Love", was designed by Peter Arnell, who also created the "Fashion for America" T-shirt which raised $2 million after 9/11. On March 5, 2010, Knowles and her mother, Tina Knowles, opened the Beyoncé Cosmetology Center at the Brooklyn Phoenix House. The program offers a seven-month cosmetology training course for men and women there. L'Oréal has donated all the products to be used at the center, and Knowles, along with her mother, have pledged to donate $100,000 annually.

Personal life

In 2010, a 60 Minutes segment aired, revealing Knowles was homeschooled as a child and prays before every performance. Knowles' has stated several times that when she's at home, she is a rather messy person and doesn't worry about her appearance at all, stating "I don't have any shoes on. No makeup. My shoes are left at the door. My purse is in the kitchen ... I'm relaxed!"

Depression

During the turmoil of Destiny's Child in 2000, Knowles had admitted in December 2006 that she had experienced depression from an accumulation of struggles: the publicized split of LeToya Luckett and LaTavia Roberson, being publicly attacked by the media, critics and blogs for causing the split-up, and a longstanding boyfriend (that she had dated from age 12 to 19 years) leaving her. The depression was so severe it had lasted for a couple of years, while she had kept herself in her bedroom for days and refused to eat anything. Knowles stated that she struggled to speak about her depression because Destiny's Child had just won their first Grammy Award and she feared no one would take her seriously. All of these events had made her question herself and who her friends were, describing the situation she said, "Now that I was famous, I was afraid I'd never find somebody again to love me for me. I was afraid of making new friends." In 2005, rumors began to spread about the marriage of the couple. Knowles closed the speculation stating that she and Jay-Z were not even engaged. Laura Schreffler, senior writer for OK! magazine, said, "They are intensely private people". On April 4, 2008, Knowles and Jay-Z were married in New York City. It became a matter of public record on April 22, 2008. Knowles did not publicly début her wedding ring until the Fashion Rocks concert on September 5, 2008, in New York City. Knowles finally revealed their marriage through an opening montage video at the listening party for third album, I Am... Sasha Fierce in Manhattan's Sony Club. Knowles and Jay-Z were listed as the most powerful couple for Time magazine's 100 most influential people of 2006. In January 2009, Forbes ranked them as Hollywood's top-earning couple, with a combined total of $162 million. They also made it to the top of the list the following year, with a combined total of $122 million between June 2008 and June 2009.

Discography

2003: Dangerously in Love

2006: B'Day

2008: I Am... Sasha Fierce

See also

Destiny's Child discography

Beyoncé Knowles videography

List of Beyoncé Knowles songs

List of Beyoncé Knowles concert tours

List of best-selling music artists

List of awards and nominations received by Beyoncé Knowles

List of artists who reached number one in the United States

Filmography

References

External links

Official American website

Category:1981 births Category:1990s singers Category:2000s singers Category:2010s singers Category:Actors from Texas Category:African American actors Category:African American female singer-songwriters Category:African American musicians Category:African American songwriters Category:African American models Category:American child singers Category:American dancers Category:American fashion designers Category:American female models Category:American film actors Category:American Christians Category:American Methodists Category:American music video directors Category:American pop singers Category:American record producers Category:American rhythm and blues singer-songwriters Category:American soul singers Category:American people of Native American descent Category:Beyoncé Knowles Category:BRIT Award winners Category:Columbia Records artists Category:Destiny's Child members Category:English-language singers Category:American people of French descent Category:Grammy Award winners Category:Ivor Novello Award winners Category:Living people Category:Musicians from Houston, Texas Category:Sony/ATV Music Publishing artists Category:Spanish-language singers Category:United Methodists Category:Native American singers Category:World Music Awards winners Category:African-American fashion designers Category:Louisiana Creole people

Name	Elvis Presley
Img alt	A young man dancing, swiveling his hips. He has dark hair, short and slicked up a bit. He wears an unbuttoned band-collared jacket over a shirt with bold black-and-white horizontal stripes. Behind him, on either side, are a pair of barred frames, like prison doors.
Background	solo_singer
Birth name	Elvis Aaron Presley
Born	January 08, 1935Tupelo, Mississippi, United States
Died	August 16, 1977Memphis, Tennessee, United States
Genre	Rock and roll, pop, rockabilly, country, blues, gospel, R&B;
Associated acts	The Blue Moon Boys, The Jordanaires, The Imperials
Occupation	Musician, actor
Instrument	Vocals, guitar, piano
Years active	1954–77
Label	Sun, RCA Victor
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Elvis Aaron Presley (January 8, 1935 – August 16, 1977) was one of the most popular American singers of the 20th century. A cultural icon, he is widely known by the single name Elvis. He is often referred to as the "King of Rock and Roll" or simply "the King".

Born in Tupelo, Mississippi, Presley moved to Memphis, Tennessee, with his family at the age of 13. He began his career there in 1954 when Sun Records owner Sam Phillips, eager to bring the sound of African American music to a wider audience, saw in Presley the means to realize his ambition. Accompanied by guitarist Scotty Moore and bassist Bill Black, Presley was one of the originators of rockabilly, an uptempo, backbeat-driven fusion of country and rhythm and blues. RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage the singer for over two decades. Presley's first RCA single, "Heartbreak Hotel", released in January 1956, was a number one hit. He became the leading figure of the newly popular sound of rock and roll with a series of network television appearances and chart-topping records. His energized interpretations of songs, many from African American sources, and his uninhibited performance style made him enormously popular—and controversial. In November 1956, he made his film debut in Love Me Tender.

Conscripted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He staged few concerts, however, and, guided by Parker, proceeded to devote much of the 1960s to making Hollywood movies and soundtrack albums, most of them critically derided. In 1968, after seven years away from the stage, he returned to live performance in a celebrated comeback television special that led to an extended Las Vegas concert residency and a string of profitable tours. In 1973, Presley staged the first concert broadcast globally via satellite, Aloha from Hawaii, seen by approximately 1.5 billion viewers. Prescription drug abuse severely compromised his health, and he died suddenly in 1977 at the age of 42.

Presley is regarded as one of the most important figures of 20th-century popular culture. He had a versatile voice and unusually wide success encompassing many genres, including country, pop ballads, gospel, and blues. He is the best-selling solo artist in the history of popular music. Nominated for 14 competitive Grammys, he won three, and received the Grammy Lifetime Achievement Award at age 36. He has been inducted into four music halls of fame.

Life and career

Early years (1935–53)

Childhood in Tupelo

, Mississippi]] Elvis Presley was born on January 8, 1935, in Tupelo, Mississippi, to Vernon Elvis and Gladys Love Presley. In the two-room shotgun house built by his father in readiness for the birth, Jesse Garon Presley, his identical twin brother, was delivered 35 minutes before him, stillborn. As an only child, Presley became close to both parents and formed an unusually tight bond with his mother. The family attended an Assembly of God church where he found his initial musical inspiration.

Presley's ancestry was primarily a Western European mix—Scots-Irish, with some French Norman; one of Gladys's great-great-grandmothers was Cherokee. According to a third cousin of Presley's, one of Gladys's great-grandmothers was Jewish. Gladys was regarded by relatives and friends as the dominant member of the small family. Vernon moved from one odd job to the next, evidencing little ambition. The family often relied on help from neighbors and government food assistance. In 1938, they lost their home after Vernon was found guilty of altering a check written by the landowner. He was jailed for eight months, and Gladys and Elvis moved in with relatives.

In September 1941, Presley entered first grade at East Tupelo Consolidated, where his instructors regarded him as "average". He was encouraged to enter a singing contest after impressing his schoolteacher with a rendition of Red Foley's country song "Old Shep" during morning prayers. The contest, held at the Mississippi-Alabama Fair and Dairy Show on October 3, 1945, saw his first public performance: dressed as a cowboy, the ten-year-old Presley stood on a chair to reach the microphone and sang "Old Shep". He recalled placing fifth. A few months later, Presley received for his birthday his first guitar. He had hoped for something else—by different accounts, either a bicycle or a rifle. Over the following year, he received basic guitar lessons from two of his uncles and the new pastor at the family's church. Presley recalled, "I took the guitar, and I watched people, and I learned to play a little bit. But I would never sing in public. I was very shy about it."

Entering a new school, Milam, for sixth grade in September 1946, Presley was regarded as a loner. The following year, he began bringing his guitar in on a daily basis. He would play and sing during lunchtime, and was often teased as a "trashy" kid who played hillbilly music. The family was by then living in a largely African American neighborhood. A devotee of Mississippi Slim's show on the Tupelo radio station WELO, Presley was described as "crazy about music" by Slim's younger brother, a classmate of Presley's, who often took him in to the station. Slim supplemented Presley's guitar tuition by demonstrating chord techniques. When his protégé was 12 years old, Slim scheduled him for two on-air performances. Presley was overcome by stage fright the first time, but succeeded in performing the following week.

Teenage life in Memphis

In November 1948, the family moved to Memphis, Tennessee. After residing for nearly a year in rooming houses, they were granted a two-bedroom apartment in the public housing complex known as the Courts. Enrolled at Humes High School, Presley received only a C in music in eighth grade. When his music teacher told him he had no aptitude for singing, he brought in his guitar the next day and sang a recent hit, "Keep Them Cold Icy Fingers Off Me", in an effort to prove otherwise. A classmate later recalled that the teacher "agreed that Elvis was right when he said that she didn't appreciate his kind of singing." He was generally too shy to perform openly, and was occasionally bullied by classmates who viewed him as a "mama's boy". In 1950, he began practicing guitar regularly under the tutelage of Jesse Lee Denson, a neighbor two-and-a-half years his senior. They and three other boys—including two future rockabilly pioneers, brothers Dorsey and Johnny Burnette—formed a loose musical collective that played frequently around the Courts. That September, he began ushering at Loew's State Theater. Other jobs followed during his school years: Precision Tool, Loew's again, and MARL Metal Products.

During his junior year, Presley began to stand out more among his classmates, largely because of his appearance: he grew out his sideburns and styled his hair with rose oil and Vaseline. On his own time, he would head down to Beale Street, the heart of Memphis's thriving blues scene, and gaze longingly at the wild, flashy clothes in the windows of Lansky Brothers. By his senior year, he was wearing them. Overcoming his reticence about performing outside the Courts, he competed in Humes's Annual "Minstrel" show in April 1953. Singing and playing guitar, he opened with "Till I Waltz Again With You", a recent hit for Teresa Brewer. Presley recalled that the performance did much for his reputation: "I wasn't popular in school ... I failed music—only thing I ever failed. And then they entered me in this talent show ... when I came onstage I heard people kind of rumbling and whispering and so forth, 'cause nobody knew I even sang. It was amazing how popular I became after that."

Presley, who never received formal music training or learned to read music, studied and played by ear. He frequented record stores with jukeboxes and listening booths. He knew all of Hank Snow's songs and he loved records by other country singers such as Roy Acuff, Ernest Tubb, Ted Daffan, Jimmie Rodgers, Jimmie Davis, and Bob Wills. The Southern Gospel singer Jake Hess, one of his favorite performers, was a significant influence on his ballad-singing style. He was a regular audience member at the monthly All-Night Singings downtown, where many of the white gospel groups that performed reflected the influence of African American spiritual music. He adored the music of black gospel singer Sister Rosetta Tharpe. Like some of his peers, he may have attended blues venues—of necessity, in the segregated South, only on nights designated for exclusively white audiences. He certainly listened to the regional radio stations that played "race records": spirituals, blues, and the modern, backbeat-heavy sound of rhythm and blues. Many of his future recordings were inspired by local African American musicians such as Arthur Crudup and Rufus Thomas. B.B. King recalled that he knew Presley before he was popular when they both used to frequent Beale Street. By the time he graduated high school in June 1953, Presley had already singled out music as his future.

First recordings (1953–55)

Sam Phillips and Sun Records

In August 1953, Presley walked into the offices of Sun Records. He aimed to pay for a few minutes of studio time to record a two-sided acetate disc: "My Happiness" and "That's When Your Heartaches Begin". He would later claim he intended the record as a gift for his mother, or was merely interested in what he "sounded like", though there was a much cheaper, amateur record-making service at a nearby general store. Biographer Peter Guralnick argues that he chose Sun in the hope of being discovered. Asked by receptionist Marion Keisker what kind of singer he was, Presley responded, "I sing all kinds." When she pressed him on whom he sounded like, he repeatedly answered, "I don't sound like nobody." After he recorded, Sun boss Sam Phillips asked Keisker to note down the young man's name, which she did along with her own commentary: "Good ballad singer. Hold." Presley cut a second acetate in January 1954—"I'll Never Stand In Your Way" and "It Wouldn't Be the Same Without You"—but again nothing came of it.

Not long after, he failed an audition for a local vocal quartet, the Songfellows. He explained to his father, "They told me I couldn't sing." Songfellow Jim Hamill later claimed that he was turned down because he did not demonstrate an ear for harmony at the time. In April, Presley began working for the Crown Electric company as a truck driver. His friend Ronnie Smith, after playing a few local gigs with him, suggested he contact Eddie Bond, leader of Smith's professional band, which had an opening for a vocalist. Bond rejected him after a tryout, advising Presley to stick to truck driving "because you're never going to make it as a singer."

Phillips, meanwhile, was always on the lookout for someone who could bring the sound of the black musicians on whom Sun focused to a broader audience. As Keisker reported, "Over and over I remember Sam saying, 'If I could find a white man who had the Negro sound and the Negro feel, I could make a billion dollars.'" In June, he acquired a demo recording of a ballad, "Without You", that he thought might suit the teenaged singer. Presley came by the studio, but was unable to do it justice. Despite this, Phillips asked Presley to sing as many numbers as he knew. He was sufficiently affected by what he heard to invite two local musicians, guitarist Winfield "Scotty" Moore and upright bass player Bill Black, to work something up with Presley for a recording session. }} The session, held the evening of July 5, proved entirely unfruitful until late in the night. As they were about to give up and go home, Presley took his guitar and launched into a 1946 blues number, Arthur Crudup's "That's All Right". Moore recalled, "All of a sudden, Elvis just started singing this song, jumping around and acting the fool, and then Bill picked up his bass, and he started acting the fool, too, and I started playing with them. Sam, I think, had the door to the control booth open ... he stuck his head out and said, 'What are you doing?' And we said, 'We don't know.' 'Well, back up,' he said, 'try to find a place to start, and do it again.'" Phillips quickly began taping; this was the sound he had been looking for. Three days later, popular Memphis DJ Dewey Phillips played "That's All Right" on his Red, Hot, and Blue show. Listeners began phoning in, eager to find out who the singer was. The interest was such that Phillips played the record repeatedly during the last two hours of his show. Interviewing Presley on-air, Phillips asked him what high school he attended in order to clarify his color for the many callers who had assumed he was black. During the next few days the trio recorded a bluegrass number, Bill Monroe's "Blue Moon of Kentucky", again in a distinctive style and employing a jury-rigged echo effect that Sam Phillips dubbed "slapback". A single was pressed with "That's All Right" on the A side and "Blue Moon of Kentucky" on the reverse.

