A gospel is an account, often written, that describes the life of Jesus of Nazareth. In a more general sense the term "gospel" may refer to the Good News message of the New Testament. It is primarily used in reference to the four canonical gospels of Matthew, Mark, Luke, and John. However, the term is also used to refer to the Apocryphal gospels, the Non-canonical gospels, the Jewish gospels and the Gnostic gospels.

Etymology

The word ''gospel'' derives from the Old English ''gōd-spell'' (rarely ''godspel''), meaning "good news" or "glad tidings". It is a calque (word-for-word translation) of the Greek word , ''euangelion'' (''eu-'' "good", ''-angelion'' "message"). The Greek word ''"euangelion"'' is also the source (via Latinised "evangelium") of the terms "evangelist" and "evangelism" in English. The authors of the four canonical Christian gospels are known as the four evangelists.

Originally, the gospel was the good news of redemption through the propitiatory offering of Jesus Christ for one's sins, the central Christian message. Note: John 3:16. Before the first gospel was written (Mark, ''c'' 65-70), Paul the Apostle used the term gospel when he reminded the people of the church at Corinth "of the gospel I preached to you" (1 Corinthians 15.1). Paul averred that they were being saved by the gospel, and he characterized it in the simplest terms, emphasizing Christ's appearances after the Resurrection (15.3 – 8):

The earliest extant use of gospel to denote a particular genre of writing dates to the 2nd century. Justin Martyr (''c'' 155) in 1 Apology 66 wrote: "...the apostles, in the memoirs composed by them, which are called Gospels".

Henry Barclay Swete's ''Introduction to the Old Testament in Greek'', pages 456-457 states: : in the LXX occurs only in the plural, and perhaps only in the classical sense of 'a reward for good tidings' ( [also , , , ]); in the N.T. it is from the first appropriated to the Messianic good tidings (, ), probably deriving this new meaning from the use of in , , , .

In the New Testament, evangelism meant the proclamation of God's saving activity in Jesus of Nazareth, or the agape message proclaimed by Jesus of Nazareth. This is the original New Testament usage (for example or ; see also Strong's G2098). The peculiar situation in the English language of an obsolete translation persisting into current usage harks back to John Wycliffe who already had gospel, and whose usage was adopted into the King James Version. The short ''o'' in the modern word gospel is due to mistaken association with the word god. Old English gōd-spell had a long vowel and would have become good-spell in modern English.

The first accounts

Critical scholars generally agree on several early sayings collections and accounts preceding the "canonical" Gospels. The dedicatory preface of the Gospel of Luke testifies already to the existence of several "accounts" of the life of Jesus by the time of its composition. The term Luke uses (διήγησις ''diēgēsis'') is a term used in classical Greek for any historical narrative. The term "Gospel" is not used in the New Testament text for any of the canonical Gospels, though in later centuries a traditional reading of 2 Corinthians 8:18 "the brother whose praise is the Gospel" was to sometimes identify this with Luke, and consequently Gospel of Luke.

Synoptic gospels

The synoptic gospels are the source of many popular stories, parables, and sermons, such as Jesus' humble birth in Bethlehem, the Sermon on the Mount, the Beatitudes, the Last Supper, and the Great Commission. John provides a theological description of Jesus as the eternal Word, the unique savior of humanity. All four attest to his Sonship, miraculous power, crucifixion, and resurrection. Portions of the gospels are traditionally read aloud during church services as a formal part of the liturgy.

The fourth gospel, the Gospel of John, presents a very different picture of Jesus and his ministry from the synoptics. In differentiating history from invention, historians interpret the gospel accounts skeptically but generally regard the synoptic gospels as including significant amounts of historically reliable information about Jesus.

More generally, gospels compose a genre of early Christian literature. Gospels that did not become canonical also circulated in Early Christianity. Some, such as the work known today as Gospel of Thomas, lack the narrative framework typical of a gospel. These gospels almost certainly appeared much later than the canonical gospels, with the Gospel of Thomas being a likely exception.

Historicity of the canonical gospels

The historicity of the gospels refers to the reliability and historic character of the four New Testament gospels as historical documents. Historians subject the gospels to critical analysis, attempting to differentiate authentic, reliable information from what they judge to be inventions, exaggerations, and alterations.

Biblical scholars consider the synoptic gospels to contain much reliable historical information about the historical Jesus as a Galilean teacher and of the religious movement he founded, but not everything contained in the gospels is considered to be historically reliable.

The baptism of Jesus, his preaching, and the crucifixion of Jesus are deemed to be historically authentic. Elements whose historical authenticity is disputed include the two accounts of the nativity of Jesus, as well as certain details about the crucifixion and the resurrection. The fourth gospel, John, includes a number of historically reliable details, but it differs greatly from the first three gospels, and historians largely discount it. The canonical gospels, overall, are considered to have more historically authentic content than the various non-canonical gospels.

On one extreme, some Christian scholars maintain that the gospels are inerrant descriptions of the life of Jesus. On the other extreme, some scholars have concluded that the gospels provide no historical information about Jesus life since the first gospel accounts (Mark) only appeared 40 years after Jesus's death.

