A monarch is the person who heads a monarchy. This is a form of government in which a state or polity is ruled or controlled by an individual who typically inherits the throne by birth and occasionally rules for life or until abdication. Monarchs may be autocrats (absolute monarchy) or ceremonial heads of state who exercise little or no power or only reserve power, with actual authority vested in a parliament or other body (constitutional monarchy).

Etymology

The word monarch is derived from the Greek μονάρχης (from μόνος, "one/singular," and ἄρχων, "leader/ruler/chief" through the Latin: monarcha (mono: "one" + arch "chief") which referred to a single, at least nominally, absolute ruler. In current usage the word monarchy generally refers to a traditional system of hereditary rule, as elective monarchies are rare in the modern period.

Characteristics

Most states have at most one monarch at any given time, although a regent may rule when the monarch is a minor, not present, or otherwise incapable of ruling. Two monarchs have ruled simultaneously in some countries, as in the ancient Greek city-state of Sparta or the joint sovereignty of spouses or relatives (e.g. William and Mary of Kingdom of England and Scotland, Peter and Ivan of Russia, Charles and Joanna of Castile, etc.).

Monarchs have various titles — king or queen, prince or princess (e.g. Sovereign Prince of Monaco), Malik or Malikah (e.g. Maliks of Middle eastern Mamlakahs). emperor or empress (e.g. Emperor of Japan, Emperor of India), Shah of Iran, archduke, duke or grand duke (e.g. Grand Duke of Luxembourg). Prince is sometimes used as a generic term to describe any monarch regardless of title, especially in older texts.

Many monarchs are distinguished by titles and styles. They often take part in certain ceremonies, such as a coronation.

Monarchy is associated with political or sociocultural in nature hereditary rule; most monarchs, both historically and in the modern day, have been born and brought up within a royal family (over a period of time called a dynasty) and trained for future duties. Different systems of succession have been used, such as proximity of blood, primogeniture, and agnatic seniority (Salic law). While traditionally most monarchs have been male, female monarchs have also ruled in history; the term queen regnant refers to a ruling monarch, as distinct from a queen consort, the wife of a reigning king.

Some monarchies are non-hereditary. In an elective monarchy, the monarch is elected but otherwise serves as any other monarch. Historical examples of elective monarchy include the Holy Roman Emperors (chosen by prince-electors but often coming from the same dynasty) and the free election of kings of the Polish–Lithuanian Commonwealth. Modern examples include the Yang di-Pertuan Agong of Malaysia and the pope of the Roman Catholic Church, who serves as Sovereign of the Vatican City State and is elected to a life term by the College of Cardinals.

Monarchies have existed throughout the world, although in recent centuries many states have abolished the monarchy and become republics. Advocacy of republics is called republicanism, while advocacy of monarchies is called monarchism. The principal advantage of hereditary monarchy is the immediate continuity of leadership, with a usually short interregnum (as illustrated in the classic phrase "The [old] King is dead. Long live the [new] King!"). However, this only applies in the case of autocratic rule. In cases where the monarch serves mostly as a ceremonial figure (e.g. most modern constitutional monarchies) real leadership does not depend on the monarch.

A form of government may in actual fact be hereditary without being considered monarchy, such as family dictatorship or political families present in some nominally democratic countries.

Classification

A particular case is the French co-prince of Andorra, a position held by the elected President of France. Nonetheless, he is still generally considered a monarch because of the traditional use of a monarchical title (even though Andorra is, strictly speaking, a diarchy.) Similarly, the Yang di-Pertuan Agong of Malaysia is considered a monarch despite only holding the office for five years at a time. On the other hand, several life-time dictators around the world have not been formally classified as monarchs, even if succeeded by their children, but that may be more to do with international political sensitivities than with semantics.

Succession

Hereditary succession within one family has been most common. The usual hereditary succession is based on some cognatic principles and on seniority, though sometimes merit has played a part. Thus, the most common hereditary system in feudal Europe was based on cognatic primogeniture where a lord was succeeded by his eldest son or, if he had no son, by either daughters or sons of daughters. The system of tanistry was semi-elective and gave weight also to merits and capability.

The Quasi-Salic succession provided firstly for male members of the family to succeed, and secondarily males descended from female lines. In most feudal fiefs, females (such as daughters and sisters) were allowed to succeed, should the male line fail, but usually the husband of the heiress became the real lord and most often also received the title, jure uxoris. Great Britain and Spain today continue this model of succession law, in the form of cognatic primogeniture. In more complex medieval cases, the sometimes conflicting principles of proximity and primogeniture battled, and outcomes were often idiosyncratic.

As the average life span among the nobility increased (thanks to lords limiting their personal participation in dangerous battles, and generally improved sustenance and living conditions among the wealthy), an eldest son was more likely to reach majority age before the death of his father, and primogeniture became increasingly favoured over proximity, tanistry, seniority and election.

Later, when lands were strictly divided among noble families and tended to remain fixed, agnatic primogeniture (practically the same as Salic Law) became more usual: the succession would go to the eldest son of the monarch, or, if the monarch had no sons, the throne would pass to the nearest male relative through the male line, to the total exclusion of females.

In some countries however, inheritance through the female line was never wholly abandoned, so that if the monarch had no sons, the throne would pass to the eldest daughter and to her posterity. (This, cognatic primogeniture, was the rule that let Elizabeth II become Queen.)

In 1980, Sweden became the first monarchy to declare equal primogeniture or full cognatic primogeniture, meaning that the eldest child of the monarch, whether female or male, ascends to the throne. Other kingdoms (the Netherlands in 1983, Norway in 1990, Belgium in 1991 and Denmark in 2009) have since followed suit.

In some monarchies, such as Saudi Arabia, succession to the throne usually first passes to the monarch's next eldest brother, and only after that to the monarch's children (agnatic seniority). In some other monarchies (e.g. Jordan), the monarch chooses who will be his successor, who need not necessarily be his eldest son.

Whatever the rules of succession, there have been many cases of a monarch being overthrown and replaced by a usurper who would then often install his own family as the ruling monarchy.

History

Monarchs in Africa

A series of Pharaohs ruled Ancient Egypt over the course of three millennia (circa 3150 BC to 31 BC) until it was conquered by the Roman Empire. In the same time period several kingdoms flourished in the nearby Nubia region, with at least one of them, that of the so-called A-Group culture, apparently influencing the customs of Egypt itself.

West Africa hosted the Kanem Empire (700 - 1376) and its successor, the Bornu principality which survives to the present day as a part of the Federation of Nigeria.

In East Africa, the Aksumite Empire and later the Ethiopian Empire (1270-1974) were ruled by a series of monarchs. Haile Selassie, the last Emperor of Ethiopia, was deposed in a communist coup.

Central and Southern Africa were largely isolated from other regions until the modern era, but they did later feature kingdoms like the Kingdom of Kongo (1400–1914).

As part of the Scramble for Africa, Europeans conquered, bought, or established African kingdoms and styled themselves as monarchs.

Currently the African nations of Morocco, Lesotho and Swaziland are sovereign monarchies under dynasties that are native to the continent. Places like St. Helena, Ceuta, Melilla and the Canary Islands are ruled by the Queen of the United Kingdom of Great Britain and Northern Ireland and the King of Spain, while so-called sub-national monarchies of varying sizes can be found all over the rest of the continent e.g. the Yoruba city-state of Akure in south-western Nigeria is something of an elective monarchy, with its reigning Oba having to be chosen by an electoral college of nobles from amongst a finite collection of royal princes and princesses of the realm. Princess Pamela Bonsu of Africa

Monarchs in Europe

Prince was a common title within the Holy Roman Empire, along with a number of higher titles listed below. Such titles were granted by the Emperor, while the titulation of rulers of sovereign states was generally left to their own discretion, most often choosing King or Queen. Such titulations could cause diplomatic problems, and especially the elevation to Emperor or Empress was seen as an offensive action. During the nineteenth and twentieth centuries most small monarchies in Europe disappeared, merging to form larger entities, and so King the most common title for male rulers and Queen has become the most common title today for female rulers.

in Europe there are twelve monarchies: seven kingdoms, one grand duchy, one papacy, and two principalities, as well as the diarchy of Andorra.

Monarchs in Asia

In China, before the abolition of the monarchy in 1912, the Emperor of China was traditionally regarded as the ruler of "All under heaven". "King" is the usual translation for the term wang 王, the sovereign before the Qin dynasty and during the Ten Kingdoms period. During the early Han dynasty, China had a number of small kingdoms, each about the size of a county and subordinate to the Empress or Emperor of China.