Early live performances and signing to RCA

The trio played publicly for the first time on July 17 at the Bon Air club—Presley still sporting his child-size guitar. At the end of the month, they appeared at the Overton Park Shell, with Slim Whitman headlining. A combination of his strong response to rhythm and nervousness at playing before a large crowd led Presley to shake his legs as he performed: his wide-cut pants emphasized his movements, causing young women in the audience to start screaming. Moore recalled, "During the instrumental parts he would back off from the mike and be playing and shaking, and the crowd would just go wild". Black, a natural showman, whooped and rode his bass, hitting double licks that Presley would later remember as "really a wild sound, like a jungle drum or something". Soon after, Moore and Black quit their old band to play with Presley regularly, and DJ and promoter Bob Neal became the trio's manager. From August through October, they played frequently at the Eagle's Nest club and returned to Sun Studio for more recording sessions, and Presley quickly grew more confident on stage. According to Moore, "His movement was a natural thing, but he was also very conscious of what got a reaction. He'd do something one time and then he would expand on it real quick." Presley made what would be his only appearance on Nashville's Grand Ole Opry on October 2; after a polite audience response, Opry manager Jim Denny told Phillips that his singer was "not bad" but did not suit the program. Two weeks later, Presley was booked on Louisiana Hayride, the Oprys chief, and more adventurous, rival. The Shreveport-based show was broadcast to 198 radio stations in 28 states. Presley had another attack of nerves during the first set, which drew a muted reaction. A more composed and energetic second set inspired an enthusiastic response. House drummer D.J. Fontana brought a new element, complementing Presley's movements with accented beats that he had mastered playing in strip clubs. Soon after the show, the Hayride engaged Presley for a year's worth of Saturday-night appearances. Trading in his old guitar for $8 (and seeing it promptly dispatched to the garbage), he purchased a Martin instrument for $175, and his trio began playing in new locales including Houston, Texas, and Texarkana, Arkansas.

By early 1955, Presley's regular Hayride appearances, constant touring, and well-received record releases had made him a substantial regional star, from Tennessee to West Texas. In January, Neal signed a formal management contract with Presley and brought the singer to the attention of Colonel Tom Parker, whom he considered the best promoter in the music business. Parker—Dutch-born, though he claimed to be from West Virginia—had acquired an honorary colonel's commission from country singer turned Louisiana governor Jimmie Davis. Having successfully managed top country star Eddy Arnold, he was now working with the new number one country singer, Hank Snow. Parker booked Presley on Snow's February tour. When the tour reached Odessa, Texas, a 19-year-old Roy Orbison saw Presley for the first time: "His energy was incredible, his instinct was just amazing. ... I just didn't know what to make of it. There was just no reference point in the culture to compare it." Presley made his television debut on March 3 on the KSLA-TV broadcast of Louisiana Hayride. Soon after, he failed an audition for Arthur Godfrey's Talent Scouts on the CBS television network. By August, Sun had released ten sides credited to "Elvis Presley, Scotty and Bill"; on the latest recordings, the trio were joined by a drummer. Some of the songs, like "That's All Right", were in what one Memphis journalist described as the "R&B; idiom of negro field jazz"; others, like "Blue Moon of Kentucky", were "more in the country field", "but there was a curious blending of the two different musics in both". This blend of styles made it difficult for Presley's music to find radio airplay. According to Neal, many country music disc jockeys would not play it because he sounded too much like a black artist and none of the rhythm and blues stations would touch him because "he sounded too much like a hillbilly." The blend came to be known as rockabilly. At the time, Presley was variously billed as "The King of Western Bop", "The Hillbilly Cat", and "The Memphis Flash".

Presley renewed Neal's management contract in August 1955, simultaneously appointing Parker as his special adviser. The group maintained an extensive touring schedule throughout the second half of the year. Neal recalled, "It was almost frightening, the reaction that came to Elvis from the teenaged boys. So many of them, through some sort of jealousy, would practically hate him. There were occasions in some towns in Texas when we'd have to be sure to have a police guard because somebody'd always try to take a crack at him. They'd get a gang and try to waylay him or something." The trio became a quartet when Hayride drummer Fontana joined as a full member. In mid-October, they played a few shows in support of Bill Haley, whose "Rock Around the Clock" had been a number one hit the previous year. Haley observed that Presley had a natural feel for rhythm, and advised him to sing fewer ballads.

At the Country Disc Jockey Convention in early November, Presley was voted the year's most promising male artist. Several record companies had by now shown interest in signing him. After three major labels made offers of up to $25,000, Parker and Phillips struck a deal with RCA Victor on November 21 to acquire Presley's Sun contract for an unprecedented $40,000. Presley, at 20, was still a minor, so his father signed the contract. Parker arranged with the owners of Hill and Range Publishing, Jean and Julian Aberbach, to create two entities, Elvis Presley Music and Gladys Music, to handle all of the new material recorded by Presley. Songwriters were obliged to forego one third of their customary royalties in exchange for having him perform their compositions. By December, RCA had begun to heavily promote its new singer, and before month's end had reissued many of his Sun recordings.

Commercial breakout and controversy (1956–58)

First national TV appearances and debut album

featuring a photo taken July 31, 1955]] On January 10, 1956, Presley made his first recordings for RCA in Nashville. Extending the singer's by now customary backup of Moore, Black, and Fontana, RCA enlisted pianist Floyd Cramer, guitarist Chet Atkins, and three background singers, including Gordon Stoker of the popular Jordanaires quartet, to fill out the sound. The session produced the moody, unusual "Heartbreak Hotel", released as a single on January 27. Parker finally brought Presley to national television, booking him on CBS's Stage Show for six appearances over two months. The program, produced in New York, was hosted on alternate weeks by big band leaders and brothers Tommy and Jimmy Dorsey. After his first appearance, on January 28, Presley stayed in town to record at RCA's New York studio. The sessions yielded eight songs, including a cover of Carl Perkins' rockabilly anthem "Blue Suede Shoes". In February, Presley's "I Forgot to Remember to Forget", a Sun recording initially released the previous August, reached the top of the Billboard country chart. Neal's contract was terminated and, on March 2, Parker became Presley's manager. RCA Victor released Presley's self-titled debut album on March 23. Joined by five previously unreleased Sun recordings, its seven recently recorded tracks were of a broad variety. There were two country songs and a bouncy pop tune. The others would centrally define the evolving sound of rock and roll: "Blue Suede Shoes"—"an improvement over Perkins' in almost every way", according to critic Robert Hilburn—and three R&B; numbers that had been part of Presley's stage repertoire for some time, covers of Little Richard, Ray Charles, and The Drifters. As described by Hilburn, these "were the most revealing of all. Unlike many white artists ... who watered down the gritty edges of the original R&B; versions of songs in the '50s, Presley reshaped them. He not only injected the tunes with his own vocal character but also made guitar, not piano, the lead instrument in all three cases." It became the first rock and roll album to top the Billboard chart, a position it held for 10 weeks. While Presley was not an innovative instrumentalist like Moore or contemporary African American rockers Bo Diddley and Chuck Berry, cultural historian Gilbert B. Rodman argues that the album's cover image, "of Elvis having the time of his life on stage with a guitar in his hands played a crucial role in positioning the guitar...as the instrument that best captured the style and spirit of this new music."

Milton Berle Show and "Hound Dog"

Presley made the first of two appearances on NBC's Milton Berle Show on April 3. His performance, on the deck of the USS Hancock in San Diego, prompted cheers and screams from an audience of sailors and their dates. A few days later, a flight taking Presley and his band to Nashville for a recording session left all three badly shaken when an engine died and the plane almost went down over Arkansas. Twelve weeks after its original release, "Heartbreak Hotel" became Presley's first number one pop hit. In late April, Presley began a two-week residency at the New Frontier Hotel and Casino on the Las Vegas Strip. The shows were poorly received by the conservative, middle-aged hotel guests—"like a jug of corn liquor at a champagne party", wrote a critic for Newsweek. Amid his Vegas tenure, Presley, who had serious acting ambitions, signed a seven-year contract with Paramount Pictures. He began a tour of the Midwest in mid-May, taking in 15 cities in as many days. He had attended several shows by Freddie Bell and the Bellboys in Vegas, and was struck by their cover of "Hound Dog", a hit in 1952 for blues singer Big Mama Thornton. It became the new closing number of his act. After a show in La Crosse, Wisconsin, an urgent message on the letterhead of the local Catholic diocese's newspaper was sent to FBI director J. Edgar Hoover. It warned that "Presley is a definite danger to the security of the United States. ... [His] actions and motions were such as to rouse the sexual passions of teenaged youth. ... After the show, more than 1,000 teenagers tried to gang into Presley's room at the auditorium. ... Indications of the harm Presley did just in La Crosse were the two high school girls ... whose abdomen and thigh had Presley's autograph."

The second Milton Berle Show appearance came on June 5 at NBC's Hollywood studio, amid another hectic tour. Berle persuaded the singer to leave his guitar backstage, advising, "Let 'em see you, son." During the performance, Presley abruptly halted an uptempo rendition of "Hound Dog" with a wave of his arm and launched into a slow, grinding version accentuated with energetic, exaggerated body movements. Presley's gyrations created a storm of controversy. Television critics were outraged: Jack Gould of The New York Times wrote, "Mr. Presley has no discernible singing ability. ... His phrasing, if it can be called that, consists of the stereotyped variations that go with a beginner's aria in a bathtub. ... His one specialty is an accented movement of the body ... primarily identified with the repertoire of the blond bombshells of the burlesque runway." Ben Gross of the New York Daily News opined that popular music "has reached its lowest depths in the 'grunt and groin' antics of one Elvis Presley. ... Elvis, who rotates his pelvis ... gave an exhibition that was suggestive and vulgar, tinged with the kind of animalism that should be confined to dives and bordellos". Ed Sullivan, whose own variety show was the nation's most popular, declared him "unfit for family viewing". To Presley's displeasure, he soon found himself being referred to as "Elvis the Pelvis", which he called "one of the most childish expressions I ever heard, comin' from an adult."

Steve Allen Show and first Sullivan appearance

hosts Steve Allen and Ed Sullivan (pictured) helped catapult Presley to unprecedented fame.]] The Berle shows drew such high ratings that Presley was booked for a July 1 appearance on NBC's Steve Allen Show in New York. Allen, no fan of rock and roll, introduced a "new Elvis" in a white bow tie and black tails. Presley sang "Hound Dog" for less than a minute to a basset hound wearing a top hat and bow tie. As described by television historian Jake Austen, "Allen thought Presley was talentless and absurd... [he] set things up so that Presley would show his contrition". Allen, for his part, later wrote that he found Presley's "strange, gangly, country-boy charisma, his hard-to-define cuteness, and his charming eccentricity intriguing" and simply worked the singer into the customary "comedy fabric" of his program. Presley would refer back to the Allen show as the most ridiculous performance of his career. Later that night, he appeared on Hy Gardner Calling, a popular local TV show. Pressed on whether he had learned anything from the criticism to which he was being subjected, Presley responded, "No, I haven't, I don't feel like I'm doing anything wrong. ... I don't see how any type of music would have any bad influence on people when it's only music. ... I mean, how would rock 'n' roll music make anyone rebel against their parents?"

The next day, Presley recorded "Hound Dog", along with "Any Way You Want Me" and "Don't Be Cruel". The Jordanaires sang harmony, as they had on The Steve Allen Show; they would work with Presley through the 1960s. A few days later, the singer made an outdoor concert appearance in Memphis at which he announced, "You know, those people in New York are not gonna change me none. I'm gonna show you what the real Elvis is like tonight." In August, a judge in Jacksonville, Florida, ordered Presley to tame his act. Throughout the following performance, he largely kept still, except for wiggling his little finger suggestively in mockery of the order. The single pairing "Don't Be Cruel" with "Hound Dog" ruled the top of the charts for 11 weeks—a mark that would not be surpassed for 36 years. Recording sessions for Presley's second album took place in Hollywood during the first week of September. Jerry Leiber and Mike Stoller, the writers of "Hound Dog", contributed "Love Me".

Allen's show with Presley had, for the first time, beaten CBS's Ed Sullivan Show in the ratings. Sullivan, despite his June pronouncement, booked the singer for three appearances for an unprecedented $50,000. The first, on September 9, 1956, was seen by approximately 60 million viewers—a record 82.6 percent of the television audience. Actor Charles Laughton hosted the show, filling in while Sullivan recuperated from a car accident. Presley appeared in two segments that night from CBS Television City in Hollywood. According to Elvis legend, Presley was shot only from the waist up. Watching clips of the Allen and Berle shows with his producer, Sullivan had opined that Presley "got some kind of device hanging down below the crotch of his pants–so when he moves his legs back and forth you can see the outline of his cock. ... I think it's a Coke bottle. ... We just can't have this on a Sunday night. This is a family show!" Sullivan publicly told TV Guide, "As for his gyrations, the whole thing can be controlled with camera shots." In fact, Presley was shown head-to-toe in the first and second shows. Though the camerawork was relatively discreet during his debut, with leg-concealing closeups when he danced, the studio audience reacted in customary style: screaming. Presley's performance of his forthcoming single, the ballad "Love Me Tender", prompted a record-shattering million advance orders. More than any other single event, it was this first appearance on The Ed Sullivan Show that made Presley a national celebrity of barely precedented proportions.

Accompanying Presley's rise to fame, a cultural shift was taking place that he both helped inspire and came to symbolize. Igniting the "biggest pop craze since Glenn Miller and Frank Sinatra ... Presley brought rock'n'roll into the mainstream of popular culture", writes historian Marty Jezer. "As Presley set the artistic pace, other artists followed. ... Presley, more than anyone else, gave the young a belief in themselves as a distinct and somehow unified generation—the first in America ever to feel the power of an integrated youth culture."

Crazed crowds and movie debut

The audience response at Presley's live shows became increasingly fevered. Moore recalled, "He'd start out, 'You ain't nothin' but a Hound Dog,' and they'd just go to pieces. They'd always react the same way. There'd be a riot every time." At the two concerts he performed in September at the Mississippi-Alabama Fair and Dairy Show, 50 National Guardsmen were added to the police security to prevent crowd trouble. Elvis, Presley's second album, was released in October and quickly rose to number one. Assessing the musical and cultural impact of Presley's recordings from "That's All Right" through Elvis, rock critic Dave Marsh wrote that "these records, more than any others, contain the seeds of what rock & roll was, has been and most likely what it may foreseeably become."

Presley returned to the Sullivan show, hosted this time by its namesake, on October 28. After the performance, crowds in Nashville and St. Louis burned him in effigy. His first motion picture, Love Me Tender, was released on November 21. Though he was not top billed, the film's original title—The Reno Brothers—was changed to capitalize on his latest number one record: "Love Me Tender" had hit the top of the charts earlier that month. To further take advantage of Presley's popularity, four musical numbers were added to what was originally a straight acting role. The movie was panned by the critics but did very well at the box office. Presley would receive top billing on every subsequent film he made.

On December 4, Presley dropped into Sun Records where Carl Perkins and Jerry Lee Lewis were recording and jammed with them. Though Phillips no longer had the right to release any Presley material, he made sure the session was captured on tape. The results became legendary as the "Million Dollar Quartet" recordings—Johnny Cash was long thought to have played as well, but he was present only briefly at Phillips' instigation for a photo opportunity. The year ended with a front page story in the Wall Street Journal reporting that Presley merchandise had brought in $22 million on top of his record sales, and Billboards declaration that he had placed more songs in the top 100 than any other artist since records were first charted. In his first full year on RCA, one of the music industry's largest companies, Presley had accounted for over 50 percent of the label's singles sales.