Canonical gospels

Of the many gospels written in antiquity, only four gospels came to be accepted as part of the New Testament, or canonical. An insistence upon there being a canon of four gospels, and no others, was a central theme of Irenaeus of Lyons, c. 185. In his central work, ''Adversus Haereses'' Irenaeus denounced various early Christian groups that used only one gospel, such as Marcionism which used only Marcion's version of Luke, or the Ebionites which seem to have used an Aramaic version of Matthew as well as groups that embraced the texts of newer revelations, such as the Valentinians (''A.H.'' 1.11). Irenaeus declared that the four he espoused were the four "Pillars of the Church": "it is not possible that there can be either more or fewer than four" he stated, presenting as logic the analogy of the four corners of the earth and the four winds (3.11.8). His image, taken from ''Ezekiel'' 1, or Revelation 4:6-10, of God's throne borne by four creatures with four faces—"the four had the face of a man, and the face of a lion, on the right side: and the four had the face of an ox on the left side; they four also had the face of an eagle"—equivalent to the "four-formed" gospel, is the origin of the conventional symbols of the Evangelists: lion, bull, eagle, man. Irenaeus was ultimately successful in declaring that the four gospels collectively, and exclusively these four, contained the truth. By reading each gospel in light of the others, Irenaeus made of ''John'' a lens through which to read ''Matthew'', ''Mark'' and ''Luke''.

By the turn of the 5th century, the Catholic Church in the west, under Pope Innocent I, recognized a biblical canon including the four gospels of Matthew, Mark, Luke, and John, which had been previously established at a number of regional Synods, namely the Council of Rome (382), the Synod of Hippo (393), and two Synods of Carthage (397 and 419). This canon, which corresponds to the modern Catholic canon, was used in the Vulgate, an early 5th century translation of the Bible made by Jerome under the commission of Pope Damasus I in 382.

Gospel according to Matthew

Gospel according to Mark

Gospel according to Luke

Gospel according to John

There was also another order, the "western order of the Gospels", so called because it is typical for the manuscripts which are usually a representative of the Western text-type.

Gospel according to Matthew

Gospel according to John

Gospel according to Luke

Gospel according to Mark

This order is found in the following manuscripts: Bezae, Monacensis, Washingtonianus, Tischendorfianus IV, Uncial 0234.

Medieval copies of the four canonical gospels are known as Gospel Books or also simply as Gospels (in Greek as ''Tetraevangelia''). Notable examples include the Lindisfarne Gospels (''c'' 700), the Barberini Gospels, Lichfield Gospels and the Vienna Coronation Gospels (8th century), the Book of Kells and the Ada Gospels (c. 800) or the Ebbo Gospels (9th century).

Origin of the canonical gospels

The majority view today is that Mark is the first Gospel, with Matthew and Luke borrowing passages both from that Gospel and from at least one other common source, lost to history, termed by scholars 'Q' (from , meaning "source"). This view is known as the "two-source hypothesis". The two-gospel hypothesis, in contrast, says that Matthew was written first (by Matthew the Apostle), and then Luke the Evangelist wrote his gospel (using Matthew as his main source) before Mark the Evangelist wrote his gospel (using Peter's testimony). John was written last and shares little with the synoptic gospels.

The gospels were apparently composed in stages. Mark's traditional ending (Mark 16:9-20, see Mark 16) was most likely composed early in the 2nd century and appended to Mark in the middle of that century. The birth and infancy narratives apparently developed late in the tradition. Luke and Matthew may have originally appeared without their first two chapters.

The consensus among biblical scholars is that all four canonical gospels were originally written in Greek, the lingua franca of the Roman Orient.

Dating

Estimates for the dates when the canonical gospel accounts were written vary significantly; and the evidence for any of the dates is scanty. Because the earliest surviving complete copies of the gospels date to the 4th century and because only fragments and quotations exist before that, scholars use higher criticism to propose likely ranges of dates for the original gospel autographs. Scholars variously assess the majority (though not the consensus ) view as follows:

Mark: c. 68–73, ''c'' 65-70 Matthew: c. 70–100. ''c'' 80-85. Luke: c. 80–100, with most arguing for somewhere around 85, ''c'' 80-85 John: ''c'' 90-100, c. 90–110, The majority view is that it was written in stages, so there was no one date of composition.

Traditional Christian scholarship has generally preferred to assign earlier dates. Some historians interpret the end of the book of Acts as indicative, or at least suggestive, of its date; as Acts does not mention the death of Paul, generally accepted as the author of many of the Epistles, who was later put to death by the Romans c. 65. Acts is attributed to the author of the Gospel of Luke, which is believed to have been written before Acts, and therefore would shift the chronology of authorship back, putting Mark as early as the mid 50s. Here are the dates given in the modern NIV Study Bible (''for a fuller discussion see Augustinian hypothesis''):

Matthew: c. 50 to 70s

Mark: c. 50s to early 60s, or late 60s

Luke: c. 59 to 63, or 70s to 80s

John: c. 85 to near 100, or 50s to 70

Such early dates are not limited to conservative scholars. In ''Redating the New Testament'' John A. T. Robinson, a prominent liberal theologian and bishop, makes a case for composition dates before the fall of Jerusalem.

Location

Matthew was probably written in Syria, perhaps in Antioch, an ancient Christian center. Mark has traditionally been associated with Peter's preaching in Rome, and it is well-suited to a Roman audience. Various cities have been proposed for the origin of Luke, but there is no consensus on the matter. Ephesus, in Western Anatolia, is a popular scholarly choice for the place of origin for the Gospel of John.

Following Raymond Brown's postulation of a Johannine community having been responsible for John's gospel and letters, other scholars have identified localized communities behind each of the other gospels and Q. This assumes the relative isolation of early Christian communities in which distinctive traditions concerning Jesus thrived. Other scholars have questioned this hypothesis and have stressed the constant communication between early Christian communities.