The Japanese monarchy is now the only monarchy to still use the title of Emperor. Between 1925–1979, Iran was ruled by an Emperor that used the title of "Shahanshah" (or "King of Kings" in Persian). Thailand and Bhutan are like the UK in that they are constitutional monarchies ruled by a King. Saudi Arabia and many other middle eastern monarchies are ruled by a Malik and parts of the United Arab Emirates, such as Dubai, are still ruled by monarchs. Oman is led by Monarch Sultan Qaboos bin Said Al Said. The Kingdom of Jordan is one of the Middle East's more modern monarchies is also ruled by a Malik. In Arab and arabized countries, Malik (absolute King) is absolute word to render a monarch and is superior to all other titles. Nepal abolished their monarchy in 2008. Sri Lanka had a complex system of monarchies from 543BC to 1815. Between 47BC-42BC Anula of Sri Lanka became the country's first ever female head of state as well as Asia's first head of state.

In Malaysia's constitutional monarchy, the Yang di-Pertuan Agong (The Supreme Lord of the Federation) is de facto rotated every five years among the nine Rulers of the Malay states of Malaysia (those nine of the thirteen states of Malaysia that have hereditary royal rulers), elected by Majlis Raja-Raja (Conference of Rulers). Under Brunei Darussalam's 1959 constitution, His Majesty Paduka Seri Baginda, Sultan Haji Hassanal Bolkiah Mu'izzaddin Waddaulah is the head of state with full executive authority, including emergency powers, since 1962. The Prime Minister of Brunei is a title held by the Sultan of Brunei. As the prime minister, the Sultan presides over the cabinet.

Monarchs in the Americas

The concept of monarchy existed in the Americas long before the arrival of European colonialists. When the Europeans arrived they referred to these tracts of land within territories of different aboriginal groups to be kingdoms, and the leaders of these groups were often referred to by the Europeans as Kings, particularly hereditary leaders. Many of the leaders were queens, but this was not understood by the Europeans, who had no knowledge of the indigenous history or languages, much less an understanding of matrilineality

Pre-colonial titles that were used included:

Cacique – Aboriginal Hispaniola and Borinquen

Tlatoani – Nahuas

Ajaw – Maya

Qhapaq Inka – Tawuantin Suyu (Inca Empire)

Morubixaba – Tupi tribes

Sha-quan – King of the world used in some America Indian tribes

The first local monarch to emerge in North America after colonization was Augustin I, who declared himself Emperor of Mexico in 1822. Mexico again had an emperor, Maximilian I from 1863 to 1867. In South America, Brazil had a Portuguese royal house ruling as emperor between 1822 and 1889, under Emperors Pedro I and Pedro II.

These American emperors were deposed due to complex issues, including pressure from the highly republican United States, which had declared itself independent of the British monarch in 1776. The British, worried about U.S. colonial expansion, invasion following the American Civil War, and the fact that the U.S. had aided the Mexican republican rebels in overthrowing Maximilian I, pushed for the union of the Canadian provinces into a country in 1867. With Confederation, Canada became a self-governing nation which was considered a kingdom in its own right, though it remained subordinate to the United Kingdom; thus, Victoria was monarch of Canada, but not sovereign of it. It was not until the passing of the Statute of Westminster that Canada was considered to be under a distinct Canadian Crown, separate to that of the British, and not until 1953 that the Canadian monarch, at the time Elizabeth II, was titled by Canadian law as Queen of Canada.

Between 1931 and 1983 nine other previous British colonies attained independence as kingdoms, all, including Canada, in a personal union relationship under a shared monarch. Therefore, though today there are legally ten American monarchs, one person occupies each distinct position.

!width="15%"	Female Title	Realm	Latin	!Examples
Emperor	Empress	Empire	Imperator (Imperatrix)	Brazil, Mexico, Sapa Inca, Japan
King			Rex (Regina)	Canada, Jamaica, Barbados, the Bahamas, Grenada, Saint Lucia, Saint Vincent and the Grenadines, Antigua and Barbuda, Belize, Saint Kitts and Nevis

Titles and precedence

The normal monarch title in Europe — i.e., the one used if the monarch has no higher title — is prince or princess, by convention. As an absolute ruler, a monarch can choose a title. However, titles are usually defined by tradition and diplomatic considerations.

Note that some of these titles have several meanings and do not necessarily designate a monarch. A Prince may be a person of royal blood (some languages uphold this distinction, see Fürst). A Duke may be a British peer. In Imperial Russia, a Grand Duke was a son or grandson of the Tsar or Tsarina. Holders of titles in these alternative meanings did not enjoy the same status as the monarchs of the same title.

Within the Holy Roman Empire, there were even more titles that were used occasionally for monarchs although they were normally noble; Margrave, Count Palatine, and Landgrave. A monarch with such a low title was still regarded as more important than a noble Duke.

The table below lists titles in order of precedence. According to protocol any holder of a title of monarchy took precedence over all holders of a lower title. Queen Victoria of the United Kingdom was arguably the most powerful monarch of her time, but at banquets was seated below all the Emperors until she took the title of Empress of India.

Male version	Female version	Realm			Adjective	Latin	!Examples
Emperor	Empress	Empire	Imperial	Imperator (Imperatrix)	Roman Empire, Byzantine Empire, Ottoman Empire, Holy Roman Empire, Russia, Imperial China, First and Second French Empire, Austria, Mexico, Brazil, German Empire (none left in Europe after 1918), Empress of India (ceased to be used after 1947 when India was granted independence from the British Empire), Japan (the only remaining enthroned emperor in the world).
King			Royal	Rex (Regina)	Common in larger sovereign states
Viceroy	Vicereine	Viceroyalty	Viceregal	Proconsul	Historical: Spanish Empire (Peru, New Spain, Rio de la Plata, New Granada), Portuguese Empire, (India, Brazil), British Empire
Grand Duke	Grand Duchess	Grand Duchy	Grand Ducal	Magnus Dux	Today: Luxembourg; historical: Lithuania, Baden, Finland, Tuscany et al.
Archduke	Archduchess	Archduchy	Archducal	Arci Dux	Historical: Unique only in Austria, Archduchy of Austria; title used for member of the Habsburg dynasty
Prince	Princess	Principality, Princely state	Princely	Princeps	Today: Monaco, Liechtenstein; Andorra (Co-Princes). Historical: Albania, Serbia
Duke	Duchess	Duchy	Ducal	Dux	There are none left currently. Though historical examples include Normandy.
Count	Countess	County	Countly, comital	Comes	Most common in the Holy Roman Empire, translated in German as Graf; historical: County of Barcelona
[[Baron	Baroness	Barony	Baronial	Baro	There are normal baronies and sovereign baronies, a sovereign barony can be compared with a principality, however, this is an historical exception; sovereign barons no longer have a sovereign barony, but only the title and style
Pope		Papacy	Papal	Papa	Monarch of the Papal States and later Sovereign of the State of Vatican City

The pope is the Bishop of Rome (a celibate office always forbidden to women), in English however, reports of female popes such as (Pope Joan) refer to them as pope and Popess is used, among other things, for the second trump in the Tarot deck; some European languages also have a feminine form of the word pope, such as the Italian papessa, the French papesse, and the German Päpstin''.

Titles by region

When a difference exists below, male titles are placed to the left and female titles are placed to the right of the slash.