Leiber and Stoller collaboration and draft notice

Presley made his third and final Ed Sullivan Show appearance on January 6, 1957—on this occasion indeed shot only down to the waist. Some commentators have claimed that Parker orchestrated an appearance of censorship to generate publicity. In any event, as critic Greil Marcus describes, Presley "did not tie himself down. Leaving behind the bland clothes he had worn on the first two shows, he stepped out in the outlandish costume of a pasha, if not a harem girl. From the make-up over his eyes, the hair falling in his face, the overwhelmingly sexual cast of his mouth, he was playing Rudolph Valentino in The Sheik, with all stops out." To close, displaying his range and defying Sullivan's wishes, Presley sang a gentle black spiritual, "Peace in the Valley". At the end of the show, Sullivan declared Presley "a real decent, fine boy". Two days later, the Memphis draft board announced that Presley would be classified 1A and would probably be drafted sometime that year. in the trailer for Jailhouse Rock, released October 17, 1957]] Each of the three Presley singles released in the first half of 1957 went to number one: "Too Much", "All Shook Up", and "(Let Me Be Your) Teddy Bear". Already an international star, he was attracting fans even where his music was not officially released. Under the headline "Presley Records a Craze in Soviet", The New York Times reported that pressings of his music on discarded X-ray plates were commanding high prices in Leningrad. Between film shoots and recording sessions, the singer also found time to purchase an 18-room mansion eight miles (13 km) south of downtown Memphis for himself and his parents: Graceland. Loving You—the soundtrack to his second film, released in July—was Presley's third straight number one album. The title track was written by Leiber and Stoller, who were retained to write four of the six songs recorded at the sessions for Jailhouse Rock, Presley's next movie. The songwriting team effectively produced the sessions, and they developed a close working relationship with Presley, who came to regard them as his "good-luck charm". Their title track was yet another number one hit, as was the Jailhouse Rock EP.

Presley undertook three brief tours during the year, continuing to generate a crazed audience response. A Detroit newspaper suggested that "the trouble with going to see Elvis Presley is that you're liable to get killed." Villanova students pelted him with eggs in Philadelphia, and in Vancouver, the crowd rioted after the end of the show, destroying the stage. Frank Sinatra, who had famously inspired the swooning of teenaged girls in the 1940s, condemned the new musical phenomenon. In a magazine article, he decried rock and roll as "brutal, ugly, degenerate, vicious. ... It fosters almost totally negative and destructive reactions in young people. It smells phoney and false. It is sung, played and written, for the most part, by cretinous goons. ... This rancid-smelling aphrodisiac I deplore." Asked for a response, Presley said, "I admire the man. He has a right to say what he wants to say. He is a great success and a fine actor, but I think he shouldn't have said it. ... This is a trend, just the same as he faced when he started years ago."

Leiber and Stoller were again in the studio for the recording of Elvis' Christmas Album. Toward the end of the session, they wrote a song on the spot at Presley's request: "Santa Claus Is Back In Town", an innuendo-laden blues. The holiday release stretched Presley's string of number one albums to four and would eventually become the best selling Christmas album of all time. After the session, Moore and Black—drawing only modest weekly salaries, sharing in none of Presley's massive financial success—resigned. Though they were brought back on a per diem basis a few weeks later, it was clear that they had not been part of Presley's inner circle for some time. On December 20, Presley received his draft notice. He was granted a deferment to finish the forthcoming King Creole, in which $350,000 had already been invested by Paramount and producer Hal Wallis. A couple of weeks into the new year, "Don't", another Leiber and Stoller tune, became Presley's tenth number one seller. It had been only 21 months since "Heartbreak Hotel" had brought him to the top for the first time. Recording sessions for the King Creole soundtrack were held in Hollywood mid-January. Leiber and Stoller provided three songs and were again on hand, but it would be the last time they worked closely with Presley. A studio session on February 1 marked another ending: it was the final occasion on which Black was to perform with Presley. He died in 1965.

Military service and mother's death (1958–60)

On March 24, Presley was inducted into the U.S. Army as a private at Fort Chaffee, near Fort Smith, Arkansas. Captain Arlie Metheny, the information officer, was unprepared for the media attention drawn by the singer's arrival. Hundreds of people descended on Presley as he stepped from the bus; photographers then accompanied him into the base. Presley announced that he was looking forward to his military stint, saying he did not want to be treated any differently from anyone else: "The Army can do anything it wants with me." Later, at Fort Hood, Texas, Lieutenant Colonel Marjorie Schulten gave the media carte blanche for one day, after which she declared Presley off-limits to the press.

Soon after Presley had commenced basic training at Fort Hood, he received a visit from Eddie Fadal, a businessman he had met when on tour in Texas. Fadal reported that Presley had become convinced his career was finished—"He firmly believed that." During a two-week leave in early June, Presley cut five sides in Nashville. He returned to training, but in early August his mother was diagnosed with hepatitis and her condition worsened. Presley was granted emergency leave to visit her, arriving in Memphis on August 12. Two days later, she died of heart failure, aged 46. Presley was devastated; their relationship had remained extremely close—even into his adulthood, they would use baby talk with each other and Presley would address her with pet names.

en route to Germany, September 29, 1958]]

After training at Fort Hood, Presley joined the 3rd Armored Division in Friedberg, Germany, on October 1. Introduced to amphetamines by a sergeant while on maneuvers, he became "practically evangelical about their benefits"—not only for energy, but for "strength" and weight loss, as well—and many of his friends in the outfit joined him in indulging. The Army also introduced Presley to karate, which he studied seriously, later including it in his live performances. Fellow soldiers have attested to Presley's wish to be seen as an able, ordinary soldier, despite his fame, and to his generosity while in the service. He donated his Army pay to charity, purchased TV sets for the base, and bought an extra set of fatigues for everyone in his outfit.

While in Friedberg, Presley met 14-year-old Priscilla Beaulieu. They would eventually marry after a seven-and-a-half-year courtship. In her autobiography, Priscilla says that despite his worries that it would ruin his career, Parker convinced Presley that to gain popular respect, he should serve his country as a regular soldier rather than in Special Services, where he would have been able to give some musical performances and remain in touch with the public. Media reports echoed Presley's concerns about his career, but RCA producer Steve Sholes and Freddy Bienstock of Hill and Range had carefully prepared for his two-year hiatus. Armed with a substantial amount of unreleased material, they kept up a regular stream of successful releases. Between his induction and discharge, Presley had ten top 40 hits, including "Wear My Ring Around Your Neck", the best-selling "Hard Headed Woman", and "One Night" in 1958, and "(Now and Then There's) A Fool Such as I" and the number one "A Big Hunk o' Love" in 1959. RCA also managed to generate four albums compiling old material during this period, most successfully Elvis' Golden Records (1958), which hit number three on the LP chart.

Focus on movies (1960–67)

Elvis Is Back

}} Presley returned to the United States on March 2, 1960, and was honorably discharged with the rank of sergeant on March 5. The train that carried him from New Jersey to Tennessee was mobbed all the way, and Presley was called upon to appear at scheduled stops to please his fans. Back in Memphis, he wasted no time in returning to the studio. Sessions in March and April yielded two of his best-selling singles, the ballads "It's Now or Never" and "Are You Lonesome Tonight?", and Elvis Is Back! The album features several songs described by Greil Marcus as full of Chicago blues "menace, driven by Presley's own super-miked acoustic guitar, brilliant playing by Scotty Moore, and demonic sax work from Boots Randolph. Elvis's singing wasn't sexy, it was pornographic." As a whole, the record "conjured up the vision of a performer who could be all things", in the words of music historian John Robertson: "a flirtatious teenage idol with a heart of gold; a tempestuous, dangerous lover; a gutbucket blues singer; a sophisticated nightclub entertainer; [a] raucous rocker". Released only days after recording was complete, it reached number two on the album chart.

Presley returned to television on May 12 as a guest on —ironic for both stars, given Sinatra's not-so-distant excoriation of rock and roll. Also known as Welcome Home Elvis, the show had been taped in late March, the only time all year Presley performed in front of an audience. Parker secured an unheard-of $125,000 fee for eight minutes of singing. The broadcast drew an enormous viewership.

G.I. Blues, the soundtrack to Presley's first film since his return, was a number one album in October. His first LP of sacred material, His Hand in Mine, followed two months later. It reached number 13 on the U.S. pop chart and number 3 in Great Britain, remarkable figures for a gospel album. In February 1961, Presley performed two shows for a benefit event in Memphis, on behalf of 24 local charities. During a luncheon preceding the event, RCA presented him with a plaque certifying worldwide sales of over 75 million records. A 12-hour Nashville session in mid-March yielded nearly all of Presley's next studio album, Something for Everybody. As described by John Robertson, it exemplifies the Nashville sound, the restrained, cosmopolitan style that would define country music in the 1960s. Presaging much of what was to come from Presley himself over the next half-decade, the album is largely "a pleasant, unthreatening pastiche of the music that had once been Elvis's birthright." It would be his sixth number one LP. Another benefit concert, raising money for a Pearl Harbor memorial, was staged on March 25, in Hawaii. It was to be Presley's last public performance for seven years.

Lost in Hollywood

Parker had by now pushed Presley into a heavy moviemaking schedule, focused on formulaic, modestly budgeted musical-comedies. Presley at first insisted on pursuing more serious roles, but when two films in a more dramatic vein—Flaming Star (1960) and Wild in the Country (1961)—were less commercially successful, he reverted to the formula. Among the 27 movies he made during the 1960s, there were few further exceptions. His films were almost universally panned; one critic dismissed them as a "pantheon of bad taste". Nonetheless, they were virtually all profitable. Hal Wallis, who produced nine of them, declared, "A Presley picture is the only sure thing in Hollywood."

Of Presley's films in the 1960s, 15 were accompanied by soundtrack albums and another 5 by soundtrack EPs. The movies' rapid production and release schedules—he frequently starred in three a year—affected his music. According to Jerry Leiber, the soundtrack formula was already evident before Presley left for the Army: "three ballads, one medium-tempo [number], one up-tempo, and one break blues boogie". As the decade wore on, the quality of the soundtrack songs grew "progressively worse". Julie Parrish, who appeared in Paradise, Hawaiian Style (1966), says that he hated many of the songs chosen for his films. The Jordanaires' Gordon Stoker describes how Presley would retreat from the studio microphone: "The material was so bad that he felt like he couldn't sing it." Most of the movie albums featured a song or two from respected writers such as the team of Doc Pomus and Mort Shuman. But by and large, according to biographer Jerry Hopkins, the numbers seemed to be "written on order by men who never really understood Elvis or rock and roll." Regardless of the songs' quality, it has been argued that Presley generally sang them well, with commitment. Critic Dave Marsh heard the opposite: "Presley isn't trying, probably the wisest course in the face of material like 'No Room to Rumba in a Sports Car' and 'Rock-a-Hula Baby.'"

In the first half of the decade, three of Presley's soundtrack albums hit number one on the pop charts, and a few of his most popular songs came from his films, such as "Can't Help Falling in Love" (1961) and "Return to Sender" (1962). ("Viva Las Vegas", the title track to the 1964 film, was a minor hit as a B-side, and became truly popular only later.) But, as with artistic merit, the commercial returns steadily diminished. During a five-year span—1964 through 1968—Presley had only one top ten hit: "Crying in the Chapel" (1965), a gospel number recorded back in 1960. As for non-movie albums, between the June 1962 release of Pot Luck and the November 1968 release of the soundtrack to the television special that signaled his comeback, only one LP of new material by Presley was issued: the gospel album How Great Thou Art (1967). It won him his first Grammy Award, for Best Sacred Performance. As described in The New Rolling Stone Album Guide, Presley was "arguably the greatest white gospel singer of his time [and] really the last rock & roll artist to make gospel as vital a component of his musical personality as his secular songs."

Shortly before Christmas 1966, more than seven years since they first met, Presley proposed to Priscilla Beaulieu. They were married on May 1, 1967, in a brief ceremony in their suite at the Aladdin Hotel in Las Vegas. The flow of formulaic movies and assembly-line soundtracks rolled on. It was not until October 1967, when the Clambake soundtrack LP registered record low sales for a new Presley album, that RCA executives recognized a problem. "By then, of course, the damage had been done", as historians Connie Kirchberg and Marc Hendrickx put it. "Elvis was viewed as a joke by serious music lovers and a has-been to all but his most loyal fans."

Comeback (1968–73)

Elvis: the '68 Comeback Special

produced "one of the most famous images" of Presley. Taken on June 29, 1968, it was adapted for the cover of Rolling Stone in July 1969.]] Presley's only child, Lisa Marie, was born on February 1, 1968, during a period when he had grown deeply unhappy with his career. Of the eight Presley singles released between January 1967 and May 1968, only two charted in the top 40, and none higher than number 28. His forthcoming soundtrack album, Speedway, would die at number 82 on the Billboard chart. Parker had already shifted his plans to television, where Presley had not appeared since the Sinatra Timex show in 1960. He maneuvered a deal with NBC that committed the network to both finance a theatrical feature and broadcast a Christmas special.

Recorded in late June, the special, called simply Elvis, aired on December 3, 1968. Later known as the '68 Comeback Special, the show featured lavishly staged studio productions as well as songs performed with a band in front of a small audience—Presley's first live performances since 1961. The live segments saw Presley clad in tight black leather, singing and playing guitar in an uninhibited style reminiscent of his early rock and roll days. Director and coproducer Steve Binder had worked hard to reassure the nervous singer and to produce a show that was far from the hour of Christmas songs Parker had originally planned. The show, NBC's highest rated that season, captured 42 percent of the total viewing audience. Jon Landau of Eye magazine remarked, "There is something magical about watching a man who has lost himself find his way back home. He sang with the kind of power people no longer expect of rock 'n' roll singers. He moved his body with a lack of pretension and effort that must have made Jim Morrison green with envy." The New Rolling Stone Album Guide calls the performance one of "emotional grandeur and historical resonance."

By January 1969, the single "If I Can Dream", written for the special, reached number 12. The soundtrack album broke into the top ten. According to friend Jerry Schilling, the special reminded Presley of what "he had not been able to do for years, being able to choose the people; being able to choose what songs and not being told what had to be on the soundtrack. ... He was out of prison, man." Binder said of Presley's reaction, "I played Elvis the 60-minute show, and he told me in the screening room, 'Steve, it's the greatest thing I've ever done in my life. I give you my word I will never sing a song I don't believe in.'"

From Elvis In Memphis and the International

}} Buoyed by the experience of the Comeback Special, Presley engaged in a prolific series of recording sessions at American Sound Studio, which led to the acclaimed From Elvis in Memphis. Released in June 1969, it was his first secular, non-soundtrack album from a dedicated period in the studio in eight years. As described by Dave Marsh, it is "a masterpiece in which Presley immediately catches up with pop music trends that had seemed to pass him by during the movie years. He sings country songs, soul songs and rockers with real conviction, a stunning achievement." The album featured the hit single "In the Ghetto", issued in April, which reached number three on the pop chart—Presley's first non-gospel top ten hit since "Bossa Nova Baby" in 1963. Further hit singles were culled from the American Sound sessions: "Suspicious Minds", "Don't Cry Daddy", and "Kentucky Rain".

Presley was keen to resume regular live performing. Following the success of the Comeback Special, offers came in from around the world. The London Palladium offered Parker $28,000 for a one-week engagement. He responded, "That's fine for me, now how much can you get for Elvis?" In May, the brand new International Hotel in Las Vegas, boasting the largest showroom in the city, announced that it had booked Presley. He was scheduled to perform 57 shows over four weeks beginning July 31. Moore, Fontana, and the Jordanaires declined to participate, afraid of losing the lucrative session work they had in Nashville. Presley assembled new, top-notch accompaniment, led by guitarist James Burton and including two gospel groups, The Imperials and Sweet Inspirations. Nonetheless, he was nervous: his only previous Las Vegas engagement, in 1956, had been dismal. Parker, who intended to make Presley's return the show business event of the year, oversaw a major promotional push. For his part, hotel owner Kirk Kerkorian arranged to send his own plane to New York to fly in rock journalists for the debut performance.