Oral tradition

The oral traditions that the evangelists drew on were transmitted by word of mouth for decades. This oral tradition consisted of several distinct components. Parables and aphorisms are the "bedrock of the tradition." Pronouncement stories, scenes that culminate with a saying of Jesus, are more plausible historically than other kinds of stories about Jesus. Other sorts of stories include controversy stories, in which Jesus is in conflict with religious authorities; miracles stories, including healings, exorcisms, and nature wonders; call and commissioning stories; and legends.

One of the most important concerns in accurately accounting for the oral Jesus tradition is the model of transmission used. Form criticism (''Formgeschichte'') was developed primarily by the German scholars Karl Ludwig Schmidt, Martin Dibelius, and Rudolf Bultmann. The oral model developed by the form critics drew heavily on contemporary theory of folkloric transmission of oral material, and partly as a result of this form criticism posited that the Jesus tradition was transmitted informally, added to freely, and was uncontrolled. However, "Today it is no exaggeration to claim that a whole spectrum of main assumptions underlying Bultmann's ''Synoptic Tradition'' must be considered suspect. " A number of other models have been proposed which posit greater control over the tradition, to varying degrees. For example, largely in response to form critical scholarship, Professor Birger Gerhardsson examined oral transmission in early rabbinic circles, and proposed that a more controlled and formal model of orality would more accurately reflect the transmission of the Jesus tradition in early Christian circles, and therefore that the oral traditions present in the gospels have been fairly reliably and faithfully transmitted. Professor Kenneth Bailey, after spending a great deal of time in remote and illiterate villages in the Middle East, used his experience with orality in such places to formulate a similar model of controlled transmission within the early Christian communities, but posited an informal mechanism of control. Controlled models of the Jesus tradition, and with them an evaluation of the gospels as possessing greater historical reliability, have been accepted by several scholars in recent years. However Thomas R. Yoder Neufeld adds that the early followers of Jesus were not interested in simply preserving the past but were also interested in fitting the narratives to suit urgent information, audience interest and creativity in communication and believed that they were in direct communication with Jesus though the Holy Spirit, thus making it still difficult for historians to assess the historical reliability of the oral tradition. With regards to Bailey's studies, Maurice Casey writes that they cannot be applied to first century Jews as they were about a different culture at a different time.

Content of the gospels

The four gospels present different narratives, reflecting different intents on the parts of their authors.

All four gospels portray Jesus as leading a group of disciples, performing miracles, preaching in Jerusalem, being crucified, and rising from the dead.

The synoptic gospels represent Jesus as an exorcist and healer who preached in parables about the coming Kingdom of God. He preached first in Galilee and later in Jerusalem, where he cleansed the temple. He states that he offers no sign as proof (Mark) or only the sign of Jonah (Matthew and Luke). In Mark, apparently written with a Roman audience in mind, Jesus is a heroic man of action, given to powerful emotions, including agony. In Matthew, apparently written for a Jewish audience, Jesus is repeatedly called out as the fulfillment of Hebrew prophecy. In Luke, apparently written for gentiles, Jesus is especially concerned with the poor. Luke emphasizes the importance of prayer and the action of the Holy Spirit in Jesus' life and in the Christian community. Jesus appears as a stoic supernatural being, unmoved even by his own crucifixion. Like Matthew, Luke insists that salvation offered by Christ is for all, and not the Jews only.

The Gospel of John represents Jesus as an incarnation of the eternal Word (Logos), who spoke no parables, talked extensively about himself, and did not explicitly refer to a Second Coming. Jesus preaches in Jerusalem, launching his ministry with the cleansing of the temple. He performs several miracles as signs, most of them not found in the synoptics. The Gospel of John ends:(21:25) ''"And there are also many other things which Jesus did, the which, if they should be written every one, I suppose that even the world itself could not contain the books that should be written. Amen."''

Gospel Genre

One important aspect of the study of the gospels is the genre under which they fall. Genre "is a key convention guiding both the composition and the interpretation of writings. " Whether the Gospel authors set out to write novels, myths, histories, or biographies has a tremendous impact on how they ought to be interpreted. If, for example, Rudolf Bultmann was correct, and the Gospel authors had no interest in history or in a historical Jesus, Although not without critics, the position that the Gospels are a type of ancient biography is the consensus among scholars today.

Non-canonical gospels

In addition to the four canonical gospels, early Christians wrote other gospels that were not accepted into the canon, some of which are discussed below.

Jewish-Christian Gospels

Epiphanius, Jerome and other early church fathers preserve in their writings citations from one or more Jewish-Christian Gospels, versions of Matthew used by Ebionites and Nazarenes. Most modern critical scholars consider that the extant citations suggest at least two and probably three distinct Jewish-Christian versions of Matthew, and that the source language of these is probably Greek. A minority of scholars, including Edward Nicholson (1879) and James R. Edwards (2009) have suggested that the surviving citations are all from one Gospel, which is, as Jerome himself records that the Nazarenes claimed, the original, and Hebrew, Gospel of Matthew.