!Region	!Title	!Description and use
rowspan="11"	Africa	Almami
List of rulers of Asante	Asantehene	Ashanti, title of the king of the Ashanti people in Ghana
Tribal chief	Chieftain	Leader of a people
Eze	Igbo people of Nigeria
Kabaka of Buganda	Kabaka	Baganda people of Buganda in Uganda
Malik	King of Morocco
Mwami	In both Rwanda and Burundi during the Tutsi domination of these countries, now the acknowledged ruling sections of only their fellow Tutsis
Oba (king)	Oba	Yoruba people>Yoruba and Bini peoples of Nigeria
Omukama	Bunyoro, title of some kings in Uganda
Pharaoh	Emperor of Ancient Egypt
Hausa people	Sarki	King of the Hausa people
rowspan="39"	Asia	Arasan, Kazakhstan>Arasan/Arasi
Chakrawarti Raja	India Sri Lanka
Chogyal	"Divine Ruler"; ruled Sikkim until 1975
Datu	title of leaders of small kingdoms during Ancient Philippines
Druk Gyalpo	Hereditary title given to the king of Bhutan
Emperor of China
Engku or Ungku	Malaysia, to denote particular family lineage akin to royalty
Gat	Honorary title of the leaders in the Philippines
Hang	Limbu King of East Nepal Limbuwan
Hari	Filipino title for king
Emperor of China	Huángdì	Imperial China Emperor
List of Korean monarchs	Hwangje	States that unified Korea
Maha Raja	Used in India and Sri Lanka
Maha Raju	Used in Andhra Pradesh (India)
Meurah	Title used in Aceh before Islam
Lakan	title used by the rulers of the Kingdom of Tondo (now part of the Philippines)
PadshahShahinshahShah	Emperor of Iran or Hindustan (India)
Norodom Sihamoni	Preah Karuna Preah Bat Sâmdech Preah Bâromneath	King of Cambodia Khmer language>Khmer, the title literally means "The feet of the Greatest Lord who is on the heads (of his subjects)" (This royal title does not refer directly to the king himself but to his feet, according to traditions).
Patabendige	Patabenda	Sub- king Sri lanka
Bhumibol Adulyadej	Phrabat Somdej Phrachaoyuhua	King of Thailand (Siam), the title literally means "The feet of the Greatest Lord who is on the heads (of his subjects)" (This royal title does not refer directly to the king himself but to his feet, according to traditions.)
Qaghan	Central Asian Tribes
Racha	Thailand same meaning as Raja
Raja	Malaysia, Raja denotes royalty in Perak and certain Selangor royal family lineages, is roughly equivalent to Prince or Princess.
Raja	Nepal King
Raja	pre-colonial Philippines
Rani (disambiguation)	Rani	Nepali Queen
Rao or Maharao	Used in Indian states
Rawal or Maharawal	Used in northern and western India, Yaduvanshis.
Susuhunan or Sunan	The Indonesian princely state of Surakarta.
Saopha	Shan people
[[Sayyid	Honorific title given throughout the Islamic regions. Title given to males accepted as descendants of the Islamic prophet Muhammad. Syed/Sharifah in Perlis if suffixed by the royal clan name, is roughly equivalent to Prince or Princess.
Shogun	Japanese military dictator, always a Samurai
Sultan	Aceh, Brunei Darussalam, Java, Oman, Malaysia, Sultan is the title of seven (Johor, Kedah, Kelantan, Pahang, Perak, Selangor, and Terengganu) of the nine rulers of the Malay states.
Sumeramikoto,Okimi	Japan, king
Tengku	Malaysia, Tengku (also spelled Tunku in Johor), Negeri Sembilan and Kedah is roughly equivalent to Prince or Princess
Emperor of Japan	Tennō or Mikado	Japan
Veyndhan, ko/Arasi	Tamil Nadu (India)
Chinese nobility#Wang (King) and Huangdi (Emperor)	Wang	Chinese language>Chinese term wang 王.
List of Korean monarchs	Wang	The king of Korea that control over all of Korea. It is called 'Im-Geum-nym' or 'Im-Geum'
Yang di-Pertuan Agong	Monarch of Malaysia who is elected every five years by the reigning kings of the Malaysian constituent states, all of whom also serve as the only electoral candidates in each of the elections
rowspan="23"	Europe
Autocrator	Greek term for the Byzantine Emperor
Ban (title)	Ban	Medieval Romania (Wallachia, Oltenia), Medieval Bosnia
Basileus	Greek King
Despot (court title)	Despot	Medieval Romania, Serbia (originating from Byzantium)
Domn	Medieval Romania (Moldova, Wallachia)
Fejedelem	Ancient/Medieval Hungarian
Germanic king
Giray (disambiguation)	Giray	Crimean King
Imperator	The Ruler of Imperial Russia
Jupan	Romania
Kung	Sweden
Kaiser	Imperial Germany
Knyaz	Kievan Rus', Serbia, Bulgaria, Grand Duchy of Lithuania. Generally translated as "prince" or "duke".
Kralj	Bosnia, Croatia, Serbia
Kunigaikshtis (Kunigaikštis)	duke as in Grand Duchy of Lithuania. In official Old Belarusian language documentation the title has been Knyaz () or grand duke, Vialiki kniaz ()
Mbret	Albanian King
Mepe/Dedopali	Georgian King, Queen
Rí	Gaelic king. Also Ruiri (regional overking), Rí ruirech (provincial king of overkings), and Ard Rí (pre-eminent Rí ruirech)
Tsar/Tsaritsa	Bulgaria, pre-imperial Russia, Serbia
Vezér	Ancient Hungarian
Voivode, Voievod	Romanians>Romanian Title
Župan	Serbia, Croatia
rowspan="7"	Middle-East
Shah	Persian/Iranian and Afghanistan King
Shahenshah	Persian/Iranian "King of Kings" or Emperor
Sheikh	Arabic leader, King or Prince (Bahrain, Kuwait, Qatar, UAE)
Malik	Arabic King, (Saudi Arabia, Bahrain, Jordan)
Emir	Arabic Prince, (Kuwait, Qatar, UAE)
Sultan/Sultana (title)	Sultana	Arabic King (Oman and Ottoman Empire)
rowspan="5"	Oceania
Chieftain	Leader of a tribe or clan.
Houeiki, fa'amatai	matai, alii, tūlafale, tavana, ariki, Patu-iki	Usually translated as "chief" in various Polynesian countries.
Mo'i	Normally translated as King, a title used by Hawaiian monarchs since unification in 1810. The last person to hold that title was Queen Lili'uokalani.
Tui or Tui	Kings in Oceania: Tonga, Wallis and Futuna, Nauru
rowspan="2"	South America	Imperador
Emperor/King	Emperor King of Holy Roman Columbian Empire.

Current monarchs

Use of titles by non-sovereigns

It is not uncommon that people who are not generally seen as monarchs nevertheless use monarchical titles. There are four cases of this:

Claiming an existing title, challenging the current holder. This has been very common historically. For centuries, the British monarch used, among his other titles, the title King of France, despite the fact that he had had no authority over French territory since the fifteenth century. Such as any one of the numerous antipopes who have claimed the Holy See.

Retaining the title of an extinct monarchy. This can be coupled with a claim that the monarchy was in fact never, or should never have been, extinct. An example of the first case is the Prince of Seborga. Examples of the second case are several deposed monarchs or otherwise pretenders to thrones of abolished monarchies, e.g., Leka, Crown Prince of Albania who is styled by some as the "King of The Albanians." Retaining the title of an extinct monarchy can, however, be totally free of claims of sovereignty, for example it was customary of numerous European Monarchies to include "King of Jerusalem" in their full titles. When it comes to deposed monarchs, it is customary to continue the usage of their monarchical title (e.g., Constantine II, King of the Hellenes) as a courtesy title, not a constitutional office, for the duration of their lifetime. However the title then dies with them and cannot be used by anyone else unless the crown is restored constitutionally. Monarchs who have freely abdicated lose their right to use their former title. However where a monarch abdicated under duress (e.g., Michael I of Romania), it is customary to see the abdication as invalid and to treat them as deposed monarchs entitled to use their monarchical style for their lifetime.

Inventing a new title. This is common by founders of micronations, and also may or may not come with a claim of sovereignty. When it does, it is disregarded by state leaders. A notable example is Paddy Roy Bates, styling himself the "Prince of Sealand," but not recognized as such by any national government, thus failing at least the constitutive condition for statehood (see Sealand for a fuller discussion of his claims). Another known example is that of Norton I, who invented the title "Emperor of the United States of America" and later declared himself "Protector of Mexico."

See also

List of monarchs by country

List of living former sovereign monarchs

Archontology

References

External links

A Glossary of European Noble, Princely, Royal and Imperial Titles

Regnal Chronologies King lists worldwide

Archontology

African Kingdoms Imperial Throne Leadership and Enthronements

Imperial House Foundation – Africa/USA/Europe – interview

*Monarch * Category:Positions of authority Category:Titles Category:Greek loanwords

ar:عاهل an:Monarca az:Monarx zh-min-nan:Kun-chú be-x-old:Кароль bs:Monarh (naslov) bg:Монарх ca:Monarca cs:Panovník da:Monark de:Herrschertitel et:Monarh es:Monarca fa:شاه (واژه) fr:Monarque gl:Monarca ko:군주 io:Monarko id:Penguasa monarki is:Konungur it:Monarca he:מונרך ka:მეფე lt:Monarchas nl:Monarch (staatshoofd) ja:君主 no:Monark pl:Monarcha pt:Monarca ru:Монарх simple:Monarch sk:Panovník sl:Kralj sh:Monarh fi:Monarkki sv:Monark th:พระมหากษัตริย์ tr:Hükümdar uk:Монарх vec:Monarca zh:君主

name	Yul Brynner
birth name	Yuliy Borisovich Bryner
birth date	July 11, 1920
birth place	Vladivostok, Primorye, Russia
death date	October 10, 1985
death place	New York City, New York, U.S.
occupation	Actor
years active	1941–85
spouse	(divorced) (divorced) (divorced) (his death)}}

Yul Brynner (, Yuli Borisovich Bryner; July 11, 1920 October 10, 1985) was a Russian-American actor of stage and film. He was best known for his portrayal of Mongkut, king of Siam, in the Rodgers and Hammerstein musical The King and I, for which he won an Academy Award for Best Actor for the film version; he also played the role more than 4,500 times on stage. He is also remembered as Rameses II in the 1956 Cecil B. DeMille film The Ten Commandments, General Bounine in Anastasia and Chris Adams in The Magnificent Seven. Brynner was noted for his distinctive voice and for his shaven head, which he maintained as a personal trademark long after adopting it for his initial role in The King and I. He was also a photographer and the author of two books.