Presley took to the stage without introduction. The audience of 2,200, including many celebrities, gave him a standing ovation before he sang a note and another after his performance. A third followed his encore, "Can't Help Falling in Love" (a song that would be his closing number for much of the 1970s). At a press conference after the show, when a journalist referred to him as "The King", Presley gestured toward Fats Domino, who was taking in the scene. "No," Presley said, "that's the real king of rock and roll." The next day, Parker's negotiations with the hotel resulted in a five-year contract for Presley to play each February and August, at an annual salary of $1 million. Newsweek commented, "There are several unbelievable things about Elvis, but the most incredible is his staying power in a world where meteoric careers fade like shooting stars." Rolling Stone called Presley "supernatural, his own resurrection." In November, Presley's final non-concert movie, Change of Habit, opened. The double album From Memphis To Vegas/From Vegas To Memphis came out the same month; the first LP consisted of live performances from the International, the second of more cuts from the American Sound sessions. "Suspicious Minds" reached the top of the charts—Presley's first U.S. pop number one in over seven years, and his last.

Cassandra Peterson, later television's Elvira, met Presley during this period in Las Vegas, where she was working as showgirl. She recalls of their encounter, "He was so anti-drug when I met him. I mentioned to him that I smoked marijuana, and he was just appalled. He said, 'Don't ever do that again.'" Presley was not only deeply opposed to recreational drugs, he also rarely drank. Several of his family members had been alcoholics, a fate he intended to avoid.

Back on tour and meeting Nixon

Presley returned to the International early in 1970 for the first of the year's two month-long engagements, performing two shows a night. Recordings from these shows were issued on the album On Stage. In late February, Presley performed six attendance-record–breaking shows at the Houston Astrodome. In April, the single "The Wonder of You" was issued—a number one hit in Great Britain, it topped the U.S. adult contemporary chart, as well. MGM filmed rehearsal and concert footage at the International during August for the documentary . Presley was by now performing in a jumpsuit, which would become a trademark of his live act. During this engagement, he was threatened with murder unless $50,000 was paid. Presley had been the target of many threats since the 1950s, often without his knowledge. The FBI took the threat seriously and security was stepped up for the next two shows. Presley went onstage with a Derringer in his right boot and a .45 pistol in his waistband, but the concerts went off without incident.

The album That's the Way It Is, produced to accompany the documentary and featuring both studio and live recordings, marked a stylistic shift. As music historian John Robertson notes, "The authority of Presley's singing helped disguise the fact that the album stepped decisively away from the American-roots inspiration of the Memphis sessions towards a more middle-of-the-road sound. With country put on the back burner, and soul and R&B; left in Memphis, what was left was very classy, very clean white pop—perfect for the Las Vegas crowd, but a definite retrograde step for Elvis." After the end of his International engagement on September 7, Presley embarked on a week-long concert tour, largely of the South, his first since 1958. Another week-long tour, of the West Coast, followed in November.

in the White House Oval Office, December 21, 1970]] On December 21, 1970, Presley engineered a bizarre meeting with President Richard Nixon at the White House, where he expressed his patriotism and his contempt for the hippie drug culture. He asked Nixon for a Bureau of Narcotics and Dangerous Drugs badge, to add to similar items he had begun collecting and to signify official sanction of his patriotic efforts. Nixon, who apparently found the encounter awkward, expressed a belief that Presley could send a positive message to young people and that it was therefore important he "retain his credibility". Presley told Nixon that The Beatles, whose songs he regularly performed in concert during the era, exemplified what he saw as a trend of anti-Americanism and drug abuse in popular culture. (Presley and his friends had had a four-hour get-together with The Beatles five years earlier.) On hearing reports of the meeting, Paul McCartney later said that he "felt a bit betrayed. ... The great joke was that we were taking [illegal] drugs, and look what happened to him", a reference to Presley's death, hastened by prescription drug abuse.

The U.S. Junior Chamber of Commerce named Presley one of its annual Ten Most Outstanding Young Men of the Nation on January 16, 1971. Not long after, the City of Memphis named the stretch of Highway 51 South on which Graceland is located "Elvis Presley Boulevard". The same year, Presley became the first rock and roll singer to be awarded the Lifetime Achievement Award (then known as the Bing Crosby Award) by the National Academy of Recording Arts and Sciences, the Grammy Award organization. Three new, non-movie Presley studio albums were released in 1971, as many as had come out over the previous eight years. Best received by critics was Elvis Country, a concept record that focused on genre standards. The biggest seller was Elvis Sings the Wonderful World of Christmas, "the truest statement of all", according to Greil Marcus. "In the midst of ten painfully genteel Christmas songs, every one sung with appalling sincerity and humility, one could find Elvis tom-catting his way through six blazing minutes of 'Merry Christmas, Baby,' a raunchy old Charles Brown blues. ... If [Presley's] sin was his lifelessness, it was his sinfulness that brought him to life".

Marriage breakdown and Aloha from Hawaii

MGM again filmed Presley in April 1972, this time for Elvis on Tour, which went on to win the Golden Globe Award for Best Documentary Film that year. His gospel album He Touched Me, released that month, would earn him his second Grammy Award, for Best Inspirational Performance. A 14-date tour commenced with an unprecedented four consecutive sold-out shows at New York's Madison Square Garden. The evening concert on July 10 was recorded and issued in LP form a week later. became one of Presley's biggest-selling albums. After the tour, the single "Burning Love" was released—Presley's last top ten hit on the U.S. pop chart. "The most exciting single Elvis has made since 'All Shook Up'", wrote rock critic Robert Christgau. "Who else could make 'It's coming closer, the flames are now licking my body' sound like an assignation with James Brown's backup band?" , broadcast live via satellite on January 14, 1973. The singer himself came up with his famous outfit's eagle motif, as "something that would say 'America' to the world."]]

Presley and his wife, meanwhile, had become increasingly distant, barely cohabiting. In 1971, an affair he had with Joyce Bova resulted—unbeknownst to him—in her pregnancy and an abortion. He often raised the possibility of her moving in to Graceland, saying that he was likely to leave Priscilla. The Presleys separated on February 23, 1972, after Priscilla disclosed her relationship with Mike Stone, a karate instructor Presley had recommended to her. Priscilla relates that when she told him, Presley "grabbed ... and forcefully made love to" her, declaring, "This is how a real man makes love to his woman." Five months later, Presley's new girlfriend, Linda Thompson, a songwriter and one-time Memphis beauty queen, moved in with him. Presley and his wife filed for divorce on August 18.

In January 1973, Presley performed two benefit concerts for the Kui Lee Cancer Fund in connection with a groundbreaking TV special, Aloha from Hawaii. The first show served as a practice run and backup should technical problems affect the live broadcast two days later. Aired as scheduled on January 14, Aloha from Hawaii was the first global concert satellite broadcast, reaching approximately 1.5 billion viewers live and on tape delay. Presley's costume became the most recognized example of the elaborate concert garb with which his latter-day persona became closely associated. As described by Bobbie Ann Mason, "At the end of the show, when he spreads out his American Eagle cape, with the full stretched wings of the eagle studded on the back, he becomes a god figure." The , released in February, went to number one and eventually sold over 5 million copies in the United States. It proved to be Presley's last U.S. number one pop album during his lifetime.

At a midnight show the same month, four men rushed onto the stage in an apparent attack. Security men leapt to Presley's defense, and the singer's karate instinct took over as he ejected one invader from the stage himself. Following the show, he became obsessed with the idea that the men had been sent by Stone to kill him. Though they were shown to have been only overexuberant fans, he raged, "There's too much pain in me ... Stone [must] die." His outbursts continued with such intensity that a physician was unable to calm him, despite administering large doses of medication. After another two full days of raging, Red West, his friend and bodyguard, felt compelled to get a price for a contract killing and was relieved when Presley decided, "Aw hell, let's just leave it for now. Maybe it's a bit heavy."

Health deterioration and death (1973–77)

Medical crises and last studio sessions

Presley's divorce took effect on October 9, 1973. He was now becoming increasingly unwell. Twice during the year he overdosed on barbiturates, spending three days in a coma in his hotel suite after the first incident. Toward the end of 1973, he was hospitalized, semicomatose from the effects of Demerol addiction. According to his main physician, Dr. George C. Nichopoulos, Presley "felt that by getting [drugs] from a doctor, he wasn't the common everyday junkie getting something off the street." Since his comeback, he had staged more live shows with each passing year, and 1973 saw 168 concerts, his busiest schedule ever. Despite his failing health, in 1974 he undertook another intensive touring schedule.

Presley's condition declined precipitously in September. Keyboardist Tony Brown remembers the singer's arrival at a University of Maryland concert: "He fell out of the limousine, to his knees. People jumped to help, and he pushed them away like, 'Don't help me.' He walked on stage and held onto the mike for the first thirty minutes like it was a post. Everybody's looking at each other like, Is the tour gonna happen?" Guitarist John Wilkinson recalled, "He was all gut. He was slurring. He was so fucked up. ... It was obvious he was drugged. It was obvious there was something terribly wrong with his body. It was so bad the words to the songs were barely intelligible. ... I remember crying. He could barely get through the introductions". Wilkinson recounted that a few nights later in Detroit, "I watched him in his dressing room, just draped over a chair, unable to move. So often I thought, 'Boss, why don't you just cancel this tour and take a year off...?' I mentioned something once in a guarded moment. He patted me on the back and said, 'It'll be all right. Don't you worry about it.'" Presley continued to play to sellout crowds. As cultural critic Marjorie Garber describes, he was now widely seen as a garish pop crooner: "in effect he had become Liberace. Even his fans were now middle-aged matrons and blue-haired grandmothers."

On July 13, 1976, Vernon Presley—who had become deeply involved in his son's financial affairs—fired "Memphis Mafia" bodyguards Red West (Presley's friend since the 1950s), Sonny West, and David Hebler, citing the need to "cut back on expenses". Presley was in Palm Springs at the time, and some suggest the singer was too cowardly to face the three himself. Another associate of Presley's, John O'Grady, argued that the bodyguards were dropped because their rough treatment of fans had prompted too many lawsuits. However, Presley's stepbrother David Stanley has claimed that the bodyguards were fired because they were becoming more outspoken about Presley's drug dependency. Presley and Linda Thompson split in November, and he took up with a new girlfriend, Ginger Alden. He proposed to Alden and gave her an engagement ring two months later, though several of his friends later claimed that he had no serious intention of marrying again.

RCA, which had enjoyed a steady stream of product from Presley for over a decade, grew anxious as his interest in spending time in the studio waned. After a December 1973 session that produced 18 songs, enough for almost two albums, he did not enter the studio in 1974. Parker sold RCA on another concert record, . Recorded on March 20, it included a version of "How Great Thou Art" that would win Presley his third and final competitive Grammy Award. (All three of his competitive Grammy wins—out of 14 total nominations—were for gospel recordings.) Presley returned to the studio in Hollywood in March 1975, but Parker's attempts to arrange another session toward the end of the year were unsuccessful. In 1976, RCA sent a mobile studio to Graceland that made possible two full-scale recording sessions at Presley's home. Even in that comfortable context, the recording process was now a struggle for him.

}} For all the concerns of his label and manager, in studio sessions between July 1973 and October 1976, Presley recorded virtually the entire contents of six albums. Though he was no longer a major presence on the pop charts, five of those albums entered the top five of the country chart, and three went to number one: Promised Land (1975), From Elvis Presley Boulevard, Memphis, Tennessee (1976), and Moody Blue (1977). The story was similar with his singles—there were no major pop hits, but Presley was a significant force in not just the country market, but on adult contemporary radio as well. Eight studio singles from this period released during his lifetime were top ten hits on one or both charts, four in 1974 alone. "My Boy" was a number one AC hit in 1975, and "Moody Blue" topped the country chart and reached the second spot on the AC in 1976. Perhaps his most critically acclaimed recording of the era came that year, with what Greil Marcus described as his "apocalyptic attack" on the soul classic "Hurt". "If he felt the way he sounded", Dave Marsh wrote of Presley's performance, "the wonder isn't that he had only a year left to live but that he managed to survive that long."

Final year and death

Journalist Tony Scherman writes that by early 1977, "Elvis Presley had become a grotesque caricature of his sleek, energetic former self. Hugely overweight, his mind dulled by the pharmacopoeia he daily ingested, he was barely able to pull himself through his abbreviated concerts." In Alexandria, Louisiana, the singer was on stage for less than an hour and "was impossible to understand". Presley failed to appear in Baton Rouge: he was unable to get out of his hotel bed, and the rest of the tour was cancelled. Despite the accelerating deterioration of his health, he stuck to most touring commitments. In Rapid City, South Dakota, "he was so nervous on stage that he could hardly talk", according to Presley historian Samuel Roy, and unable to "perform any significant movement." Guralnick relates that fans "were becoming increasingly voluble about their disappointment, but it all seemed to go right past Elvis, whose world was now confined almost entirely to his room and his spiritualism books." A cousin, Billy Smith, recalled how Presley would sit in his room and chat for hours, sometimes recounting favorite Monty Python sketches and his own past escapades, but more often gripped by paranoid obsessions that reminded Smith of Howard Hughes. "Way Down", Presley's last single issued during his lifetime, came out on June 6. His final concert was held in Indianapolis at the Market Square Arena, on June 26.

The book Elvis: What Happened?, cowritten by the three bodyguards fired the previous year, was published on August 1. It was the first exposé to detail Presley's years of drug misuse. He was devastated by the book and tried unsuccessfully to halt its release by offering money to the publishers. By this point, he suffered from multiple ailments—glaucoma, high blood pressure, liver damage, and an enlarged colon, each aggravated, and possibly caused, by drug abuse.

Presley was scheduled to fly out of Memphis on the evening of August 16, 1977, to begin another tour. That afternoon, Alden discovered him unresponsive on his bathroom floor. Attempts to revive him failed, and death was officially pronounced at 3:30 pm at Baptist Memorial Hospital.

President Jimmy Carter issued a statement that credited Presley with having "permanently changed the face of American popular culture". Thousands of people gathered outside Graceland to view the open casket. One of Presley's cousins, Billy Mann, accepted $18,000 to secretly photograph the corpse; the picture appeared on the cover of the National Enquirers biggest-selling issue ever. Alden struck a $105,000 deal with the Enquirer for her story, but settled for less when she broke her exclusivity agreement. Presley left her nothing in his will.

Presley's funeral was held at Graceland, on Thursday, August 18. Outside the gates, a car plowed into a group of fans, killing two women and critically injuring a third. Approximately 80,000 people lined the processional route to Forest Hill Cemetery, where Presley was buried next to his mother. Within a few days, "Way Down" topped the country and UK pop charts. Following an attempt to steal the singer's body in late August, the remains of both Elvis Presley and his mother were reburied in Graceland's Meditation Garden on October 2.

Since 1977

Between 1977 and 1981, six posthumously released singles by Presley were top ten country hits. Graceland was opened to the public in 1982. Attracting over half a million visitors annually, it is the second most-visited home in the United States, after the White House. It was declared a National Historic Landmark in 2006.

Presley has been inducted into four music halls of fame: the Rock and Roll Hall of Fame (1986), the Country Music Hall of Fame (1998), the Gospel Music Hall of Fame (2001), and the Rockabilly Hall of Fame (2007). In 1984, he received the W. C. Handy Award from the Blues Foundation and the Academy of Country Music's first Golden Hat Award. In 1987, he received the American Music Awards' Award of Merit.