According to Eusebius, Origen said the first Gospel was written by Matthew (''Church History'' 6.25.4). Jerome reports that the Nazarenes believed that this Gospel was composed in Hebrew near Jerusalem for Hebrew Christians and Jerome claimed to have translated parts of it into Greek, but if so any the Greek translation has not survived. Jerome reports that the Nazarenes' Hebrew original was kept at the Library of Caesarea and that the Nazarene Community transcribed a copy for him which he used in his work (''On Illustrious Men'' 3:7) Jerome refers to this gospel sometimes as the ''Gospel according to the Hebrews'' (3.7) and sometimes as the ''Gospel of the Apostles'' (''Against Pelagius'' 3.2).

Gospel of Thomas

The gospel attributed to Thomas is mostly wisdom without narrating Jesus's life. A few scholars argue that its first edition was written ''c'' 50-60, but that the surviving edition was written in the first half of the second century. This would mean that its first edition was contemporary with the earliest letters of Paul the Apostle. The Oxford Dictionary of the Christian Church says that the original may date from ''c.'' 150. It may represent a tradition independent from the canonical gospels, but that developed over a long time and was influenced by Matthew and Luke. It had been lost but was discovered, in a Coptic version dating from ''c.'' 350, at Nag Hammadi in 1945-6, and three papyri, dated to ''c.'' 200, which contain fragments of a Greek text similar to but not identical with that in the Coptic language, have also been found. It seems to be largely legendary, hostile toward Jews, and including docetic elements. It had been lost but was rediscovered in the 19th century.

Gospel of Judas

The Gospel of Judas is another controversial and ancient text that purports to tell the story of the gospel from the perspective of Judas, the disciple who is usually said to have betrayed Jesus in most versions of the Bible. It paints an unusual picture of the relationship between Jesus and Judas, in that appears to interpret Judas's act not as betrayal, but rather as an act of obedience to the instructions of Jesus. The text was recovered from a cave in Egypt by a thief and thereafter sold on the black market until it was finally discovered by a collector who, with the help of academics from Yale and Princeton, was able to verify its authenticity. The document itself does not claim to have been authored by Judas (it is, rather, a Gospel about Judas), and dates no earlier than the 2nd century.

The Sayings Collection 'Q'

According to scholars proposing the existence of a hypothetical sayings-source, a ''Redensquelle'', 'Q' (following the terminology of Johannes Weiss) at some time there existed a document comprised mostly sayings of Jesus with little narrative. It is presumed the source for many of Jesus' sayings in Matthew and Luke, and accordingly must have preceded these gospels. It is believed that the earliest form of the sayings were written circa 50-60. However Mark Goodacre and other scholars have questioned the existence of a Q document.

Infancy gospels

A genre of "Infancy gospels" (Greek: ''protoevangelion'') arose in the 2nd century, such as the ''Gospel of James'', which introduces the concept of the Perpetual Virginity of Mary, and the ''Infancy Gospel of Thomas'' (not to be confused with the absolutely different sayings ''Gospel of Thomas''), both of which related many miraculous incidents from the life of Mary and the childhood of Jesus that are not included in the canonical gospels.

Harmonies

Another genre is that of gospel harmonies, in which the four canonical gospels were selectively recast as a single narrative to present a consistent text. Very few fragments of harmonies have survived. The ''Diatessaron'' was such a harmonization, compiled by Tatian around 175. It was popular for at least two centuries in Syria, but eventually it fell into disuse. More recently, in 2006, UOG Press published ''ONE'' as a modern gospel harmony of the four Canonical Gospels; ''ONE'' contains a 2,992 numbering reference system which tracks the textual harmonization process to the extant works for analysis and citation.

Marcion's Gospel of Luke

Marcion of Sinope, c. 150, had a version of the gospel of Luke which differed substantially from that which has now become the standard text. Marcion's version was far less Jewish than the now canonical text, and his critics alleged that he had edited out the portions he didn't like from the canonical version, though Marcion argued that his text was the more genuinely original one. Marcion also rejected all the other gospels, including Matthew, Mark and especially John, which he alleged had been forged by Irenaeus.

See also

List of Gospels

Toledoth Yeshu - an anti-gospel

Agrapha are the collection of religious sayings attributed to Jesus Christ that are not found in the canonical gospels.

Godspell is a musical based on the gospels of Jesus Christ. The word "Gódspell" is Anglo Saxon (ca 1000 AD) for Gospel.

Good news (Christianity) concerning the content of the Bible's message about Jesus Christ

Gospel harmony

Gospel (liturgy)

Gilyonim

Injil

Four evangelists

Bodmer Papyri

Acts of the Apostles (genre)

Apocalyptic literature

Christianity

Evangelism

Bible

Theology

Jesusism

References

Further references

McGrath, A. 2001. ''In the Beginning the Story of the King James Bible and how it changed a Nation, a Language and a Culture.'' Hodder & Stoughton. ISBN 0 340 78585 3.

External links

BibleGateway.com has the text of the New Testament gospels in various translations and versions

A detailed discussion of the textual variants in the gospels — covering about 1200 variants on 2000 pages.

Greek New Testament — the Greek text of the New Testament: specifically the Westcott-Hort text from 1881, combined with the NA26/27 variants.

Introduction to ''The Complete Gospels'' — an excerpt and information about this compilation of canonical and non-canonical gospels in translation.