Early life

Yul Brynner was born Yuli Borisovich Bryner in 1920. He exaggerated his background and early life for the press, claiming that he was born Taidje Khan of part-Mongol-Tatar parentage, on the Russian island of Sakhalin. In reality, he was born at home in a four-story residence at 15 Aleutskaya Street, Vladivostok, in the Russian Far East (present-day Primorsky Krai, Russia). He also occasionally referred to himself as Julius Briner, Jules Bryner, or Youl Bryner. A biography written by his son Rock Brynner in 1989 clarified these issues.

His father, Boris Julievich Bryner, was a mining engineer whose father, Jules Bryner, was Swiss and whose mother, Natalya Iosifovna Kurkutova, was a native of Irkutsk and was partly of Buryat Mongol ancestry.

His mother, Marousia Dimitrievna (née Blagovidova), came from the intelligentsia and studied to be an actress and singer; she was the granddaughter of a doctor who had converted from Judaism to the Russian Orthodox Church.

He was also a Romani on his mother's side, and in 1977, he was named Honorary President of the International Romani Union, an office that he kept until his death. After Boris Bryner abandoned his family, his mother took Yul and his sister, Vera Bryner, to Harbin, China, where they attended a school run by the YMCA. In 1934 she took them to Paris. By 1940, Brynner had returned to China and he emigrated from Dairen aboard the S.S. President Cleveland, arriving in the U.S. October 25, 1940. During World War II, Brynner worked as a French-speaking radio announcer and commentator for the U.S. Office of War Information, broadcasting propaganda to occupied France.

Career

Yul Brynner began acting and modeling in his twenties, and early in his career he was photographed nude by George Platt Lynes. After his radio work during World War II, Brynner moved into the nascent television industry, directing and acting in live productions in New York. In 1949 Brynner made his film debut in Port of New York, his only film with his natural head of hair.

His best-known role remains that of King Mongkut of Siam in the Broadway production of Rodgers and Hammerstein's musical The King and I, which he played 4,525 times on stage over the span of his career. He appeared in the original production and later touring productions, as well as a 1977 Broadway revival, London Production in 1979 and another Broadway revival in 1985. He also appeared in the film version for which he won an Academy Award as Best Actor, and in a short-lived TV version (Anna and the King) on CBS in 1972. Brynner is one of only nine people who have won both a Tony Award and an Academy Award for the same role. His connection to the story and the role of King Mongkut is so deep, he was mentioned in the song "One Night in Bangkok" from the 1984 musical Chess, whose second act is set in Bangkok.

In 1951, Brynner shaved his head for his role in The King and I. Following the huge success of the Broadway production and subsequent film, Brynner continued to shave his head for the rest of his life, though he would sometimes wear a wig for certain roles. Brynner's shaved head was very unusual at the time, and his striking appearance helped to give him an iconic appeal. Some fans shaved off their hair to emulate him, and a shaved head is often referred to as the "Yul Brynner look".

Brynner made an immediate impact upon launching his film career in 1956, appearing not only in The King and I that year, but also in major roles in The Ten Commandments with Charlton Heston and Anastasia with Ingrid Bergman. Brynner, at 5'10", was reportedly concerned about being overshadowed by Heston's height and physical presence in The Ten Commandments and prepared with an intensive weight-lifting program.

He later starred in such films as the Biblical epic Solomon and Sheba (1959), The Magnificent Seven (1960), Taras Bulba (1962), and Kings of the Sun (1963). He co-starred with Marlon Brando in Morituri (1965), Katharine Hepburn in The Madwoman of Chaillot (1969) and William Shatner in a film version of The Brothers Karamazov (1958). He played the titular role of The Ultimate Warrior (1975) and starred with Barbara Bouchet in Death Rage (1976). Among his final feature film appearances were in Michael Crichton's Westworld (1973) and its sequel Futureworld (1976). Brynner also appeared in drag (as a torch singer), in an unbilled role in the Peter Sellers comedy The Magic Christian (1969).

Photographer, author, and musician

In addition to his work as a performer, Brynner was an active photographer, and wrote two books. His daughter Victoria put together Yul Brynner: Photographer (ISBN 0-8109-3144-3) a collection of his photographs of family, friends, and fellow actors, as well as those he took while serving as a UN special consultant on refugees. Brynner wrote Bring Forth the Children: A Journey to the Forgotten People of Europe and the Middle East (1960), with photographs by himself and Magnum photographer Inge Morath, and also The Yul Brynner Cookbook: Food Fit for the King and You (1983 ISBN 0-8128-2882-8).

A student of music from childhood, Brynner was an accomplished guitarist and singer. In his early period in Europe he often played and sang gypsy songs in Parisian nightclubs with Aliosha Dimitrievitch. He sang some of those same songs in the film The Brothers Karamazov. In 1967, he and Dimitrievitch released a record album, The Gypsy and I: Yul Brynner Sings Gypsy Songs (Vanguard VSD 79265).

Personal life

Brynner was married four times, the first three ending in divorce. He fathered three children and adopted two.

He and his first wife, actress Virginia Gilmore (1944–1960), had one child, Yul Brynner II, who was born on December 23, 1946. His father nicknamed him "Rock" when he was six in honor of boxer Rocky Graziano, who won the middleweight title in 1947. Rock is a historian, novelist, and university history lecturer at Marist College in Poughkeepsie, New York and Western Connecticut State University in Danbury, Connecticut. In 2006, Rock wrote a book about his father and his family history titled Empire and Odyssey: The Brynners in Far East Russia and Beyond.

His daughter Lark Bryner (born 1959) was born out of wedlock and raised by her mother, Frankie Tilden, who was 20 years old when her daughter was born. Brynner supported her financially. His second wife, from 1960 to 1967, Doris Kleiner, was a Chilean model, whom he married on the set during shooting of The Magnificent Seven in 1960. They had one child, Victoria Brynner (born November 1962), whose godmother was Audrey Hepburn.

His third wife, Jacqueline Thion de la Chaume (1971–1981), was a French socialite, the widow of Philippe de Croisset (the victim of a car accident; he was the son of French playwright Francis de Croisset, and a publishing executive). Brynner and Jacqueline adopted two Vietnamese children: Mia (1974), and Melody (1975). The first house that he ever owned was the Manoir de Cricqueboeuf, a sixteenth-century manor house that he and Jacqueline purchased.

At the age of 63, he married his fourth wife, Kathy Lee, a 24-year-old ballerina from a small town in Malaysia whom he had met in a production of The King and I, in which she had a small dancing role. They remained married for the last 2 years (1983–1985) of Brynner's life.

According to Marlene Dietrich's daughter Maria Riva (as she wrote in her memoir Marlene Dietrich, 1994), he had a passionate affair with the famous actress during the first production of The King and I.

Citizenship

Brynner, a Russian-born Swiss citizen, renounced his naturalized United States citizenship in June 1965 at the American embassy in Berne, Switzerland for tax reasons (he had lost his tax exemption as an American resident abroad by working too long in the United States and would have been bankrupted by what he owed in taxes and penalties).

Death

Brynner died of lung cancer on October 10, 1985, in New York City, the same day as his Battle of Neretva co-star Orson Welles.

Knowing he was dying of cancer, Brynner starred in a run of farewell performances of his most famous role, The King and I, on Broadway from January 7 to June 30, 1985, with Mary Beth Peil as Anna Leonowens.

Throughout his life, Brynner was often seen with a cigarette in his hand. In January 1985, nine months before his death, he gave an interview on Good Morning America, expressing his desire to make an anti-smoking commercial. A clip from that interview was made into just such a public service announcement by the American Cancer Society, and released after his death; it includes the warning "Now that I'm gone, I tell you, don't smoke. Whatever you do, just don't smoke. If I could take back that smoking, we wouldn't be talking about any cancer. I'm convinced of that." This advertisement is now featured in the Body Worlds exhibition.

He is interred, in France, on the grounds of the Saint-Michel-de-Bois-Aubry Russian Orthodox monastery, near Luzé, between Tours and Poitiers.

Honors and awards

Brynner has a star on the Hollywood Walk of Fame at 6162 Hollywood Blvd, and his childhood home, in Vladivostok, is now a museum.

In 1952, he received the Tony Award for Best Featured Actor in a Musical for his portrayal of The King in The King and I (musical).

He won the 1956 Academy Award for Best Actor for his portrayal of the King of Siam in The King and I and made the "Top 10 Stars of the Year" list in both 1957 and 1958.

In 1985, he received a Special Tony Award honoring his 4,525 performances in The King and I.