A Junkie XL remix of Presley's "A Little Less Conversation" (credited as "Elvis Vs JXL") was used in a Nike advertising campaign during the 2002 FIFA World Cup. It topped the charts in over 20 countries, and was included in a compilation of Presley's number one hits, ELV1S, that was also an international success. In 2003, a remix of "Rubberneckin'", a 1969 recording of Presley's, topped the U.S. sales chart, as did a 50th-anniversary re-release of "That's All Right" the following year. The latter was an outright hit in Great Britain, reaching number three on the pop chart.

In 2005, another three reissued singles, "Jailhouse Rock", "One Night"/"I Got Stung", and "It's Now or Never", went to number one in Great Britain. A total of 17 Presley singles were reissued during the year—all made the British top five. For the fifth straight year, Forbes named Presley the top-earning deceased celebrity, with a gross income of $45 million. In 2009, he was ranked fourth. The following year, Viva Elvis: The Album was released, setting his voice to newly recorded instrumental tracks.

Presley holds the records for most songs charting in Billboards top 40 and top 100: chart statistician Joel Whitburn calculates the respective totals as 104 and 151; Presley historian Adam Victor gives 114 and 138. Presley's rankings for top ten and number one hits vary depending on how the double-sided "Hound Dog/Don't Be Cruel" and "Don't/I Beg of You" singles, which precede the inception of Billboards unified Hot 100 chart, are analyzed. According to Whitburn, Presley holds the record for most top ten hits with 38; per Billboards current assessment, he ranks second with 36 behind Madonna's 37. Whitburn and Billboard concur that The Beatles hold the record for most number one hits with 20 and that Mariah Carey is second with 18. Whitburn has Presley also with 18 and thus tied for second; Billboard has him third with 17. Presley retains the record for cumulative weeks at number one: alone at 80, according to Whitburn and the Rock and Roll Hall of Fame; tied with Carey at 79, according to Billboard. He holds the records for most British number one hits, with 21, and top ten hits, with 76.

Musical style

Influences

Presley's earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, "he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them." In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley's future stage act: }} As a teenager, Presley's musical interests were wide-ranging, and he was deeply informed about African American musical idioms as well as white ones (see "Teenage life in Memphis"). Though he never had any formal training, he was blessed with a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings in 1954 at the age of 19. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues. At a press conference the following year, he proudly declared, "I know practically every religious song that's ever been written."

Genres

Music scholar Paul Friedlander describes the elements of the rockabilly style, which he characterizes as "essentially ... an Elvis Presley construction", that the singer and his band mates developed at Sun Records: "the raw, emotive, and slurred vocal style and emphasis on rhythmic feeling [of] the blues with the string band and strummed rhythm guitar [of] country". Moore's guitar solo in "That's All Right", the group's first record, "a combination of Merle Travis–style country finger-picking, double-stop slides from acoustic boogie, and blues-based bent-note, single-string work, is a microcosm of this fusion."

At RCA, Presley's rock and roll sound grew distinct from rockabilly with group chorus vocals, more heavily amplified electric guitars and a tougher, more intense manner. While he was known for taking songs from various sources and giving them a rockabilly/rock and roll treatment, he also recorded songs in other genres from early in his career, from the pop standard "Blue Moon" at Sun to the country ballad "How's the World Treating You?" on his second LP to the blues of "Santa Claus Is Back In Town". In 1957, his first gospel record was released, the four-song EP Peace in the Valley. Certified as a million seller, it became the top-selling gospel EP in recording history. Presley would record gospel periodically for the rest of his life. }} After his return from military service in 1960, Presley continued to perform rock and roll, but the characteristic style was substantially toned down. His first post-Army single, the number one hit "Stuck on You", is typical of this shift. RCA publicity materials referred to its "mild rock beat"; discographer Ernst Jorgensen calls it "upbeat pop". The modern blues/R&B; sound captured so successfully on Elvis Is Back! was essentially abandoned for six years until such 1966–67 recordings as "Down in the Alley" and "Hi-Heel Sneakers". The singer's output during most of the 1960s emphasized pop music, often in the form of ballads such as "Are You Lonesome Tonight?", a number one in 1960. While that was a dramatic number, most of what Presley recorded for his movie soundtracks was in a much lighter vein.

While Presley performed several of his classic ballads for the '68 Comeback Special, the sound of the show was dominated by aggressive rock and roll. He would record few new straight-ahead rock and roll songs thereafter; as he explained, they were "hard to find". A significant exception was "Burning Love", his last major hit on the pop charts. Like his work of the 1950s, Presley's subsequent recordings reworked pop and country songs, but in markedly different permutations. His stylistic range now began to embrace a more contemporary rock sound as well as soul and funk. Much of Elvis In Memphis, as well as "Suspicious Minds", cut at the same sessions, reflected his new rock and soul fusion. In the mid-1970s, many of his singles found a home on country radio, the field where he first became a star.

Vocal style and range

Music critic Henry Pleasants observes that "Elvis Presley has been described variously as a baritone and a tenor. An extraordinary compass ... and a very wide range of vocal color have something to do with this divergence of opinion." He identifies Presley as a high baritone, calculating his range as two octaves and a third, "from the baritone low G to the tenor high B, with an upward extension in falsetto to at least a D-flat. Presley's best octave is in the middle, D-flat to D-flat, granting an extra full step up or down." In Pleasants' view, his voice was "variable and unpredictable" at the bottom, "often brilliant" at the top, with the capacity for "full-voiced high Gs and As that an opera baritone might envy." Scholar Lindsay Waters, who figures Presley's range as two and a quarter octaves, emphasizes that "his voice had an emotional range from tender whispers to sighs down to shouts, grunts, grumbles and sheer gruffness that could move the listener from calmness and surrender, to fear. His voice can not be measured in octaves, but in decibels; even that misses the problem of how to measure delicate whispers that are hardly audible at all." Presley was always "able to duplicate the open, hoarse, ecstatic, screaming, shouting, wailing, reckless sound of the black rhythm-and-blues and gospel singers," writes Pleasants, and also demonstrated a remarkable ability to assimilate many other vocal styles.

Questions over cause of death

"Drug use was heavily implicated" in Presley's death, writes Guralnick. "No one ruled out the possibility of anaphylactic shock brought on by the codeine pills ... to which he was known to have had a mild allergy." A pair of lab reports filed two months later each strongly suggested that polypharmacy was the primary cause of death; one reported "fourteen drugs in Elvis' system, ten in significant quantity." Forensic historian and pathologist Michael Baden views the situation as complicated: "Elvis had had an enlarged heart for a long time. That, together with his drug habit, caused his death. But he was difficult to diagnose; it was a judgment call."

The competence and ethics of two of the centrally involved medical professionals were seriously questioned. Before the autopsy was complete and toxicology results known, Medical Examiner Dr. Jerry Francisco declared the cause of death as cardiac arrhythmia, a condition that can be determined only in someone who is still alive. Allegations of a cover-up were widespread. While Presley's main physician, Dr. Nichopoulos, was exonerated of criminal liability for the singer's death, the facts were startling: "In the first eight months of 1977 alone, he had [prescribed] more than 10,000 doses of sedatives, amphetamines and narcotics: all in Elvis's name." His license was suspended for three months. It was permanently revoked in the 1990s after the Tennessee Medical Board brought new charges of over-prescription.

In 1994, the Presley autopsy was reopened. Coroner Dr. Joseph Davis declared, "There is nothing in any of the data that supports a death from drugs. In fact, everything points to a sudden, violent heart attack." Whether or not combined drug intoxication was in fact the cause, there is little doubt that polypharmacy contributed significantly to Presley's premature death.

Racial issues

When Dewey Phillips first aired "That's All Right" on Memphis radio, many listeners who contacted the station by phone and telegram to ask for it again assumed that its singer was black. From the beginning of his national fame, Presley expressed respect for African American performers and their music and disregard for the norms of segregation and racial prejudice then prevalent in the South. Interviewed in 1956, he recalled how in his childhood he would listen to blues musician Arthur Crudup—the originator of "That's All Right"—"bang his box the way I do now, and I said if I ever got to the place where I could feel all old Arthur felt, I'd be a music man like nobody ever saw." The Memphis World, an African American newspaper, reported that Presley, "the rock 'n' roll phenomenon", "cracked Memphis's segregation laws" by attending the local amusement park on what was designated as its "colored night." Such statements and actions led Presley to be generally hailed in the black community during the early days of his stardom. By contrast, many white adults, according to Billboards Arnold Shaw, "did not like him, and condemned him as depraved. Anti-negro prejudice doubtless figured in adult antagonism. Regardless of whether parents were aware of the Negro sexual origins of the phrase 'rock 'n' roll', Presley impressed them as the visual and aural embodiment of sex."

Despite the largely positive view of Presley held by African Americans, a rumor spread in mid-1957 that he had at some point announced, "The only thing Negroes can do for me is buy my records and shine my shoes." A journalist with the national African American weekly Jet, Louie Robinson, pursued the story. On the set of Jailhouse Rock, Presley granted him an interview, though he was no longer dealing with the mainstream press. He denied making such a statement or holding in any way to its racist view. Robinson found no evidence that the remark had ever been made, and on the contrary elicited testimony from many individuals indicating that Presley was anything but racist. Blues singer Ivory Joe Hunter, who had heard the rumor before he visited Graceland one evening, reported of Presley, "He showed me every courtesy, and I think he's one of the greatest." Though the rumored remark was wholly discredited at the time, it was still being used against Presley decades later. The identification of Presley with racism—either personally or symbolically—was expressed most famously in the lyrics of the 1989 rap hit "Fight the Power", by Public Enemy: "Elvis was a hero to most / But he never meant shit to me / Straight-up racist that sucker was / Simple and plain."

The persistence of such attitudes was fueled by resentment over the fact that Presley, whose musical and visual performance idiom owed much to African American sources, achieved the cultural acknowledgment and commercial success largely denied his black peers. Into the 21st century, the notion that Presley had "stolen" black music still found adherents. Notable among African American entertainers expressly rejecting this view was Jackie Wilson, who argued, "A lot of people have accused Elvis of stealing the black man's music, when in fact, almost every black solo entertainer copied his stage mannerisms from Elvis." And throughout his career, Presley plainly acknowledged his debt. Addressing his '68 Comeback Special audience, he said, "Rock 'n' roll music is basically gospel or rhythm and blues, or it sprang from that. People have been adding to it, adding instruments to it, experimenting with it, but it all boils down to [that]." Nine years earlier, he had said, "Rock 'n' roll has been around for many years. It used to be called rhythm and blues."

Influence of Colonel Parker and others

Parker and the Aberbachs

Once he became Presley's manager, Colonel Tom Parker insisted on exceptionally tight control over his client's career. Early on, he and his Hill and Range allies, the Aberbachs, perceived the close relationship that developed between Presley and songwriters Jerry Leiber and Mike Stoller as a serious threat to that control. Parker effectively ended the relationship, deliberately or not, with the new contract he sent Leiber in early 1958. Leiber thought there was a mistake—the sheet of paper was blank except for Parker's signature and a line on which to enter his. "There's no mistake, boy, just sign it and return it", Parker directed. "Don't worry, we'll fill it in later." Leiber declined, and Presley's fruitful collaboration with the writing team was over. Other respected songwriters lost interest in or simply avoided writing for Presley because of the requirement that they surrender a third of their usual royalties.

By 1967, Parker had contracts with Presley that gave him 50 percent of most of the singer's earnings on recordings, films, and merchandise. Beginning in February 1972, he took a third of the profit from live appearances; a January 1976 agreement entitled him to half of that as well. Priscilla Presley noted that "Elvis detested the business side of his career. He would sign a contract without even reading it." Presley's friend Marty Lacker regarded Parker as a "hustler and a con artist. He was only interested in 'now money'—get the buck and get gone."

Lacker was instrumental in convincing Presley to record with Memphis producer Chips Moman and his handpicked musicians at American Sound Studio in early 1969. The American Sound sessions represented a significant departure from the control customarily exerted by Hill and Range. Moman still had to deal with the publisher's staff on site, whose song suggestions he regarded as unacceptable. He was on the verge of quitting, until Presley ordered the Hill and Range personnel out of the studio. Although RCA executive Joan Deary was later full of praise for the producer's song choices and the quality of the recordings, Moman, to his fury, received neither credit on the records nor royalties for his work.

Throughout his entire career, Presley performed in only three venues outside the United States—all of them in Canada, during brief tours there in 1957. Rumors that he would play overseas for the first time were fueled in 1974 by a million-dollar bid for an Australian tour. Parker was uncharacteristically reluctant, prompting those close to Presley to speculate about the manager's past and the reasons for his apparent unwillingness to apply for a passport. Parker ultimately squelched any notions Presley had of working abroad, claiming that foreign security was poor and venues unsuitable for a star of his magnitude.

Parker arguably exercised tightest control over Presley's movie career. In 1957, Robert Mitchum asked Presley to costar with him in Thunder Road, on which Mitchum was both writer and producer. According to George Klein, one of his oldest friends, Presley was offered starring roles in West Side Story and Midnight Cowboy. In 1974, Barbra Streisand approached Presley to star with her in the remake of A Star is Born. In each case, any ambitions the singer may have had to play such parts were thwarted by his manager's negotiating demands or flat refusals. In Lacker's description, "The only thing that kept Elvis going after the early years was a new challenge. But Parker kept running everything into the ground." The operative attitude may have been summed up best by the response Leiber and Stoller received when they brought a serious film project for Presley to Parker and the Hill and Range owners for their consideration. In Leiber's telling, Jean Aberbach warned them to never again "try to interfere with the business or artistic workings of the process known as Elvis Presley".

Memphis Mafia

In the early 1960s, the circle of friends with whom Presley constantly surrounded himself until his death came to be known as the "Memphis Mafia". "Surrounded by the[ir] parasitic presence", as journalist John Harris puts it, "it was no wonder that as he slid into addiction and torpor, no-one raised the alarm: to them, Elvis was the bank, and it had to remain open." Tony Brown, who played piano for Presley regularly in the last two years of the singer's life, observed his rapidly declining health and the urgent need to address it: "But we all knew it was hopeless because Elvis was surrounded by that little circle of people ... all those so-called friends". In the Memphis Mafia's defense, Marty Lacker has said, "[Presley] was his own man. ... If we hadn't been around, he would have been dead a lot earlier."

Larry Geller became Presley's hairdresser in 1964. Unlike others in the Memphis Mafia, he was interested in spiritual questions and recalls how, from their first conversation, Presley revealed his secret thoughts and anxieties: "I mean there has to be a purpose...there's got to be a reason...why I was chosen to be Elvis Presley. ... I swear to God, no one knows how lonely I get. And how empty I really feel." Thereafter, Geller supplied him with books on religion and mysticism, which the singer read voraciously. Presley would be preoccupied by such matters for much of his life, taking trunkloads of books with him on tour.

Sex symbol

(1962) took advantage of Presley's sex symbol status.]] Presley's physical attractiveness and sexual appeal were widely acknowledged. "He was once beautiful, astonishingly beautiful", in the words of critic Mark Feeney. Television director Steve Binder, no fan of Presley's music before he oversaw the '68 Comeback Special, reported, "I'm straight as an arrow and I got to tell you, you stop, whether you're male or female, to look at him. He was that good looking. And if you never knew he was a superstar, it wouldn't make any difference; if he'd walked in the room, you'd know somebody special was in your presence." His performance style, as much as his physical beauty, was responsible for Presley's eroticized image. Writing in 1970, critic George Melly described him as "the master of the sexual simile, treating his guitar as both phallus and girl." In his Presley obituary, Lester Bangs credited him as "the man who brought overt blatant vulgar sexual frenzy to the popular arts in America." Ed Sullivan's declaration that he perceived a soda bottle in Presley's trousers was echoed by rumors involving a similarly positioned toilet roll tube or lead bar.