Tessarôn Euaggeliôn Sumphônia - The Greek harmony of the Gospels

Quattuor Evangeliorum Consonantia - The Latin harmony of the Gospels (1)

Quattuor Evangeliorum Consonantia - The Latin harmony of the Gospels (2)

The Case against Q collects resources for considering the Q hypothesis and evidence that Luke used Matthew

Parallel Gospels in Harmony Online version of the public domain book ''Parallel Gospels in Harmony — with Study Guide''

Synoptic Parallels A web tool for finding corresponding passages in the Gospels

Category:Doctrines and teachings of Jesus Category:Christian genres Category:Canonical Gospels Category:Christian terms

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name	Mary Magdalene
birth date	early 1st century AD
death date	mid to late 1st century AD
feast day	July 22
venerated in	Eastern OrthodoxyRoman Catholic ChurchAnglican CommunionLutheranismother Protestant churches Bahá'í Faith
birth place	Magdala, Judea
death place	Ephesus, Asia Minor or Marseilles
titles	''West:'' Penitent''East:'' Myrrhbearer and Equal of the Apostles ''Both:'' Apostle to the Apostles
attributes	''Western:'' alabaster box of ointment ''Eastern:'' container of ointment (as a myrrhbearer), or holding a red egg (symbol of the resurrection); embracing the feet of Christ after the Resurrection
patronage	apothecaries; Atrani, Italy; Casamicciola Terme, Ischia; contemplative life; converts; glove makers; hairdressers; penitent sinners; people ridiculed for their piety; perfumeries; pharmacists; reformed prostitutes; sexual temptation; tanners; women
influences	}}

Mary Magdalene or Mary of Magdala (original Greek Μαρία ἡ Μαγδαληνή) was one of Jesus' most celebrated disciples, and the most important woman disciple in the movement of Jesus. Jesus cleansed her of seven demons . She became most prominent during his last days, being present at the cross after the male disciples (excepting John the Beloved) had fled, and at his burial. She was the first person to see Jesus after his Resurrection, according to both John 20 and .

Mary Magdalene is considered by the Catholic, Orthodox, Anglican, and Lutheran churches to be a saint, with a feast day of July 22. The Eastern Orthodox churches also commemorate her on the Sunday of the Myrrhbearers.

Name

Consistently in the four Gospels, Mary Magdalene seems to be distinguished from other women named Mary by adding "Magdalene" (η Μαγδαληνή) to her name. Traditionally, this has been interpreted to mean that she was from Magdala, a town thought to have been on the western shore of the Sea of Galilee. says that she was actually "called Magdalene." In Hebrew מגדל ''Migdal'' means "tower", "fortress"; in Aramaic, "Magdala" means "tower" or "elevated, great, magnificent".

In the Gospel of John, Mary Magdalene is also referred to simply as "Mary" at least twice. Gnostic writings use Mary, Mary Magdalene, or Magdalene.

Mary Magdalene's given name Μαρία (Maria) is usually regarded as a Latin form of Μαριὰμ (Mariam), which is the Greek variant used in Septuagint for Miriam, the Hebrew name for Moses' sister. The name had become very popular during Jesus' time due to its connections to the ruling Hasmonean and Herodian dynasties.''

Sources

Primary sources about Mary Magdalene can be divided into canonical texts that are collected into the Christian New Testament and apocryphal texts that were left out from the Bible, being judged as heretical during the development of the New Testament canon. These apocryphal sources are usually dated earliest to the end of the 1st and latest to the early 4th century, all possibly written well after Mary's death.

New Testament

The four Gospels included in the New Testament have little to say about Mary Magdalene. With a single exception in the Gospel of Luke, there is no mention of her in the Gospels before the crucifixion.

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According to and , Jesus cleansed her of "seven demons". Some contemporary scholars contend this concept means healing from illness. Some scholars regard the reference in Mark as a late addition, and the reference is possibly based on the Gospel of Luke.

It is at the time of the crucifixion and resurrection that Mary Magdalene comes to the fore in the gospels. Uniquely among the followers of Jesus, she is specified by name (though not consistently by any one gospel) as a witness to three key events: Jesus' crucifixion, his burial, and the discovery of his tomb to be empty. , Matthew 27:56 and mention Mary Magdalene as a witness to crucifixion, along with various other women. Luke does not name any witnesses, but mentions "women who had followed him from Galilee" standing at a distance. In listing witnesses who saw where Jesus was buried by Joseph of Aramathea, and Matthew 27:61 both name only two people: Mary Magdalene and "the other Mary", who in Mark is "the mother of James". describes the witnesses merely as "the women who had come with Jesus from Galilee". mentions no other witness to Joseph's burial of Jesus except for Joseph's assistant Nicodemus. However, John 20:1 then names Mary Magdalene in describing who discovered the tomb to be empty. says she was accompanied by Salome and Mary the mother of James, while Matthew 28:1 omits Salome. says the group who found the empty tomb consisted of "Mary Magdalene, Joanna, Mary the mother of James, and the others with them".

In Mark, Matthew, and John, Mary Magdalene is first witness to the Resurrection. John 20:16 and both straightforwardly say that Jesus' first post-resurrection appearance was to Mary Magdalene alone. New Testament scholar Frank Stagg points out that Mary's role as a witness is unusual because women at that time were not considered credible witnesses in legal proceedings. Because of this, and because of extra-biblical traditions about her subsequent missionary activity in spreading the Gospel, she is known by the title, "Equal of the Apostles". In Matthew 28:9, Mary Magdalene is with the other women returning from the empty tomb when they all see the first appearance of Jesus. In the resurrection is announced to the women at the tomb by "two men in clothes that gleamed like lightning" who suddenly appeared next to them.