Filmography

Features:

Port of New York (1949)

The King and I (1956)

The Ten Commandments (1956)

Anastasia (1956)

The Brothers Karamazov (1958)

The Buccaneer (1958)

The Journey (1959)

The Sound and the Fury (1959)

Solomon and Sheba (1959)

Once More, with Feeling! (1960)

Testament of Orpheus (1960)

Surprise Package (1960)

The Magnificent Seven (1960)

Goodbye Again (1961)

Escape from Zahrain (1962)

Taras Bulba (1962)

Kings of the Sun (1963)

Flight from Ashiya (1964)

Invitation to a Gunfighter (1964)

Morituri (1965)

Cast a Giant Shadow (1966)

The Poppy Is Also a Flower (1966)

Return of the Seven (1966)

Triple Cross (1966)

The Double Man (1967)

The Long Duel (1967)

Villa Rides (1968)

The Picasso Summer (1969)

The File of the Golden Goose (1969)

Battle of Neretva (1969)

The Madwoman of Chaillot (1969)

The Magic Christian (1969)

Adiós, Sabata (1971)

The Light at the Edge of the World (1971)

Romance of a Horsethief (1971)

Catlow (1971)

Fuzz (1972)

Night Flight from Moscow (1973)

Westworld (1973)

The Ultimate Warrior (1975)

Death Rage (1976)

Futureworld (1976)

Short subjects:

On Location with Westworld (1973)

Lost to the Revolution (1980) (narrator)

Stage work

Twelfth Night (December 2–13, 1941) (Broadway)

The Moon Vine (February 11–27, 1943) (Broadway)

Lute Song (February 6 – June 8, 1946) (Broadway)

The King and I (March 29, 1951 – March 20, 1954) (Broadway and national tour)

Home Sweet Homer (January 4, 1976) (Broadway)

The King and I (Revival) (May 2, 1977 – December 30, 1978) (Broadway and national tour)

The King and I (Revival) (January 7 – June 30, 1985) (Broadway)

References

Further reading

External links

Category:1920 births Category:1985 deaths Category:Buryat people Category:Romani actors Category:Best Actor Academy Award winners Category:Cancer deaths in New York Category:Deaths from lung cancer Category:Naturalized citizens of the United States Category:People from Vladivostok Category:American people of Russian descent Category:American people of Swiss descent Category:American people of Jewish descent Category:American people of Mongolian descent Category:People of Romani descent Category:Russian film actors Category:Russian emigrants to the United States Category:Russian people of Jewish descent Category:Russian people of Swiss descent Category:Russian television actors Category:Russian stage actors Category:Swiss film actors Category:Swiss stage actors Category:Swiss television actors Category:Swiss people of Russian descent Category:Spaghetti Western actors Category:Tony Award winners

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birth name	Deborah Jane Kerr-Trimmer
birth date	September 30, 1921
birth place	Glasgow, Scotland
death date	October 16, 2007
death place	Botesdale, Suffolk, England
years active	1940–86
occupation	Actress
spouse	Anthony Bartley (1945–59) (divorced) 2 childrenPeter Viertel (1960–2007) (her death) }}

Deborah Kerr, CBE (30 September 192116 October 2007) was a Scottish-born stage, television and film actress. She won the Sarah Siddons Award for her Chicago performance as Laura Reynolds in Tea and Sympathy, a role which she originated on Broadway, a Golden Globe Award for the motion picture The King and I, and she was also the recipient of honorary Academy, BAFTA and Cannes Film Festival awards.

She was nominated six times for an Academy Award as Best Actress but never won competitively. In 1994, however, she was awarded the Academy Honorary Award, cited by the Academy as "an artist of impeccable grace and beauty, a dedicated actress whose motion picture career has always stood for perfection, discipline and elegance".

Her films include The King and I, An Affair to Remember, From Here to Eternity, Quo Vadis, The Innocents, Black Narcissus, Heaven Knows, Mr. Allison, The Life and Death of Colonel Blimp and Separate Tables.

Although the Scottish pronunciation of her surname, , is closer to a phonetic reading of the name, when she was being promoted as a Hollywood actress it was made clear that her surname should be pronounced the same as "car". To avoid confusion over pronunciation, Louis B. Mayer of MGM billed her as "Kerr rhymes with Star!"

Early life

Kerr was born Deborah Jane Kerr-Trimmer in a private nursing home (hospital) in Glasgow, Scotland, the only daughter of Kathleen Rose (née Smale) and Capt. Arthur Charles Kerr-Trimmer, a World War I veteran pilot who later became a naval architect and civil engineer. Directly after her birth she spent the first three years of her life in the nearby town of Helensburgh, where her parents lived with Deborah's grandparents in a house on West King Street. Kerr had a younger brother, Edward (a.k.a. Teddy), who became a journalist and died in a "road-rage" incident in 2004.

Kerr was educated at the independent Northumberland House School in the Clifton area of Bristol in England (the school was demolished in 1937, when Kerr was only 16 years old), and at Rossholme School in Weston-super-Mare.

Kerr originally trained as a ballet dancer, first appearing on stage at Sadler's Wells in 1938. After changing careers, she soon found success as an actress. Her first acting teacher was her aunt, Phyllis Smale, who ran the Hicks-Smale Drama School in Bristol.

Career

Films

Kerr's first film role was in the British film Contraband in 1940 but her scenes were left on the cutting room floor. She followed that with a series of films, including Hatter's Castle (1942), in which she starred opposite Robert Newton and James Mason. The following year, she played three women in Michael Powell and Emeric Pressburger's The Life and Death of Colonel Blimp. During the filming, according to Powell's autobiography, she and Powell became lovers:

Although Winston Churchill thought it would ruin wartime morale, and the British Army refused to extend co-operation with the producers, the film confounded critics by proving to be an artistic and commercial success. Powell had hoped to reunite Kerr and Roger Livesey, who had played the title character, in his next film, A Canterbury Tale (1944), but her agent had sold her contract to MGM. According to Powell, his affair with Kerr ended when she made it clear to him that she would accept an offer to go to Hollywood if one were made.

It was her role as a troubled nun in Black Narcissus in 1947 which brought her to the attention of Hollywood producers. The film was a hit in the US as well as the UK, and Kerr won the New York Film Critics' Award as Actress of the Year. In Hollywood, her British accent and manners led to a succession of roles portraying a refined, reserved, and proper English lady. Nevertheless, Kerr frequently used any opportunity to discard her cool exterior. She starred in the 1950 adventure film, King Solomon's Mines, shot on location in Africa with Stewart Granger and Richard Carlson. This was immediately followed by her appearance in the religious epic Quo Vadis? (1951), shot at Cinecittà in Rome, in which she played the indomitable Lygia, a first century Christian.

Kerr also departed from typecasting with a performance that brought out her sensuality, as Karen Holmes, the embittered military wife in From Here to Eternity (1953), for which she received an Oscar nomination for Best Actress. The American Film Institute acknowledged the iconic status of the scene from that film in which she and Burt Lancaster make love on a Hawaii beach amidst the crashing waves. The organisation ranked it twentieth in its list of the 100 most romantic films of all time.

From then on, Kerr's career choices would make her known in Hollywood for her versatility as an actress, She portrayed a nun (Heaven Knows, Mr. Allison), a mama's girl (Separate Tables), and a governess (The Chalk Garden and The Innocents), but she also portrayed an earthy Australian sheep-herder's wife (The Sundowners) and lustful and beautiful screen enchantresses (Beloved Infidel, Bonjour Tristesse). She also starred in comedies (The Grass is Greener and Marriage on the Rocks).

Among her most famous roles were Anna Leonowens in the film version of the Rodgers and Hammerstein musical The King and I (1956), and opposite Cary Grant in An Affair to Remember (1958). In 1966, the producers of Carry On Screaming! offered her a fee comparable to that paid to the rest of the cast combined, but she turned it down in favour of appearing in an aborted stage version of Flowers for Algernon. In 1967, at the age of 46, she starred in Casino Royale, achieving the distinction of being the oldest 'Bond Girl' in any James Bond film.

In 1969, pressure of competition from younger, upcoming actresses made her agree to appear nude in John Frankenheimer's The Gypsy Moths, the only nude scene in Kerr's career. Concern about the parts being offered to her, as well as the increasing amount of nudity in films in general, led her to abandon film work at the end of the 1960s in favour of television and theatre work.

Theatre

As a stage actress, Deborah Kerr made her Broadway debut in 1953 in Robert Anderson's Tea and Sympathy, for which she received a Tony Award nomination. Kerr repeated her role along with her stage partner John Kerr (no relation) in Vincente Minnelli's film adaptation of the drama. In 1955, Kerr won the Sarah Siddons Award for her performance in Chicago during a national tour of the play. In 1975, she returned to Broadway, creating the role of Nancy in Edward Albee's Pulitzer-winning play Seascape.