While Presley was marketed as an icon of heterosexuality, some cultural critics have argued that his image was ambiguous. In 1959, Sight and Sounds Peter John Dyer described his onscreen persona as "aggressively bisexual in appeal". Brett Farmer places the "orgasmic gyrations" of the title dance sequence in Jailhouse Rock within a lineage of cinematic musical numbers that offer a "spectacular eroticization, if not homoeroticization, of the male image". In the analysis of Yvonne Tasker, "Elvis was an ambivalent figure who articulated a peculiar feminised, objectifying version of white working-class masculinity as aggressive sexual display."

Reinforcing Presley's image as a sex symbol were the reports of his dalliances with various Hollywood stars and starlets, from Natalie Wood in the 1950s to Connie Stevens and Ann-Margret in the 1960s to Candice Bergen and Cybill Shepherd in the 1970s. June Juanico of Memphis, one of Presley's early girlfriends, later blamed Parker for encouraging him to choose his dating partners with publicity in mind. Presley, however, never grew comfortable with the Hollywood scene, and most of these relationships were insubstantial.

Legacy

Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world. in 1988]]

Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".

A New York Times editorial on the 25th anniversary of Presley's death observed, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis's breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:

Elvis Presley is a supreme figure in American life, one whose presence, no matter how banal or predictable, brooks no real comparisons. ... The cultural range of his music has expanded to the point where it includes not only the hits of the day, but also patriotic recitals, pure country gospel, and really dirty blues. ... Elvis has emerged as a great artist, a great rocker, a great purveyor of schlock, a great heart throb, a great bore, a great symbol of potency, a great ham, a great nice person, and, yes, a great American.

Discography

A vast number of recordings have been issued under Presley's name. The total number of his original master recordings has been variously calculated as 665 and 711. His career began and he was most successful during an era when singles were the primary commercial medium for pop music. In the case of his albums, the distinction between "official" studio records and other forms is often blurred. In addition, for most of the 1960s, his recording career focused on soundtrack albums. In the 1970s, his most heavily promoted and best-selling LP releases tended to be concert albums. This summary discography lists only the albums and singles that reached the top of one or more of the following charts: the main U.S. Billboard pop chart; the Billboard country chart, the genre chart with which he was most identified (there was no country album chart before 1964); and the official British pop chart. In the United States, Presley also had five or six number one R&B; singles and seven number one adult contemporary singles; in 1964, his "Blue Christmas" topped the Christmas singles chart during a period when Billboard did not rank holiday singles in its primary pop chart. He had number one hits in many countries beside the United States and United Kingdom, as well.

Number one albums

Number one singles

Filmography

See also

List of artists by total number of UK number one singles

List of best-selling music artists

List of honorific titles in popular music

Personal relationships of Elvis Presley

Notes

Although some pronounce his surname "PREZ-lee", Presley himself used the pronunciation of the American South, "PRESS-lee", as did his family and those who worked with him. The correct spelling of his middle name has long been a matter of debate. The physician who delivered him wrote "Elvis Aaron Presley" in his ledger. The state-issued birth certificate reads "Elvis Aron Presley". The name was chosen after the Presleys' friend and fellow congregation member Aaron Kennedy, though a single-A spelling was probably intended by Presley's parents in order to parallel the middle name of Presley's stillborn brother, Jesse Garon. It reads Aron on most official documents produced during his lifetime, including his high school diploma, RCA record contract, and marriage license, and this was generally taken to be the proper spelling. In 1966, Presley expressed the desire to his father that the more traditional biblical rendering, Aaron, be used henceforth, "especially on legal documents." Five years later, the Jaycees citation honoring him as one of the country's Outstanding Young Men used Aaron. Late in his life, he sought to officially change the spelling to Aaron and discovered that state records already listed it that way. Knowing his wishes for his middle name, Aaron is the spelling his father chose for Presley's tombstone, and it is the spelling his estate has designated as official. Of the $40,000, $5,000 covered back royalties owed by Sun. In 1956–57, Presley was also credited as a cowriter on several songs where he had no hand in the writing process: "Heartbreak Hotel"; "Don't Be Cruel"; all four songs from his first film, including the title track, "Love Me Tender"; "Paralyzed"; and "All Shook Up". He received credit on two other songs to which he did contribute: he provided the title for "That's Someone You Never Forget" (1961), written by his friend Red West; Presley and West collaborated with another friend, guitarist Charlie Hodge, on "You'll Be Gone" (1962). Whitburn follows actual Billboard history in considering the four songs on the "Don't Be Cruel/Hound Dog" and "Don't/I Beg of You" singles as distinct. He tallies each side of the former single as a number one (Billboards sales chart had "Don't Be Cruel" at number one for five weeks, then "Hound Dog" for six) and reckons "I Beg of You" as a top ten, as it reached number eight on the old Top 100 chart. Billboard now considers both singles as unified items, ignoring the historical sales split of the former and its old Top 100 chart entirely. Whitburn thus analyzes the four songs as yielding three number ones and a total of four top tens. Billboard now states that they yielded just two number ones and a total of two top tens, voiding the separate chart appearances of "Hound Dog" and "I Beg of You". VH1 ranked Presley #8 among the "100 Greatest Artists of Rock & Roll" in 1998. The BBC ranked him as the #2 "Voice of the Century" in 2001. Rolling Stone placed him #3 in its list of "The Immortals: The Fifty Greatest Artists of All Time" in 2004. CMT ranked him #15 among the "40 Greatest Men in Country Music" in 2005. The Discovery Channel placed him #8 on its "Greatest American" list in 2005. Variety put him in the top ten of its "100 Icons of the Century" in 2005. The Atlantic Monthly ranked him #66 among the "100 Most Influential Figures in American History" in 2006. (1) The year given is the year the record first reached number one, rather than its original year of release. For instance, in 1974, Elvis' 40 Greatest, a compilation on the budget Arcade label, was the fourth highest selling album of the year in the United Kingdom; at the time, the main British chart did not rank such compilations, relegating them to a chart for midpriced and TV-advertised albums, which Elvis' 40 Greatest topped for 15 weeks. The policy was altered in 1975, allowing the album to hit number one on the main chart in 1977, following Presley's death. (2) Before late 1958, rather than unified pop and country singles charts, Billboard had as many as four charts for each, separately ranking records according to sales, jukebox play, jockey spins (i.e., airplay), and, in the case of pop, a general Top 100. Billboard now regards the sales charts as definitive for the period. Widely cited chart statistician Joel Whitburn accords historical releases the highest ranking they achieved among the separate charts. Presley discographer Ernst Jorgensen refers only to the Top 100 chart for pop hits. All of the 1956–58 songs listed here as number one U.S. pop hits reached the top of both the sales and, with three exceptions, the Top 100 charts: "I Want You, I Need You, I Love You" (three), "Hound Dog" (two, behind its flip side, "Don't Be Cruel"), and "Hard Headed Woman" (two). (3) Several Presley singles reached number one in the United Kingdom as double A-sides; in the United States, the respective sides of those singles were ranked separately by Billboard. Whitburn calculates a total of six number one R&B; singles, including "Don't Be Cruel", released as a double A-side with "Hound Dog"; Billboards Keith Caulfield excludes "Don't Be Cruel".

Citations

References

Further reading

Allen, Lew (2007). Elvis and the Birth of Rock. Genesis. ISBN 1905662009.

Ann-Margret and Todd Gold (1994). Ann-Margret: My Story. G.P. Putnam's Sons. ISBN 0399138919.

Cantor, Louis (2005). Dewey and Elvis: The Life and Times of a Rock 'n' Roll Deejay. University of Illinois Press. ISBN 025202951X.

Dickerson, James L. (2001). Colonel Tom Parker: The Curious Life of Elvis Presley's Eccentric Manager. Cooper Square Press. ISBN 0815412673.

Finstad, Suzanne (1997). Child Bride: The Untold Story of Priscilla Beaulieu Presley. Harmony Books. ISBN 0517705850.

Goldman, Albert (1981). Elvis. McGraw-Hill. ISBN 0070236577.

Goldman, Albert (1990). Elvis: The Last 24 Hours. St. Martin's. ISBN 0312925417.

Klein, George (2010). Elvis: My Best Man: Radio Days, Rock 'n' Roll Nights, and My Lifelong Friendship with Elvis Presley. Virgin Books. ISBN 9780307452740

Marcus, Greil (1999). Dead Elvis: A Chronicle of a Cultural Obsession. Harvard University Press. ISBN 0674194225.

Marcus, Greil (2000). Double Trouble: Bill Clinton and Elvis Presley in a Land of No Alternative. Picador. ISBN 057120676X.

Moscheo, Joe (2007). The Gospel Side of Elvis. Center Street. ISBN 1599957299.

Nash, Alanna (2010). Baby, Let's Play House: Elvis Presley and the Women Who Loved Him. It Books. ISBN 0061699845.

West, Red, Sonny West, and Dave Hebler (as told to Steve Dunleavy) (1977). Elvis: What Happened? Bantam Books. ISBN 0345272153.

External links

Elvis Presley Enterprises official site of the Elvis Presley brand

Elvis The Music official record label site

Elvis Presley Interviews on officially sanctioned Elvis Australia site

Elvis Presley Ancestry at Genealogy.com

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Name	Mos Def
Background	solo_singer
Birth name	Dante Terrell Smith
Born	December 11, 1973Bedford-Stuyvesant, Brooklyn, New York City, U.S.
Origin	Bedford-Stuyvesant, Brooklyn, New York City
Genre	Alternative hip hop
Occupation	Rapper, actor, singer, activist
Years active	1994–present
Label	Rawkus, Priority, Geffen, Downtown, GOOD Music
Associated acts	Soulquarians, Black Star, Talib Kweli, Native Tongues Posse, Dave Chappelle, Kanye West, The Roots, Blakroc, Gorillaz, Common, Jay Electronica, Curren$y, Immortal Technique

Dante Terrell Smith (born December 11, 1973) is an American actor and MC known by the stage name Mos Def (). Mos Def started his hip hop career in a group called Urban Thermo Dynamics, after which he appeared on albums by Da Bush Babees and De La Soul. With Talib Kweli, he formed the duo Black Star, who released the album Black Star in 1998. He was a major force in the late 1990s underground hip hop explosion spearheaded by Rawkus Records. As a solo artist he has released the albums Black on Both Sides in 1999, The New Danger in 2004, True Magic in 2006, and The Ecstatic in 2009.

Initially recognized for his musical output, since the early 2000s, Mos Def's screen work has established him as one of only a handful of rappers who have garnered critical approval for their acting work. Mos Def has also been active in several social and political issues and was particularly vocal in the wake of Hurricane Katrina in 2005.

Music career

Mos Def began his music career in 1994 in the short-lived group Urban Thermo Dynamics with his younger brother D.c.Q and younger sister Ces. Despite their contract with Payday Records, the group only had two singles, and their debut album Manifest Destiny was not released until 2004, when it was distributed by Illson Media. In 1996, he emerged as a solo artist and worked with De La Soul and Da Bush Babees, before he released his own first single, "Universal Magnetic", which was a huge underground hit.

Mos Def signed with Rawkus Records and formed the group Black Star with Talib Kweli. They released an album, Mos Def & Talib Kweli are Black Star, in 1998. Mostly produced by Hi-Tek, the album featured the hit singles, "Respiration" and "Definition", which would go on to be featured in VH1's 100 Greatest Songs of Hip-Hop. Mos Def released his solo debut album Black on Both Sides in 1999, also through Rawkus. Around this time he also contributed to the Scritti Politti album Anomie & Bonhomie and Rawkus compilations Lyricist Lounge and Soundbombing.

After the collapse of Rawkus, he signed to Interscope/Geffen Records, which released his second solo album The New Danger in 2004. The New Danger contained a mix of several musical genres, including soul, blues, and rock and roll, performed with his rock band Black Jack Johnson, which contained members of the bands Bad Brains and Living Colour. The singles included "Sex, Love & Money" and the B-side "Ghetto Rock"; the latter went on to receive several Grammy Award nominations in 2004.

Mos Def has drawn some criticism from his fan base about "keeping it real" after he appeared in a commercial that endorsed the GMC Denali sport utility vehicle.

Mos Def's final solo album for Geffen Records, True Magic, was quietly released on December 29, 2006. True Magic features production from The Neptunes, Rich Harrison and Minnesota, among others. The album was released in a clear-case with no cover art. Neither Geffen nor Mos Def himself promoted the album at all, which is the main reason the album was received under the radar.

The song "Crime & Medicine" is essentially a cover of GZA's 1995 single "Liquid Swords", though it contains different verses. Also, the track "Undeniable" samples a version of the Barrett Strong/Norman Whitfield composition "Message from a Black Man". The song "Dollar Day" uses the same beat as Juvenile's "Nolia Clap".

MTV reported that this album isn't a full version, but a teaser/promotional debut. A new version of the album would be released spring 2007, with updated songs and cover art. However, on October 17, 2007, Okayplayer reported, through discussions with Mos Def's management, that these rumors were unsubstantiated. The CD was intended to be released without promotion or cover art, as per Mos Def's request. There would be no future re-release.

On November 7, 2007, Mos Def performed live in San Francisco at a venue called The Mezzanine. This performance was recorded for an upcoming "Live in Concert" DVD. During this performance Mos Def announced that he would be releasing a new album to be called The Ecstatic. He sang a number of new tracks; in later shows, Def previewed tracks produced by Madlib and was rumored to be going to Kanye West for new material. Producer and fellow Def Poet Al Be Back stated that he would be producing as well. The album was released on June 9, 2009; upon its release, only Madlib's production had made the cut, along with tracks by Preservation, The Neptunes, Mr. Flash, Madlib's brother Oh No, a song by J. Dilla, and Georgia Anne Muldrow.

Mos Def is also set to do a duo album with Jay Electronica titled Simpatico. It will contain nine songs.

Mos Def appears alongside Kanye West on the track "Two Words" from The College Dropout album, the track "Drunk And Hot Girls" and the bonus track "Good Night" off West's third major album, Graduation. In 2002, he released the 12" single Fine, which was featured in the Brown Sugar Motion Picture Soundtrack.

Mos Def also appears on the debut album from fellow New Yorkers Apollo Heights on a track titled, "Concern." In October, he signed a deal with Downtown Records and appeared on a remix to the song "D.A.N.C.E." by Justice. Mos Def appeared on Stephen Marley's album Mind Control on the song "Hey Baby." In 2009, Mos Def worked together with Somali rapper K'naan to produce the track "America" for K'naan's album Troubadour.

In April 2008 he appeared on the title track for a new album by The Roots entitled Rising Down. The new single, Life In Marvelous Times, was made officially available through iTunes on November 4, 2008, and is available for stream on the Roots' website Okayplayer.

April 2009 saw him traveling to South Africa for the first time where he performed accompanied by The Robert Glasper Experiment at the renowned Cape Town International Jazz Festival. He enticed his bemused African following with an encore introduced by his own rendition of John Coltrane's "Love Supreme" followed by a sneak preview of the track "M.D. (Doctor)", much to the delight of the fans.

Mos Def also designed two pairs of limited edition Converse shoes. The shoes were released to Foot Locker stores on August 1, 2009 in very limited amounts.