The first actual appearance by Jesus that Luke mentions is later that day, when Cleopas and an unnamed disciple walked with a fellow traveler they later realized was Jesus. describes the same appearance as happening after the private appearance to Mary Magdalene. The gospels of Mark and Luke record that the rest of the disciples did not believe Mary's report of what she saw, and neither Mary Magdalene nor any of the other women are mentioned by name in Paul's catalog of appearances at . Instead, Paul writes that Jesus "appeared to Peter, and then to the Twelve". Indeed, after her disbelieved first report of a resurrection vision, Mary Magdalene disappears from the New Testament. She is not mentioned in the Acts of the Apostles, and her fate remains undocumented.

The Gospel of John and the Gospel of Luke also mention a "Mary of Bethany", who in some Christian traditions is regarded the same person as Mary Magdalene. Mary of Bethany was the sister of Lazarus and Martha. Mary and Martha are the most familiar set of sisters in the Bible. Both Luke and John describe them as friends of Jesus. Luke's story, though only four verses long, has been a complex source of inspiration, interpretation, and debate for centuries. John's account, which says the sisters had a brother named Lazarus, spans seventy verses. Though some earlier interpreters blended the person of Mary of Bethany with Mary Magdalene and the sinful woman of Luke 7:36-50, current scholars believe she was a different person.

Among the women who are specifically named in the New Testament of the Bible, Mary Magdalene’s name is one of the most frequently found. In , the author names three women in sequence: “Mary Magdalene, and Mary the mother of James and Joses, and the mother of Zebedee's children.” In the Gospel of Mark, the author lists a group of women three times, and each time, Mary Magdalene’s name appears first. Finally, in the Gospel of Luke, the author enumerates the women who went to the tomb of Jesus, writing that, “It was Mary Magdalene, Joanna, Mary the mother of James, and the other women with them,” which once again place Mary Magdalene at the head of the list. According to Carla Ricci, “The place she [Mary Magdalene] occupied in the list cannot be considered fortuitous,” because over and over Mary Magdalene’s name is placed at the head of specifically named women, indicating her importance. The significance of this is further strengthened when one examines the lists of the named apostles. In Luke, the author writes that Jesus “took Peter, John and James.” According to Ricci, because Peter occupies the first position in the list, that place can be considered the position of highest importance. As a result, it can be argued that Mary Magdalene must have held a very central position among the followers of Jesus, whether as disciple or in some other capacity.

Mary Magdalene as prostitute

Pope Gregory the Great's homily on Luke's gospel dated 14 September 591 first suggested that Mary Magdalene was a prostitute: "She whom Luke calls the sinful woman, whom John calls Mary, we believe to be the Mary from whom seven devils were ejected according to Mark. And what did these seven devils signify, if not all the vices? ... It is clear, brothers, that the woman previously used the unguent to perfume her flesh in forbidden acts."(''homily XXXIII'')

In 1969 the Vatican, without commenting on Pope Gregory's reasoning, implicitly rejected it by separating Luke's sinful woman, Mary of Bethany, and Mary Magdala via the Roman Missal.

This identification of Mary Magdalene as a prostitute was followed by many writers and artists until the 20th century. Even today it is promulgated by some secular and occasional Christian groups. It is reflected in Martin Scorsese's film adaptation of Nikos Kazantzakis's novel ''The Last Temptation of Christ'', in José Saramago's ''The Gospel According to Jesus Christ'', Andrew Lloyd Webber's rock opera ''Jesus Christ Superstar'', Mel Gibson's ''The Passion of the Christ'', Jean-Claude La Marre's ''Color of the Cross'' and Hal Hartley's The Book of Life.

It was because of this association of Mary as a prostitute that she became the patroness of "wayward women", and "Magdalene houses" became established to help save women from prostitution.

Artwork

The identification of Mary Mary Magdalene as prostitute and adulteress is perpetuated by much Western medieval Christian art. In many such depictions, Mary Magdalene is shown as having long hair which she wears down over her shoulders, while other women follow contemporary standards of propriety by hiding their hair beneath headdresses or kerchiefs. The Magdalene's hair may be rendered as red, while the other women of the New Testament in these same depictions ordinarily have dark hair beneath a scarf. This disparity between depictions of women can be seen in works such as the Crucifixion paintings by the Meister des Marienlebens.

There are depictions of her also showing us how various artisits viewed her and Jesus' relationship. According to Robert Kiely, "no figure in the Christian Pantheon except Jesus, the Virgin Mary, and John the Baptist has inspired, provoked, or confounded the imagination of painters more than the Magdalene." Paintings can offer a deep insight as to what popular culture believed about an individual at a certain point in history. In Fra Angelico’s painting ''Noli me tangere''. There is no sign of "suppressed desire" and there is not tension. Fra Angelico’s painting (according to Robert Kiely) "is not a shocking or disturbing scene in which Mary overreacts, but a quiet beginning of a heavenly dance."

New Testament Apocrypha and Gnostic texts

In apocryphal texts, she is portrayed as a visionary and leader of the early movement who was loved by Jesus more than the other disciples. Several Gnostic gospels, such as the Gospel of Mary, written in the early 2nd century, see Mary as the special disciple of Jesus who has a deeper understanding of his teachings and is asked to impart this to the other disciples.

Several Gnostic writings, usually dated to 2nd and 3rd centuries, paint a drastically different picture of Mary Magdalene from that of the canonical Gospels.