The theatre, despite her success in films, was always to remain Kerr's first love, even though going on stage filled her with trepidation:

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Television

Deborah Kerr experienced a career resurgence in the early 1980s on television, when she played the role of the nurse (played by Elsa Lanchester in the 1957 film version) in Witness for the Prosecution. Later, Kerr re-teamed with screen partner Robert Mitchum in Reunion at Fairborough. This period also saw Kerr take on the role as the older version of the female tycoon, Emma Harte, in the adaptation of Barbara Taylor Bradford's A Woman of Substance. For this performance, Kerr was nominated for an Emmy Award.

Personal life

Kerr's first marriage was to Royal Air Force Squadron Leader Anthony Bartley on 29 November 1945. They had two daughters, Melanie Jane (born 27 December 1947) and Francesca Ann (born 20 December 1951), who married the actor John Shrapnel. The Kerr-Bartley marriage was troubled, owing to Bartley's jealousy of his wife's fame and financial success, and because her career often took her away from home. Kerr and Bartley divorced in 1959.

Her second marriage was to author Peter Viertel on 23 July 1960. In marrying Viertel, she acquired a stepdaughter, Christine Viertel. Although she long resided in Klosters, Switzerland and Marbella, Spain, she moved back to Britain to be closer to her own children as her health began to deteriorate. Her husband, however, continued to live in Marbella.

Some of Deborah Kerr's leading men have stated in their autobiographies that they had an affair or romantic fling with her. The actor Stewart Granger claimed that Kerr seduced him in the back of his chauffeur-driven car at the time he was making Caesar and Cleopatra. Likewise Burt Lancaster claimed that he was romantically involved with her during the filming of From Here to Eternity in 1953. There is no independent corroboration of either actor's claims.

Deborah Kerr died from the effects of Parkinson's disease on 16 October 2007 at the age of 86 in the village of Botesdale, Suffolk. Peter Viertel died of cancer on 4 November 2007, less than three weeks later. At the time of Viertel's death, director Michael Scheingraber was filming the documentary Peter Viertel: Between the Lines, which Scheingraber says will include reminiscences about events concerning Kerr and the American Academy Awards. The film is as yet (2010) unreleased.

Honours

Deborah Kerr was made a Commander of the Order of the British Empire (CBE) in 1998, but was unable to accept the honour in person because of ill health. She was also honoured in Hollywood where, for her contributions to the motion picture industry, she received a star on the Hollywood Walk of Fame, at 1709 Vine Street.

Deborah Kerr won a Golden Globe Award for Best Actress – Motion Picture Musical or Comedy for The King and I in 1957, and a Henrietta Award for World Film Favorite – Female.

Although she never won a BAFTA, Oscar or Cannes Film Festival award in a competitive category, all three academies gave her honorary awards. In 1984, she was awarded a Cannes Film Festival Tribute. In 1991, she received a BAFTA Special Award and in 1994, she received the Academy Honorary Award in recognition of "an artist of impeccable grace and beauty, a dedicated actress whose motion picture career has always stood for perfection, discipline and elegance".

Award nominations

Deborah Kerr was nominated six times for the Academy Award for Best Actress: Edward, My Son (1949), From Here to Eternity (1953), The King and I (1956), Heaven Knows, Mr. Allison (1957), Separate Tables (1958) and The Sundowners (1960).

She was also nominated four times for the BAFTA Award for Best British Actress: The End of the Affair (1955), Tea and Sympathy (1956), The Sundowners (1961) and The Chalk Garden (1964).

She received one Emmy Award nomination in 1985 for Outstanding Supporting Actress in a Limited Series or a Special for A Woman of Substance. She was also nominated for the Golden Globe Award for Best Actress – Motion Picture Drama for Edward, My Son (1949), Heaven Knows, Mr. Allison (1957) and Separate Tables (1958).

Filmography

! Year	! Film	! Role	! Notes
		Bit (scenes deleted)	UK release
rowspan="2"		Jenny Hill	UK release
	Sally	UK release
rowspan="4"	Penn of Pennsylvania	Gulielma Maria Springett	U.S. title: Courageous Mr. Penn
	Mary Brodie
The Day Will Dawn	Kari Alstad	U.S. title: The Avengers
A Battle for a Bottle	Linda	Voice–animated short
	The Life and Death of Colonel Blimp	Edith Hunter/Barbara Wynne/Johnny Cannon	UK release
		Catherine Wilson	U.S. title: Vacation From Marriage
	I See a Dark Stranger	Bridie Quilty	U.S. Title: The Adventuress
rowspan="3"	Black Narcissus	Sister Clodagh	UK release
The Hucksters	Kay Dorrance
If Winter Comes	Nona Tybar
	Edward, My Son	Evelyn Boult
rowspan="2"	Please Believe Me	Alison Kirbe
	Elizabeth Curtis
		Lygia
rowspan="2"		Princess Flavia
	Joan Willoughby
rowspan="4"	Young Bess	Catherine Parr
Dream Wife	Effie
From Here to Eternity	Karen Holmes	Nominated—Academy Award for Best Actress
		Sarah Miles
rowspan="3"	The Proud and Profane	Lee Ashley
	Anna Leonowens	singing voice dubbed by Marni NixonGolden Globe Award for Best Actress – Motion Picture Musical or ComedyNominated—Academy Award for Best Actress
Tea and Sympathy	Laura Reynolds
rowspan="3"	Heaven Knows, Mr. Allison	Sister Angela
An Affair to Remember	Terry McKay
	Gwinneth Livingston	Unbilled, dubbed voice of Suzy Parker in a few scenes
rowspan="2"		Anne Larson
	Sibyl Railton-Bell
rowspan="3"		Diana Ashmore
	Grace Allingham
Beloved Infidel	Sheilah Graham
rowspan="2"	The Sundowners	Ida Carmody
The Grass Is Greener	Lady Hilary Rhyall
rowspan="2"	The Naked Edge	Martha Radcliffe	UK release
	Miss Giddens	UK release
rowspan="3"	On the Trail of the Iguana	Herself	UK promotional short subject
The Chalk Garden	Miss Madrigal
	Hannah Jelkes
	Marriage on the Rocks	Valerie Edwards	UK release
rowspan="2"		Agent Mimi / Lady Fiona McTarry
Eye of the Devil	Catherine de Montfaucon	UK release
	Prudence and the Pill	Prudence Hardcastle	UK release
rowspan="2"	The Gypsy Moths	Elizabeth Brandon	US release
	Florence Anderson	US release
	BBC2 Playhouse	Carlotta Gray	TV episode: "A Song at Twilight"
	Nurse Plimsoll
1984	A Woman of Substance	Emma Harte	UK TV mini-series
rowspan="2"	The Assam Garden	Helen	UK release
Reunion at Fairborough	Sally Wells Grant	UK television film
1986	Hold the Dream	Emma Harte	UK TV mini-series

References

Works cited

Braun, Eric. Deborah Kerr. St. Martin's Press, 1978. ISBN 0-312-18895-1.

Powell, Michael. A Life In Movies. Heinemann, 1986. ISBN 0-434-59945-X.

External links

Deborah Kerr at Helensburgh Heroes

essay The Enigma of Deborah Kerr — Ephemera, media files and an essay about Ms. Kerr

55th Sydney Film Festival Deborah Kerr Retrospective ("From Kerr To Eternity" 2008)

Deborah Kerr Rhymes With Star, and What a Star She Was: She Deserves to be Remembered, Too (Huffington Post, 7 April 2008)

Deborah Kerr Tribute by Spanish director Pedro Almodóvar, whose Broken Embraces script was influenced by his reflections of the great international star at the time of her death (blogpedroalmodóvar, 25 March 2008)

Extensive collection of press articles from 1940s to 2000s, photo galleries and information on Deborah Kerr (April 2009)

Photographs and literature

Category:1921 births Category:2007 deaths Category:Academy Honorary Award recipients Category:BAFTA winners (people) Category:Best Musical or Comedy Actress Golden Globe (film) winners Category:Commanders of the Order of the British Empire Category:Deaths from Parkinson's disease Category:People from Argyll and Bute Category:People from Helensburgh Category:Scottish film actors Category:Scottish stage actors Category:Scottish television actors

an:Deborah Kerr ca:Deborah Kerr cy:Deborah Kerr da:Deborah Kerr de:Deborah Kerr el:Ντέμπορα Κερ es:Deborah Kerr eo:Deborah Kerr eu:Deborah Kerr fr:Deborah Kerr gd:Deborah Kerr ko:데버러 커 id:Deborah Kerr it:Deborah Kerr he:דבורה קר lb:Deborah Kerr nl:Deborah Kerr ja:デボラ・カー no:Deborah Kerr pl:Deborah Kerr pt:Deborah Kerr ro:Deborah Kerr ru:Керр, Дебора sr:Дебора Кер sh:Deborah Kerr fi:Deborah Kerr sv:Deborah Kerr tl:Deborah Kerr tr:Deborah Kerr zh:狄波拉·嘉