In late 2009, Mos Def created a brand of clothing line with UNDRCRWN called the "Mos Def Cut & Sew Collection." All clothing items will be sold in select stores located around the U.S. and almost exclusively on the UNDRCRWN website. 2009 also found Mos Def among the MCs collaborating with the Black Keys on the first Blakroc album, a project headed by the Black Keys and Damon Dash. Mos Def appeared with Jim Jones and the Black Keys on the Late Show with David Letterman to perform the Blakroc track "Ain't Nothing Like You (Hoochie Coo)".

In March 2010, Mos Def's song Quiet Dog Bite Hard was featured in Palm's "Life moves fast. Don't miss a thing." campaign.

Mos Def features on the first single, "Stylo", from the third Gorillaz album, Plastic Beach, alongside soul legend Bobby Womack. He also appears on the track titled "Sweepstakes".

Mos Def has been an active contributor to the recovery of the oil spill in the Gulf, performing concerts and raising money towards the repair of the damages. In June 2010, he recorded a cover of the classic New Orleans song originally by Smokey Johnson, "" with the Preservation Hall Jazz Band, Lenny Kravitz and Trombone Shorty.

Influences

Slick Rick Gang Starr and Monster's Ball, Mos re-invigorated his acting career with his performance as a talented rapper who is reluctant to sign to a major label in Brown Sugar. He was nominated for an and a Teen Choice Award.

In 2001, he took a supporting role to Beyoncé Knowles and Mehki Phifer in the MTV movie as Lt. Miller, a crooked cop.

In 2002, he played the role of Booth in Suzan-Lori Parks' Topdog/Underdog, a Tony-nominated and Pulitzer-winning Broadway play. He and co-star Jeffrey Wright won a Special Award from the Outer Critics Circle Award for their joint performance. He also received positive notices as the quirky Left Ear in the blockbuster hit, The Italian Job in 2003.

In television, Mos Def has appeared on Comedy Central's Chappelle's Show, and has hosted the award-winning HBO spoken word show, Def Poetry since its inception. The show's sixth season aired in 2007. He also appeared on the sitcom My Wife And Kids as the disabled friend of Michael Kyle (Damon Wayans).

Mos Def won Best Actor, Independent Movie at the 2005 Black Reel Awards for his portrayal of Detective Sgt. Lucas in The Woodsman. For his portrayal of Vivien Thomas in HBO's film Something the Lord Made, he was nominated for an Emmy Award and a Golden Globe, and won the . He also played a bandleader in HBO's Lackawanna Blues. He then landed the role of Ford Prefect in the 2005 movie adaptation of The Hitchhiker's Guide to the Galaxy.

In 2006, Mos Def appeared in Dave Chappelle's Block Party alongside fellow Black Star companion Talib Kweli, while also contributing to the film's soundtrack. Also, Mos Def was featured as the black banjo player in the infamous "Pixie Sketch" from Chappelle's Show: The Lost Episodes. He was later edited out of it on the DVD. Additionally, Mos Def starred in the action film 16 Blocks alongside Bruce Willis and David Morse. He has a recurring guest role on Boondocks, starring as "Gangstalicious". He is also set to be in Toussaint, a film about Haitian revolutionary Toussaint Louverture, opposite Don Cheadle and Wesley Snipes. He made a cameo appearance — playing himself — in the movie .

In 2008, Mos Def starred in the Michel Gondry movie Be Kind Rewind, playing a video rental store employee whose best friend is played by co-star Jack Black. He also portrayed Chuck Berry in the film Cadillac Records, for which he was nominated for a Black Reel Award and an .

In 2009, he appeared in the House episode entitled "Locked In" as a patient suffering from locked-in syndrome. His performance was well-received, with E! saying that Mos Def "delivers an Emmy-worthy performance." He was also in the 2009 film Next Day Air.

He also made an appearance on the children's show Yo Gabba Gabba! as Super Mr. Superhero.

Most recently, he appears in A Free Man of Color, John Guare's play at the Vivian Beaumont Theatre.

Social and political views

By the early 1990s, a brand of socially conscious hip hop that had been pioneered and popularized by Public Enemy, KRS-One, and De La Soul, among others, had been eclipsed in popularity by gangsta rap. Mos Def, as well as Talib Kweli, The Roots, Common, and others, helped socially aware rap music experience something of a comeback in the late 1990s and early 2000s. Mos Def's collaboration with Talib Kweli, Black Star, was released during the aftermath of the deaths of 2Pac and The Notorious B.I.G. and focused on violence and negativity in hip-hop, in collaboration with other acts that did the same. His music has also made reference to his Islamic faith, and his contention that black artists receive little credit for their role in the birth of rock and roll.

On Mos Def's 2004 album The New Danger, he took his penchant for experimentation to a new level. Most of the songs were more hip-hop flavored stylings of blues and rock, with fewer raps thrown in. This threw off fans who were expecting another full-blown rap album. The New Danger also featured the controversial song, "The Rape Over," a parody of Jay-Z's The Blueprint hit "Takeover". His label made him take the song off releases of the album, citing clearance issues with Jay-Z and The Doors, a band which the song samples. The song has garnered controversy over its veiled reference to Israeli-American record executive Lyor Cohen (the "tall Israeli" who then was head of The Island Def Jam Music Group).

Mos Def and Immortal Technique released a similarly controversial song, "Bin Laden" in 2004, which blamed the Reagan Doctrine and President George W. Bush for the September 11, 2001 attacks. A club remix song, featuring Eminem, was released the following year, in 2005.

In September 2005, Mos Def released the single "Katrina Clap," renamed "Dollar Day" for True Magic, (utilizing the instrumental for New Orleans rappers UTP's "Nolia Clap"). The song is a criticism of the Bush administration's response to Hurricane Katrina. On the night of the MTV Video Music Awards, Mos Def pulled up in front of Radio City Music Hall on a flatbed truck and began performing the "Katrina Clap" single in front of a crowd that quickly gathered around him. He was subsequently arrested despite having a public performance permit in his possession.

On September 7, 2007, Mos Def appeared on Real Time with Bill Maher where he spoke about racism against African Americans, citing the government response to Hurricane Katrina, the Jena Six and the murder conviction of Mumia Abu-Jamal. Mos Def also claimed that Al-Qaeda was not responsible for 9/11, and that Al-Qaeda is not responsible for as much terrorism as they are portrayed to be. He appeared on Real Time again on March 27, 2009, and spoke about the risk of nuclear weapons. Mos Def said that he did not listen to any of Osama Bin Laden's messages because he did not trust the translations.

Personal life

In 1996, Def married Maria Yepes. After having two daughters, Chandani and Jauhara Smith, he filed for divorce in 2005. The divorce became final in 2006. Two years later, Def's divorce lawyers Blank Rome sued Def for more than $60,000 in unpaid legal bills.

In October, 2006 Mos Def appeared on 4Real, a documentary television series. Appearing in the episode "City of God," he and the 4Real crew traveled to City of God, a slum in Rio de Janeiro, Brazil, to meet Brazilian MC MV Bill and discover the crime and social problems of the community.

He has recently taken up skateboarding and said he's looking to host a skateboarding event in the United Arab Emirates.

Nominations

Black Movie Awards

* 2006 Source Awards

Black Reel Awards

* 2008, Best Supporting Actor: Cadillac Records

* 2003, Best Actor- Independent: Civil Brand

* 2004, Best Supporting Actor: The Italian Job

* 2005, Best Actor TV Movie/Mini-Series: Something the Lord Made

* 2005, Best Indie Actor: The Woodsman (won)

Emmy Award

* 2004, Best Actor in a Television Movie or Mini-Series: Something the Lord Made

Golden Globes

* 2005, Best Actor in a Television Movie or Mini-Series: Something the Lord Made

Grammy Awards

* 2005, Best Urban/Alternative Performance: "Sex, Love & Money"

* 2006, Best Urban/Alternative Performance: "Ghetto Rock"

* 2007, Best Rap Solo Performance: "Undeniable"

* 2010, Best Rap Solo Performance: "Casa Bey"

* 2010, Best Rap Album: "The Ecstatic"

* 2011, Best Short Form Music Video: "Stylo" (with Bobby Womack and Gorillaz)

* 2009, Outstanding Supporting Actor in a Motion Picture: Cadillac Records

* 2003, Outstanding Supporting Actor in a Motion Picture: Brown Sugar

* 2005, Outstanding Actor in a Television Movie or Mini-Series: Something the Lord Made

Discography

1994: Manifest Destiny (with DCQ and Ces as Urban Thermo Dynamics)

1998: Mos Def & Talib Kweli Are Black Star (with Talib Kweli as Black Star)

1999: Black on Both Sides

2004: The New Danger

2006: True Magic

2009: The Ecstatic

Filmography

Also appeared on "Yo Gabba Gabba", under the screen name "Super Mr.Super Hero"

References

External links

Mos Def / Dante Smith discographies at Discogs.

Mos Def at Geffen Records.

Mos Def Fan Message Board

Category:9/11 conspiracy theorists Category:African American actors Category:African American rappers Category:American vegetarians Category:African American Muslims Category:Living people Category:Rappers from New York City Category:People from Brooklyn Category:Slam poets Category:1973 births Category:Converts to Islam Category:African American converts to Islam

Name	Michael Doucet
Img alt	Michael Doucet playing the fiddle at The Dewey Balfa Cajun and Creole Heritage Week at Chicot State Park. He is wearing a red shirt.
Landscape	yes
Background	solo_singer
Born	February 14, 1951
Instrument	Fiddle
Genre	Cajun
Occupation	Musician, fiddler, singer, Cajun accordion
Label	Arhoolie Records
Associated acts	Beausoleil, Savoy Doucet Cajun Band

Michael Doucet (b. Feb 14, 1951) is a Cajun fiddler, singer and songwriter who founded the Cajun band BeauSoleil from Lafayette, Louisiana.

In 2005 Doucet was one of 12 recipients of the National Heritage Fellowship by the National Endowment for the Arts. The NEA award, which recognizes artistic excellence, cultural authenticity and an artist's contributions, is the highest honor in U.S. folk and traditional arts. Doucet received Grammy Awards in both 1998 and 2009 for work with Beausoleil.

He was named a 2007 USA Collins Family Foundation Fellow and awarded a $50,000 grant by United States Artists, a public charity that supports and promotes the work of American artists. In 2008, he released From Now On, his solo cajun fiddle album, on Smithsonian Folkways.

He learned the banjo by age six, the guitar by his eighth year, and was researching Cajun music as a college student. In his youth he performed as part of a duo at a music festival in France. At the festival he was exposed to centuries-old French music, which he identified with the Cajun music of French Louisiana.

In 1975, Doucet received an NEA Folk Arts Apprenticeship Grant to study Cajun fiddle styles from masters such as Varise Conner, Hector Duhon, Canray Fontenot, Lionel LeLeux, and Dennis McGee.

Doucet's individual style incorporated elements of Western swing, 1930’s string band and Creole music, into traditional Cajun music. Doucet learned late 19th century and 20th century tunes passed on by McGee. He revived many the old Cajun songs that had not been recorded and whose musicians of that era were gone.

In 1977, Doucet started educating public school children about Cajun music. Later as an adjunct professor at the University of Louisiana at Lafayette, he designed and taught the first university course on Cajun music.

Doucet was originally a member of the mid-1970s Cajun/rock band called Coteau. During that same time some of his friends and he formed his current band, BeauSoleil, which was purer to Cajun musical tradition. He also performs with the bands Fiddlers 4 and The Savoy-Doucet Cajun Band (with Marc Savoy).

See also

History of Cajun Music

List of Notable People Related to Cajun Music

References

External links

Louisiana Folklife Center - Michael Doucet bio

http://www.nsula.edu/folklife/database/biography/doucetM.html

Collins Family Foundation 2007 Fellows

United States Artists Arts Advocacy Organization.

Category:National Heritage Fellowship winners Category:1951 births Category:Living people Category:People from Lafayette, Louisiana Category:American fiddlers Category:American male singers Category:American folk singers Category:American songwriters Category:University of Louisiana at Lafayette faculty Category:Cajun people Category:Cajun fiddlers Category:Cajun musicians

Name	John Hurt
Caption	Hurt at the 2009 premiere of An Englishman in New York
Birth name	John Vincent Hurt
Birth date	January 22, 1940
Birth place	Chesterfield, Derbyshire, England, United Kingdom
Occupation	Actor
Years active	1961–present
Spouse	Annette Robertson (1962–1964; divorced) Donna Peacock (1984–1990; divorced) Jo Dalton (1990–1996; divorced; 2 children) Ann Rees Meyers (2005–present)

John Vincent Hurt, CBE (born 22 January 1940) is an English actor, known for his leading roles as John Merrick in The Elephant Man, Timothy Evans in 10 Rillington Place; Winston Smith in Nineteen Eighty-Four, Mr. Braddock in The Hit, Stephen Ward in Scandal and Quentin Crisp in The Naked Civil Servant and An Englishman in New York. Recognizable for his distinctive rich voice, he has also enjoyed a successful voice acting career, starring in films such as Watership Down, The Lord of the Rings and Dogville, as well as BBC television series Merlin.

Hurt initially came to prominence for his role as Richard Rich in the 1966 film A Man for All Seasons, and has since appeared in such popular motion pictures as: Alien, Midnight Express, Rob Roy, V for Vendetta, Indiana Jones and the Kingdom of the Crystal Skull, the Harry Potter film series and the Hellboy film series. Hurt is one of England's best-known, most prolific and sought-after actors, and has had a versatile film career spanning six decades. He is also known for his many Shakespearean roles. Hurt has received multiple awards and honours throughout his career including three BAFTA Awards and a Golden Globe Award, with six and two nominations respectively, as well as two Academy Award nominations. His character's final scene in Alien is consistently named as one of the most memorable in cinematic history.

Early life

John Hurt was born in Chesterfield, Derbyshire, when his father was vicar of Shirebrook. He is the son of Phyllis (née Massey), an amateur actress and engineer, and Arnold Herbert Hurt, a mathematician who became an Anglican clergyman. He also has an adopted sister, Monica. His father was a vicar at St John in Sunderland, but in 1937 he moved his family to Derbyshire, where he became Perpetual Curate of Holy Trinity church. When John was five, his father became the vicar of St Stephens Church at Woodville in South Derbyshire and remained there until 1952. In 1945 the Reverend Mr. Hurt founded 1st Woodville (St Stephens) Scout Group which is still going strong today.

Hurt had a strict upbringing: the family lived opposite a cinema but he was not allowed to visit. He was also not permitted to mix with local children because in his parents' view they were "too common".

Education

At the age of eight he was sent to the Anglo-Catholic St Michael's Preparatory School in Otford, Kent, where he eventually developed his passion for acting. He decided he wanted to become an actor, and his first role was that of a girl in a school production The Bluebird (L'Oiseau Bleu) by Maurice Maeterlinck. While he was a pupil at the school he was abused by Donald Cormack, then Senior Master of the school and later Head Teacher (until his retirement in 1981). Hurt described how Cormack would remove his two false front teeth and put his tongue in the boys' mouths, and how he would rub their faces with his stubble. Hurt said that the experience affected him "hugely".

His father moved to St Aidan Church in Cleethorpes, Lincolnshire, and Hurt (then aged 12) became a boarder at Christ's Hospital School (then a grammar school) in Lincoln, because he had failed the entrance exam for admission to his brother's school. Hurt often accompanied his mother to Cleethorpes Repertory Theatre, but his parents disliked his acting ambitions and encouraged him to become an art teacher instead. His headmaster, Mr. Franklin, laughed when Hurt told him he wanted to be an actor, saying "you wouldn't stand a chance in the profession." He is also the voice of The Great Dragon, in the BBC television series, Merlin.