In Gnostic writings Mary Magdalene is seen as one of the most important of Jesus' disciples whom he loved more than the others. The Gnostic Gospel of Philip names Mary Magdalene as Jesus' companion. Gnostic writings describe tensions and jealousy between Mary Magdalene and other disciples, especially Peter.

''Gospel of Mary''

In her introduction in ''The Complete Gospels,'' Karen King names the manuscripts available for the Gospel of Mary. She writes that only three fragmentary manuscripts are known to have survived into the modern period, two third-century fragments (P. Rylands 463 and P. Oxyrhynchus 3525) published in 1938 and 1983, and a longer fifth-century Coptic translation (Berolinensis Gnosticus 8052,1) published in 1955.

The Gospel of Mary exalts Mary Magdalene over the male disciples of Jesus. The Gospel of Mary provides important information about the role of women in the early church. It is usually dated to about the same period as that of the Gospel of Philip. The Gospel was first discovered in 1896. The Gospel is missing six pages from the beginning and four in the middle.

The identity of "Mary" appearing as the main character in this Gospel is sometimes disputed, but she is generally regarded to be Mary Magdalene. ''The Gospel of Mary'' presents her as one of the disciples, says she has seen a private vision from the resurrected Jesus and describes it to other disciples.

Peter said to Mary, "Sister we know that the Savior loved you more than the rest of woman. Tell us the words of the Savior which you remember which you know, but we do not, nor have we heard them." Mary answered and said, "What is hidden from you I will proclaim to you." And she began to speak to them these words: "I, she said, I saw the Lord in a vision and I said to Him, Lord I saw you today in a vision."

Almost all of Mary's vision is within the lost pages.

When Mary had said these things, she fell silent, since it was up to this point that the Savior had spoken to her.

Mary is then confronted by Andrew and Peter, who do not take for granted what she says, because she is a woman:

"Did he then speak secretly with a woman, in preference to us, and not openly? Are we to turn back and all listen to her? Did he prefer her to us?" Then Mary grieved and said to Peter, "My brother Peter, what do you think? Do you think that I thought this up myself in my heart or that I am lying concerning the Savior?"

However, Mary is defended by Levi:

"But if the Savior made her worthy, who are you to reject her? Surely the Savior knew her very well. For this reason he loved her more than us."

The repeated reference in the Gnostic texts of Mary as being loved by Jesus more than the others has been seen as supporting the theory that the Beloved Disciple in the canonical Gospel of John was originally Mary Magdalene, before a later redactor made changes in the Gospel.

''Gospel of Philip''

Gospel of Philip, dating from the 2nd or 3rd century, survives in part among the texts found in Nag Hammadi in 1945. In a manner very similar to , the Gospel of Philip presents Mary Magdalene among Jesus' female entourage, adding that she was his ''koinônos,'' a Greek word variously translated in contemporary versions as partner, associate, comrade, companion.

There were three who always walked with the Lord: Mary, his mother, and her sister, and Magdalene, the one who was called his companion. His sister, his mother and his companion were each a Mary.

Others' irritation from the love and affection presented by Jesus to Mary Magdalene is claimed in the apocryphal Gospel of Philip. The text is badly fragmented, and speculated but unreliable additions are shown in brackets:

And the companion of [the saviour was Mar]y Ma[gda]lene. [Christ loved] M[ary] more than [all] the disci[ples, and used to] kiss her [often] on her [mouth]. The rest of [the disciples were offended by it and expressed disapproval]. They said to him, "Why do you love her more than all of us?" The Saviour answered and said to them, "Why do I not love you like her?"

''Gospel of Thomas''

Gospel of Thomas, usually dated to the late 1st or early 2nd century, was also among the finds in the Nag Hammadi library in 1945. It has two short references to a "Mary", generally regarded as Mary Magdalene. The latter of the two describes the sentiment towards female members of the early Gnostics:

Simon Peter said to them: Let Mary go forth from among us, for women are not worthy of the life. Jesus said: Behold, I shall lead her, that I may make her male, in order that she also may become a living spirit like you males. For every woman who makes herself male shall enter into the kingdom of heaven.

When the Gospel of Thomas was written, people commonly assumed that men were superior to women, much as humans were superior to animals. While it is surprising today to think that many believed back then that a woman would have to become male to enter the kingdom of heaven, it was an attitude consistent with the historical context.

The manuscript gives 114 "secret teachings" of Jesus. Mary is mentioned briefly in saying 21. Here, Mary asks Jesus, "Whom are your disciples like?" Jesus responds, "They are like children who have settled in a field which is not theirs. When the owners of the field come, they will say, 'Let us have back our field.' They (will) undress in their presence in order to let them have back their field and to give it back to them." Following this, Jesus continues his explanation with a parable about the owner of a house and a thief, ending with the common rhetoric, "Whoever has ears to hear let him hear."

''Pistis Sophia''

Pistis Sophia, possibly dating as early as the 2nd century, is the best surviving of the Gnostic writings. ''Pistis Sophia'' presents a long dialog with Jesus in the form of his answers to questions from his disciples. Of the 64 questions, 39 are presented by a woman who is referred to as Mary or Mary Magdalene. Jesus says of Mary:

"Mary, thou blessed one, whom I will perfect in all mysteries of those of the height, discourse in openness, thou, whose heart is raised to the kingdom of heaven more than all thy brethren."

There is also a short reference to a person named "Martha" among the disciples, possibly the same person who is named as the sister of Mary of Bethany.