{{infobox musical artist |name	Freddie King
Background	solo_singer
Birth name	Frederick Christian (?)
Aliases	Freddy King, the Texas Cannonball
Born	September 03, 1934Gilmer, Texas, United States
Died	December 28, 1976Dallas, Texas, United States
Instrument	Guitar, vocals
Genres	Blues, blues-rock, funk
Occupation	Musician, singer-songwriter
Years active	1952–1976
Labels	El-Bee, King, Federal, Atlantic, Shelter, RSO
Associated acts	Robert Lockwood, Jr., Sonny Thompson, Bill Willis, King Curtis, Leon Russell, Carl Radle, Eric Clapton, Jamie Oldaker, Tom Dowd, Mike Vernon, Steve Ferrone, Bobby Tench, P.P. Arnold, Jimmie Vaughan, Peter Green
Website	The official Freddie King site
Notable instruments	Gibson Les Paul guitar Gibson ES-345 }}

Freddie King (September 3, 1934 – December 28, 1976), thought to have been born as Frederick Christian, originally recording as Freddy King, and nicknamed "the Texas Cannonball", was an influential African-American blues guitarist and singer. He is often mentioned as one of "the Three Kings" of electric blues guitar, along with Albert King and B.B. King, as well as the youngest of the three.

Freddie King based his guitar style on Texas and Chicago influences and was one of the first bluesmen to have a multi-racial backing band onstage with him at live performances. He is best known for singles such as "Have You Ever Loved A Woman" (1960) and his Top 40 hit "Hide Away" (1961). He is also known for albums such as the early, instrumental-packed Let's Hide Away and Dance Away with Freddy King (1961) and the later album Burglar (1974), which displayed King's mature versatility as both player and singer in a range of blues and funk styles.

King had a twenty-year recording career and became established as an influential guitarist with hits for Federal Records, in the early 1960s. He inspired American musicians such as Stevie Ray Vaughan and his brother Jimmie Vaughan and others. His influence was also felt in UK, through recordings by blues revivalists such as Eric Clapton, Peter Green, and Chicken Shack.

Early life and name variations

When King was only six, his mother Ella Mae and his uncle began teaching Freddie guitar. In autumn 1949 King and his family moved from Dallas to the South Side of Chicago. In 1952 King started working in a steel mill, the same year he married fellow Texas native Jessie Burnett, with whom he eventually had six children.

There are significant variations and unresolved confusion over King's use of the surname King. According to his estate, he was named "Freddy King" at birth and his parents were Ella Mae King and J.T.Christian. According to his sister, King had the surname Christian, even after their mother re-married and the family moved to Chicago and that by the mid 1950s he "Freddy Christian", was so musically ambitious that he changed his surname to King, to ride on the coat tails of B.B. King. It is notable that his first name is spelled "Freddy" on his recordings made between 1956 and 1964. From 1968 his name was credited as Freddie King.

Recording career

1950s

Almost as soon as his family had moved to Chicago, King started sneaking into South Side nightclubs, where he heard blues performed by Muddy Waters, Howlin' Wolf, T-Bone Walker, Elmore James, and Sonny Boy Williamson. King formed his first band, the Every Hour Blues Boys, with guitarist Jimmy Lee Robinson and drummer Sonny Scott. In 1952, while employed at the steel mill, an eighteen-year-old King occasionally worked as a sideman with such bands as the Little Sonny Cooper Band and Earl Payton's Blues Cats. In 1953 he recorded with the latter for Parrot Records, but these recordings were never released. As the 1950s went on, King played with several of Muddy Waters's sidemen and other Chicago mainstays, including guitarists Jimmy Rogers, Robert Jr. Lockwood, Eddie Taylor, Hound Dog Taylor, bassist Willie Dixon, pianist Memphis Slim, and harpist Little Walter.

In 1956 he cut his first record as a leader, for El-Bee Records. The A-side was a duet with a Margaret Whitfield, "Country Boy,", and the B-side was a King vocal. Both tracks feature the guitar of Robert Jr. Lockwood, who during these same years was also adding rhythm backing and fills to Little Walter's records.

King was repeatedly rejected in auditions for the South Side's Chess Records, the premier blues label, which was home to Muddy, Wolf, and Walter. The complaint was that Freddie King sang too much like B.B. King. A newer blues scene, lively with nightclubs and upstart record companies, was burgeoning on the West Side, though. Bassist and producer Willie Dixon, during a late 1950s period of estrangement from Chess, had King come to Cobra Records for a session, but the results have never been heard. Meanwhile, though, King established himself as perhaps the biggest musical force on the West Side. King played along with Magic Sam and supposedly did uncredited backing guitar on some of Sam's tracks for Mel London's Chief and Age labels, though King does not stand out anywhere.

Federal Records

In 1959 King got to know Sonny Thompson, pianist, producer, and A&R; man for Cincinnati's King Records and King owner Syd Nathan signed King to the subsidiary Federal label in 1960. King recorded his debut single for the label on August 26, 1960: "Have You Ever Loved a Woman" backed with "You've Got to Love Her with a Feeling" (again as "Freddy" King). From the same recording session at the King Studios in Cincinnati, Ohio, King cut the instrumental "Hide Away," which the next year reached #5 on the R&B; Charts and #29 on the Pop Singles Charts, an unprecedented accomplishment for a blues instrumental. "Hide Away" was originally released as the B-side of "I Love the Woman". "Hide Away" was King's conglomeration of a theme by Hound Dog Taylor and parts by others , such as from "The Walk" by Jimmy McCracklin and "Peter Gunn", as credited by King. The song's title comes from Mel's Hide Away Lounge, a popular blues club on the West Side of Chicago. Willie Dixon later claimed that he had recorded King doing "Hide Away" for Cobra Records in the late 1950s, but such a version has never surfaced.

After their success with "Hide Away," King and Sonny Thompson recorded thirty instrumentals, including "The Stumble," "Just Pickin'," "Sen-Sa-Shun," "Side Tracked," "San-Ho-Zay," "High Rise," and "The Sad Nite Owl". Vocal tracks continued to be recorded throughout this period, but often the instrumentals were marketed on their own merits as albums. During the Federal period King toured with many of the R&B; acts of the day such as, Sam Cooke, Jackie Wilson and James Brown, who performed in the same concerts.

Cotillion, Shelter, RSO Records

King's contract with Federal expired in 1966, and his first overseas tour followed in 1968. King's availability was noticed by producer and saxophonist King Curtis, who had recorded a cover of "Hide Away," with Cornell Dupree on guitar in 1962. Curtis signed King to Atlantic in 1968, which resulted in two LPs, Freddie King Is a Blues Master (1969) and My Feeling for the Blues (1970), produced by Curtis for the Atlantic subsidiary Cotillion Records.

In 1969 King hired Jack Calmes as his manager , who secured him an appearance at the 1969 Texas Pop Festival, alongside Led Zeppelin and others, and this led to King's being signed to Leon Russell's new label, Shelter Records. The company treated King as an important artist, flying him to Chicago to the former Chess studios for the recording of Getting Ready and gave him a backing line-up of top session musicians, including rock pianist Leon Russell. Three albums were made during this period, including blues classics and new songs written by Russell and Don Nix.

King performed alongside the big rock acts of the day, such as Eric Clapton and for a young, mainly white audience, before signing to RSO. In 1974 he recorded Burglar, for which Tom Dowd produced the track "Sugar Sweet" at Criteria Studios in Miami, with guitarists Clapton and slide guitarist George Terry, drummer Jamie Oldaker and bassist Carl Radle. Mike Vernon produced all the other tracks. Vernon also produced a second album Larger than Life with King, for the same label. Vernon brought in other notable musicians for both albums such as Bobby Tench of The Jeff Beck Group, to complement King

Playing style and technique

King had an intuitive style, often creating guitar parts with vocal nuances. He achieved this by using the open string sound associated with Texas blues and the raw, screaming tones of West Side Chicago blues. In his early career he played a gold top Gibson Les Paul with P-90 pickups through a Gibson GA-40 amplifier, later moving on to Gibson ES-345 guitars, using a plastic thumb pick and a metal index-finger pick to achieve an aggressive finger attack, a style he learned from Jimmy Rogers. He had a relatively more aggressive and creative style of improvisation than others such as, B.B King and Albert King, considered by many to be a more exploratory and less traditional approach.

King's later years (after 1970) were marked by a shift towards more of a hard, rock-like style, presumably in an effort to reach white audiences better. He also largely quit performing new material in lieu of simply covering songs from B.B. King and other blues musicians.

Death

Near-constant touring took its toll on Freddie King (he was on the road almost 300 days out of the year), and in 1976 he began suffering stomach ulcers. His health quickly deteriorated and he died on December 28 of complications from that and acute pancreatitis at the age of 42.