In 2008, 33 years after The Naked Civil Servant, Hurt reprised the role of Quentin Crisp in An Englishman in New York. This film depicts Crisp's later years in New York.

In June 2009, Hurt played the on-screen Big Brother for Paper Zoo Theatre Company's production of Orwell's Nineteen-Eighty Four. The theatre production premiered at the National Media Museum, in Bradford and will be touring during early 2010. Hurt said, "I think Paper Zoo thought it would be quite ironic to have the person who played Winston having risen in the party. From the Chestnut Tree Cafe, he's managed to get his wits together again, now understanding that 2 and 2 make 5, and becomes Big Brother. So it tickled my fancy, and of course I looked up Paper Zoo, and they seem to me to be the sort of company that’s essential in the country as we know it, and doing a lot of really good stuff."

Personal life

In 1962 Arnould Hurt left his parish in Cleethorpes to become headmaster of St Michaels College in the Central American country of Belize. In that same year Hurt first performed on the London stage, and also married actress Annette Robertson: the marriage ended in 1964. In 1967 he began his longest relationship, with the French model Marie-Lise Volpeliere-Pierrot, the sister of fashion photographer Jean-Claude Volpeliere-Pierrot, whose son Ben would later become a teen idol singing in the pop band Curiosity Killed the Cat.

Hurt's relationship with Marie-Lise was intense and went beyond a casual affair. The couple had planned to get married after fifteen years, when things evolved tragically on 26 January 1983: Hurt and Volpeliere-Pierrot went horse riding early in the morning near their house in Ascott-under-Wychwood, Oxfordshire, when suddenly Volpeliere-Pierrot lost her stirrup and was thrown off the horse, landing on her head in the middle of the lane. She went into a coma and died later that day.

Hurt got married for the second time on 6 September 1984 to Texan actress and old friend Donna Peacock at a local Registrar's office. The couple moved to Kenya and tried unsuccessfully to have children through IVF. They divorced in early January 1990. Soon afterwards (on 24 January 1990) Hurt married American production assistant Jo Dalton whom he had met while filming Scandal. With her he had two sons: Sasha John Vincent Hurt (born 6 February 1990) and Nick Hurt (born 5 February 1993), who are currently residing in Waterford, Ireland. His son Nick has gone to acting school in England and wishes to follow in his father's footsteps. This marriage ended in 1996. At one point Hurt was involved with Sarah Owen, twenty years his junior, and with whom he lived in County Wicklow, Ireland. In March 2005, Hurt married his fourth wife, advertising film producer Anwen Rees Meyers.

Hurt's mother died in 1975, and his father died in 1999 at the age of 95.

In January 2002, John Hurt received an honorary degree from the University of Derby and in January 2006 received the honorary degree of Doctor of Letters from the University of Hull.

In 2007, Hurt took part in the BBC genealogical television series Who Do You Think You Are?, which investigated part of his family history. Prior to participating in the programme, Hurt had harboured a love of Ireland and was enamoured of a 'deeply beguiling' family legend that suggested his great-grandmother had been the illegitimate daughter of Irish nobleman the Marquess of Sligo. The genealogical evidence uncovered seemed to contradict the family legend, rendering the 'suggestion' doubtful. Coincidentally, the search revealed that his great-grandmother had previously lived in Grimsby at a location within a mile of the art college at which Hurt had once enrolled. He is distantly related to author Enid Blyton on his father's side.

Since 2006, John Hurt is the patron of Project Harar, a UK-based charity working in Ethiopia for children with facial disfigurements.

Since 2009, John Hurt is the patron of QUAD (a centre for art and film in Derby). On 25 September 2009 Hurt visited QUAD and took part in a Q&A; directly preceding a screening of the film 'The Night Train' as part of the celebrations celebrating the 1st Birthday at QUAD (opened on 26 September 2008). The day after, 26 September, John Hurt was guest of honour at Derby County vs Bristol City and went on the pitch at Pride Park at half time to oversee a prize draw.

Filmography

Films

Television

Video games

(1996) - Joe the Bartender

Tender Loving Care (1998) - Dr. Turner

Other projects, contributions

When Love Speaks (2002, EMI Classics) - "Sonnet 145"("Those lips that Love's own hand did make")

Hurt performs in drag for the promotional video for Attitude by the music group Suede.

Hurt is seen as the 'Brian Epstein' esque mogul in Paul McCartney's 1982 video for the song 'Take It Away'. McCartney explains in the video commentary section of The McCartney Years DVD (for the song 'Take it Away') that Hurt himself was a friend of The Beatles and Brian Epstein, and that The Beatles had watched Hurt act in the mid-60's and thought him a fine actor.

Hurt is the narrator on the album The Seduction of Claude Debussy by the band Art of Noise (1999).

John Hurt is the narrator of the 4 part series released in 1999 on The Universe for Channel 4 International, available on DVD.

References

External links

Actor's Compendium

Biography on BBC site

Receiving his honorary degree from Hull University in January 2006

March 2006 Observer article

Project Harar

John Hurt lights a candle for Rwanda

John Hurt narrates Human Planet 2011

Category:1940 births Category:Living people Category:BAFTA winners (people) Category:Best Actor BAFTA Award winners Category:BAFTA Award for Best Supporting Actor Category:Best Supporting Actor Golden Globe (film) winners Category:Commanders of the Order of the British Empire Category:English film actors Category:English stage actors Category:English Anglicans Category:English television actors Category:English voice actors Category:People from Shirebrook Category:Alumni of the Central Saint Martins College of Art and Design Category:Alumni of the Royal Academy of Dramatic Art Category:Child sexual abuse in religious groups Category:School sex abuse scandals Category:English expatriates in Ireland

for the New Zealand racehorse trainer and driver see: Charlie Hunter

Name	Charlie Hunter
Background	non_vocal_instrumentalist
Birth name	Charlie Hunter
Genre	Jazz, post-bop, jazz fusion, acid jazz, jazz-funk
Origin	Berkeley, California, U.S.
Instrument	Guitar
Occupation	Guitarist
Label	Blue Note Records
Associated acts	The Disposable Heroes of HiphoprisyThe Coalition of the WillingGarage A Trois
Notable instruments	8-string guitar/bass hybrid, custom built by Ralph Novak

Charlie Hunter (born May 23, 1967) is an American guitarist, composer and bandleader.

First coming to prominence in the early 1990s, Hunter has recorded 17 albums. Hunter plays custom-made seven and eight-string guitars, on which he simultaneously plays basslines, rhythm guitar, and solos. Critic Sean Westergaard describes Hunter's guitar technique as "mind-boggling ... he's an agile improviser with an ear for great tone, and always has excellent players alongside him in order to make great music, not to show off."

Biography

Hunter was born in Rhode Island. When he was four his mom packed him and his younger sister in an old yellow school bus and headed west. After several years living on a commune in Mendocino County they settled in Berkeley, California. Hunter graduated from Berkeley High School and took lessons from famed guitar teacher Joe Satriani. At eighteen he moved to Paris. Returning to the Bay area, Hunter played a seven-string guitar and organ in Michael Franti's political rap group, The Disposable Heroes of Hiphoprisy. In 1992, they were one of the opening acts for U2's Zoo TV Tour.

Since the debut of his self-titled Charlie Hunter Trio (which included Dave Ellis on sax and Jay Lane on drums) in 1993, Charlie Hunter has recorded seventeen albums. He co-founded Garage A Trois, a jazz fusion band with Stanton Moore and Skerik. He has collaborated with Bobby Previte for an ongoing project entitled "Groundtruther." He also recorded and toured for Bobby Previte's The Coalition of the Willing in 2006. He appears on acclaimed jazz bassist Christian McBride's Live At Tonic. On both The Coalition of the Willing and Live at Tonic he plays 6-string guitars. His earliest known released recording without unusual guitars is as a guest bassist for the band Sweet Potato from California's East Bay. The song "Crankshaft" can be found on the Ubiquity Records compilation Mo Cookin from 1994 and the song "Monkey Wrench" can be found on the Ubiquity Records compilation Still Cookin from 1995. He also played guitar on the track "Me and Chuck" from the Les Claypool and the Holy Mackerel album, Highball with the Devil, released in 1996.

Charlie played in the band T.J. Kirk active 1990s that merged the music of Thelonious Monk, James Brown, and Rahsaan Roland Kirk. T.J Kirk is: Will Bernard - Guitar, John Schott - Guitar, Charlie Hunter - 8-string guitar and Scott Amendola - Drums. Three recordings of the time are called: T.J. Kirk August 8, 1995, If Four Was One September 24, 1996 and Talking Only Makes it Worse released in 2005. Hunter contributed to three songs for D'Angelo's Voodoo (2000), including "The Root".

In the summer of 2007, Charlie toured with a trio that included New York keyboardist Erik Deutsch and New York/New Orleans drummer Simon Lott. This trio recorded the July, 2007 Fantasy release Mistico. In 2008, Hunter recorded his first self-release, Baboon Strength. Featured on the record are Erik Deutch on keys and Tony Mason on drums. Hunter will return to the studio in Fall of 2009 to record with drummer Eric Kalb.

In 2008, eminent clarinetist and composer Ben Goldberg put together a project entitled "Go Home" with Charlie on guitar(s), Ron Miles (trumpet) and Scott Amendola (drums). The alternately funky, beautiful, spacious and deep compositions showcase all the musicians. The group will be performed at the Jazz Standard in New York from October 29 to November 1, 2009 with Curtis Fowlkes on trombone, replacing Miles on trumpet.

Hunter was also an inaugural member of the Independent Music Awards' judging panel to support independent artists.

Charlie Hunter is represented by Tree Lawn Artists, Inc.

Equipment

Hunter currently plays a custom-made, seven-string guitar made by Jeff Traugott. Previously, Hunter played a custom-made, eight-string guitar made by luthier Ralph Novak of Novax Guitars. He plays the lead guitar on the top five strings (tuned ADGBe) and bass guitar (tuned EAD) on the bottom three strings simultaneously. With the addition of a Hughes & Kettner Tube Rotosphere (a Leslie rotary speaker simulator), his unique style produces a sound similar to that of a Hammond organ -- an instrument he set out to imitate.

In 2006, Hunter removed the top guitar string and had the neck of his guitar reworked and now plays a modified 7-string on the formerly-8 string body. Hunter has mentioned that because of his small hands, he had to move out of position to make use of the 8th string and thus wasn't using it much. A change in Hunter's style away from the organ sound into a more blues and distortion based sound happened at the same time. After removing the 8th string, Hunter retuned all of the strings up a half step: F-A#-D# on the bass and A#-D#-G#-C on the guitar. As of 2008, he had once again retuned up a minor 3rd: G-C-F on the bass and C-F-A#-D on the guitar.

Discography

1993 - Charlie Hunter Trio - Prawn Song

1995 - Bing, Bing, Bing! - Blue Note

1996 - Ready, Set...Shango! - Blue Note

1997 - Natty Dread - Blue Note

1998 - Return of the Candyman - Blue Note

1998 - All Kooked Out! (Stanton Moore) - Fog City

1999 - Duo - Blue Note

1999 - Mysteryfunk (Garage a Trois) - Fog City

2000 - Voodoo (D'Angelo) – Cheeba Sound

2000 - Charlie Hunter - Blue Note

2000 - Solo Eight-String Guitar - Contra Punto

2001 - Songs from the Analog Playground - Blue Note

2003 - Emphasizer (Garage a Trois) - Tone-Cool

2003 - Right Now Move - Ropeadope

2003 - Come In Red Dog, This is Tango Leader (with Bobby Previte) - Ropeadope

2004 - Friends Seen and Unseen - Ropeadope

2004 - Latitude (Groundtruther) - Thirsty Ear

2005 - Steady Groovin' - Blue Note

2005 - Longitude (Groundtruther) - Thirsty Ear

2005 - Outre Mer (Garage a Trois) - Telarc

2005 - Earth Tones (with Chinna Smith and Ernest Ranglin) - Green Street

2006 - The Coalition of the Willing (Bobby Previte) - Ropeadope

2006 - Live at Tonic (Christian McBride) - Ropeadope

2006 - Copperopolis - Ropeadope

2007 - Mistico - Fantasy

2007 - Altitude (Groundtruther) - Thirsty Ear

2007 - Continuum(In Repair) - John Mayer

2008 - Baboon Strength - reapandsow

2008 - Fade - (Tim Collins featuring Charlie Hunter & Simon Lott) - Ropeadope

2009 - Gentlemen, I Neglected To Inform You You Will Not Be Getting Paid - Spire Artist Media / reapandsow

2010 - ''Public Domain -

Filmography

SOLOS: the jazz sessions (2004)

Late Night with Conan O'Brien (1997)

Rochester, New York Jazz Festival (2009)

References

External links

CharlieHunter.com

Charlie Hunter collection on the Internet Archive's live music archive

Category:American jazz guitarists Category:Living people Category:1967 births Category:Ropeadope Records artists Category:Blue Note Records artists

Name	Cedric Watson
Background	solo_singer
Birth name	Cedric Watson
Origin	San Felipe, Texas
Instrument	fiddle, Cajun accordion, vocals
Genre	Cajun, Creole
Label	Valcour Records
Associated acts	Bijoux CreolePine Leaf Boys

Cedric Watson (born 1983) is a two-time Grammy award nominated artist.

Career

Born in 1983, Cedric grew up in San Felipe, Texas surrounded by the blues, old soul, country, and zydeco music. Though hip-hop was then popular amongst his peers, Cedric developed an affinity for the old-style French songs of Southwest Louisiana and the greater Houston area. He soon found himself in Lafayette, Louisiana where he became part of the musical community and began contributing to the continuity of Creole music.

He has played with some of the great names in Creole music, such as Dexter Ardoin and the Creole Ramblers and Jeffrey Broussard and the Creole Cowboys. With the Pine Leaf Boys, Cedric added a Creole and zydeco foundation to the group's roots Southwest Louisiana sound. Cedric continues to explore the roots of Louisiana’s Creole music with his own band, Bijou Creole.

He has performed in places across the United States as well as in France, Nova Scotia, Haiti, and Spain. He has said he wants "to present the Creole Nation of Louisiana to the Creole Nations in other parts of the world, to make these Creole cultures aware of the one in Louisiana, and vice versa."

Musical style

Cedric Watson plays a variety of old-school zydeco styles, original material, and Creole traditionals. The polyrhythmic and syncopated sounds of Africa and the Caribbean echo in his ensemble. He plays old La-La French music (traditional Creole music) in accordion, fiddle, and guitar with mentors Edward Poullard and James Adams in Les Amis Creole. With accordionist Corey “Lil’ Pop” Ledet, he displays the more blues and R&B; influence of Clifton Chenier, John Delafose, Canray Fontenot, and Bebe Carrier. "Cedric’s creative style and obvious joy in playing make him an engaging and exciting performer. Moving with ease between fiddle and accordion, his natural playfulness on stage makes him just plain fun to watch."

Discography

L'Esprit Creole (2010) Valcour Records—ASIN: B0030E7PZ6

Homage Au Passe (2009) with Pine Leaf Boys, Lionsgate Records—ASIN: B0023BZ64E

Cedric Watson (2008) Valcour Records—ASIN: B00151HZYW

Goin' Down to Louisiana (2007) Valcour Records—ASIN: B000GBE8EM

References

External links

Cedric Watson official website.

Les Amis Creole official website.

Pine Leaf Boys official website.

Valcour Records Cedric Watson bio

Watson, Cedric Category:Living people Category:1983 births Category:American violinists Category:American accordionists Category:Cajun musicians Category:Zydeco musicians Category:African American male singers Category:African American musicians