Discography

Studio albums

Date	Title	Label & Cat. no.	Chart no.
			! R&B;	! Pop
	Freddy King Sings
Let's Hide Away and Dance Away with Freddy King	King 773
1962	Two Boys and a Girl Freddy King, Lulu Reed & Sonny Thompson	Federal 777
	Bossa Nova and the Blues	Federal 821
Freddy King Goes Surfin	Federal 856
	Bonanza of Instrumentals	Federal 928
Freddie King Sings Again	Federal 931
1969	Freddie King Is A Blues Master
1970	My Feeling For The Blues	Cotillion SD 9016
1971	Getting Ready
1972	The Texas Cannonball	Shelter SW8913
1973	Woman Across The River	Shelter SW8921	54	158
1974	Burglar		53
1975	Freddie King Larger than Life	RSO SO4811

Selected compilation albums

Date	Title	Label & Cat. no.	Chart no.
			! R&B;	! Pop
1965	All His Hits
1976	Freddie King 1934–1976
1989	Just Pickin'	Modern Blues
1993	Hide Away: The Best of Freddie King
1995	King of the Blues
1997	Staying Home with the Blues
2000	The Best of Freddie King: The Shelter Records Years
2008	The Best Of Freddie King
2009	Taking Care of Business

Charting singles

Date	Title A-side / B-side	Label & Cat. no.	Chart no.
			! R&B;	! Pop
1956	"Country Boy" / "That's What You Think"	El-Bee 157
	"Have You Ever Loved a Woman"	Federal 12384
"You've Got to Love Her with a Feeling"	Federal 12384		92
	"Hide Away" / "I Love The Woman"	Federal 12401	5	29
"Lonesome Whistle Blues" /	"It's Too Bad (Things Are Going So Tough)"	Federal 12415	8	88
"San-Ho-Zay"	Federal 12428	4	47
"See See Baby"	Federal 12428	21
"I'm Tore Down" / "Sen-Sa-Shun"	Federal 12432	5
"Christmas Tears" / "I Hear Jingle Bells"	Federal 12439	28

Awards and recognition

In 1993 by proclamation from the Texas Governor Ann Richards September 3, 1993, was declared Freddie King Day. This is an honor reserved for Lone Star legends, e.g. Bob Wills and Buddy Holly.

In 2003 King was placed 25th in Rolling Stone's list of the 100 greatest guitarists of all time.

References

Bibliography

Busby, Mark. The Southwest. Greenwood Publishing Group (2004). ISBN 978-0-313-32805-3

Clapton, Eric. Clapton: The Autobiography. Broadway Books (2007). Digitized 4 Sep 2008.ISBN 978-0-385-51851-2

Corcoran, Michael, Joseph, All Over the Map: True Heroes of Texas Music. University of Texas Press (2005). ISBN 978-0-292-70976-8

Koster, Rick. Texas Music. St. Martin's Press (2000). ISBN 978-0-312-25425-4

Hardy, Phil. Laing, Dave. Stephen, Barnard. Perretta, Don. Encyclopedia of Rock. Edition 2 (revised). Schirmer Books (1988). Digitized 21 Dec 2006. ISBN 978-0-02-919562-8

O'Neal, Jim and Van Singel, Amy . The Voice of the Blues: Classic Interviews from Living Blues Magazine. Edition 10. Routledge (2002). ISBN 978-0-415-93653-8

Lawrence, Robb . The Early Years of the Les Paul Legacy 1915-1963. Hal Leonard Corporation (2008). ISBN 978-0-634-04861-6

Pruter, Robert. Chicago Soul. Edition 5 (reprint). University of Illinois Press (1992). ISBN 978-0-252-06259-9

External links

Category:1934 births Category:1976 deaths Category:African American guitarists Category:African American singer-songwriters Category:American blues guitarists Category:American blues singers Category:Blues Hall of Fame inductees Category:Electric blues musicians Category:American rhythm and blues musicians Category:Texas blues musicians Category:People from Longview, Texas Category:Musicians from Dallas, Texas Category:Apex Records artists Category:King Records artists Category:Deaths from heart failure

de:Freddie King es:Freddie King fr:Freddie King it:Freddie King nl:Freddie King ja:フレディ・キング pl:Freddie King pt:Freddie King ru:Кинг, Фредди fi:Freddie King sv:Freddie King tr:Freddie King uk:Фредді Кінг zh:弗雷德·金

Name	Elvis Presley
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
Birth date	January 08, 1935
Birth place
Death date	August 16, 1977
Death place
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	1953–77
Label	Sun, RCA Victor
Website	}}

Elvis Aaron Presley (, 1935 , 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

Elvis Presley was born on January 8, 1935, in Tupelo, Mississippi, to 18-year-old Vernon Elvis and 22-year-old 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: On his mother's side, he was Scots-Irish, with some French Norman; one of Gladys's great-great-grandmothers was Cherokee. His father's forebears were of Scottish or German origin. 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

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 by songwriters Jerry Leiber and Mike Stoller. 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

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. Leiber and 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. 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 then 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 Jailhouse sessions and developed a close working relationship with Presley, who came to regard them as his "good-luck charm". The 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.

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. On the night of March 20, he entered RCA's Nashville studio to cut tracks for a new album along with a single—"Stuck on You" was rushed into release and swiftly became a number one hit. Another Nashville session two weeks later yielded a pair of his best-selling singles, the ballads "It's Now or Never" and "Are You Lonesome Tonight?", along with the rest of 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 The Frank Sinatra Timex Special—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 Marsh described, 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

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." Dave Marsh 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 Elvis: That's the Way It Is. 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.

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. Elvis: As Recorded at Madison Square Garden 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?"

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 accompanying double album, 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, Elvis: As Recorded Live on Stage in Memphis. 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. He placed second in 2006,, returned to the top spot the next two years, and ranked fourth in 2009. The following year, he was second with his highest annual income ever, $60 million, spurred by the celebration of his 75th birthday and the launch of Cirque du Soleil's Viva Elvis show in Las Vegas. In November 2010, Viva Elvis: The Album was released, setting his voice to newly recorded instrumental tracks. As of mid-2011, there were an estimated 15,000 licensed Presley products.

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 brothers Jean and Julian Aberbach, 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

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.

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

rowspan="2"	Year	Album	Type	Chart positions
! style="width:60px;"	! style="width:60px;"			! style="width:60px;"
	style="text-align:left;"	studio/comp.	1	n.a.	1
style="text-align:left;"	studio	1	n.a.	3
	style="text-align:left;"	sound./studio	1	n.a.	1
	studio	1	n.a.	2
		studio	2	n.a.	1
style="text-align:left;"	soundtrack	1	n.a.	1
		studio	1	n.a.	2
style="text-align:left;"	soundtrack	1	n.a.	1
1962	style="text-align:left;"	studio	4	n.a.	1
1964	style="text-align:left;"	soundtrack	1	—	12
1969		studio	13	2	1
1973		live	1	1	11
1974		compilation	43	1	20
	1975	style="text-align:left;"	studio	47	1	21
1976		studio	41	1	29
		compilation	—	—	1
	studio/live	3	1	3
style="text-align:left;"	live	5	1	13
2002	style="text-align:left;"	compilation	1	1	1
2007		compilation	—	—	1

Number one singles

Year	Single	Chart positions
		! style="width:45px;"	! style="width:45px;"	! style="width:45px;"
		—	1	—
	1	1	2
	1	1	14
	1	1	2
style="text-align:left;"	1	1	2
style="text-align:left;"	1	3	11
	style="text-align:left;"	1	3	6
	1	1	1
style="text-align:left;"	1	1	3
style="text-align:left;"	1	1	1
	style="text-align:left;"	1	2	2
	1	2	2
	style="text-align:left;"	4/8	24/—	1
style="text-align:left;"	2/4	—	1
	1	—	4
	style="text-align:left;"	1	27	3
style="text-align:left;"	1	—	1
style="text-align:left;"	1	22	1
		—	—	1
style="text-align:left;"	1	—	1
align="left"	4/5	—	1
		2/23	—	1
	1	—	1
	5	—	1
align="left"	2	—	1
1963		3	—	1
1965		3	—	1
1969		1	—	2
1970		9	37	1
	style="text-align:left;"	31	1	6
	18	1	1
1981	style="text-align:left;"	28	1	43
2002	style="text-align:left;"	50	—	1
		—	—	1
	—	—	1
	—	—	1

Filmography

See also

Honorific nicknames in popular music

List of artists by total number of UK number one singles

List of best-selling music artists

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. According to a third cousin of Presley's, one of Gladys's great-grandmothers was Jewish. There is no evidence that Presley or his mother shared this belief in a Jewish heritage. Syndicated columnist Nate Bloom has challenged the cousin's account, which he calls a "tall tale". 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 025202981X.

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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