Religious views of Mary Magdalene

Eastern Orthodox tradition

The Eastern Orthodox Church maintains that Mary Magdalene, distinguished from Mary of Bethany and the "sinful woman", had been a virtuous woman all her life, even before her conversion. They have never celebrated her as a penitent. This view finds expression both in her written ''life'' (βίος or vita) and in the liturgical service in her honor that is included in the Menaion and performed on her annual feast-day. There is a tradition that Mary Magdalene led so chaste a life that the devil thought she might be the one who was to bear Christ into the world, and for that reason he sent the seven demons to trouble her.

Mary Magdalene is honored as one of the first witnesses of the Resurrection of Jesus, and received a special commission from him to tell the Apostles of his resurrection. She is often depicted on icons bearing a vessel of ointment, not because of the anointing by the "sinful woman", but because she was among those women who brought ointments to the tomb of Jesus. For this reason, she is called a Myrrhbearer.

According to Eastern traditions, she retired to Ephesus with the Theotokos (Mary, the Mother of God) and there she died. (This previous statement appears to be a conflation of Turkish local traditions about St. John and the Virgin Mary House of the Virgin Mary). Her relics were transferred to Constantinople in 886 and are there preserved.

Apostle of the Apostles

Mary Magdalene is referred to as "the apostle to the apostles" from the tenth century. From the twelfth century Abbot Hugh of Semur (died 1109), Peter Abelard (died 1142), and Geoffrey of Vendome (died 1132) all referred to Mary Magdalene as the sinner who merited the title ''apostolarum apostola'', with the title becoming commonplace during the twelfth and thirteenth centuries.

Hippolytus, a Christian leader in Rome around 200 AD, is thought by many to be the anonymous writer of that period that Jesus first appeared to the women at the tomb. He instructed them to go and tell his disciples that he was risen from the dead. Then he appeared to his disciples and "upbraided them for not believing the women's report." Bart D. Ehrman concludes that Mary Magdalene was the original apostle. He quotes Hippolytus as indicating: "Christ showed himself to the (male) apostles and said to them, 'It is I who appeared to these women and I who wanted to send them to you as apostles. Ehrman concludes from this that Mary and the others could therefore be thought of as "apostles sent to the apostles," a title that Mary Magdalene herself came to bear in the Middle Ages (Latin: ''apostola apostolorum''). Erhman further cites and Matthew 28:11 as evidence for his proposition.

Darrell Bock takes the view that Mary Magdalene was not singled out, but was part of a group of women who shared the honour, that for Hippolytus "she was one of a few apostles", stating the term did not originate with Hippolytus.

According to Harvard theologian Karen King, Mary Magdalene was a prominent disciple and leader of one wing of the early Christian movement that promoted women's leadership. King cites references in the Gospel of John that the risen Jesus gives Mary special teaching and commissions her as an "Apostle to the Apostles." Mary is the first to announce the resurrection and to fulfill the role of an Apostle─someone sent by Jesus with a special message or commission, to spread the gospel ("good news") and to lead the early church. The first message she was given was to announce to Peter and the others that "He is risen!"( ) Although the term is not specifically used of her in the New Testament, Eastern Christianity refers to her as "Equal to the Apostles"), and later traditions name her as "the apostle to the apostles." King writes that the strength of this literary tradition makes it possible to suggest that historically Mary was a prophetic visionary and leader within one sector of the early Christian movement after the death of Jesus.

Asbury Theological Seminary Bible scholar Ben Witherington III confirms the New Testament account of Mary Magdalene as historical: "Mary was an important early disciple and witness for Jesus." He continues, "There is absolutely no early historical evidence that Mary's relationship with Jesus was anything other than that of a disciple to her Master teacher."

In his apostolic letter ''Mulieris Dignitatem'' ("On the dignity and vocation of women", part 67-69) dated 15 August 1988, Pope John Paul II dealt with the Easter events in relation to the women being present at the tomb after the Resurrection, in a section entitled 'First Witness of the Resurrection': "The women ''are the first at the tomb''. They are the first to find it empty. They are the first to hear "He is not here. ''He has risen'', as he said." (Mt 28:6). They are the first to embrace his feet (cf. Mt 28:9), They are also the first to be called to announce this truth to the Apostles (cf. Mt 28:1-10, Lk 24:8-11). The Gospel of John (cf. also Mk 16:9) emphasizes the ''special role of Mary Magdalene''. She is the first to meet the Risen Christ. [...] Hence she came to be called "the apostle of the Apostles". Mary Magdalene was the first eyewitness of the Risen Christ, and for this reason she was also ''the first to bear witness to him before the Apostles.'' This event, in a sense, crowns all that has been said previously about Christ entrusting divine truths to women as well as men."

Roman Catholic tradition

Gregory of Tours, writing in Tours in the 6th century, supports the tradition that she retired to Ephesus, with no mention of any connection to Gaul.

How a cult of Mary Magdalene first arose in Provence has been summed up by Victor Saxer in the collection of essays in ''La Magdaleine, VIIIe – XIIIe siècle'' and by Katherine Ludwig Jansen, drawing on popular devotions, sermon literature and iconology. In Provence, Mary is said to have spent her last days alone in the wilderness, fasting and engaging in acts of penitential self-discipline, behavior that was rewarded with experiences of ecstatic union with the divine. Depictions of her last days became enormously popular in preaching and art.

Mary Magdalene's relics were first venerated at the abbey of Vézelay in Burgundy. Jacobus de Voragine gives the common account of the transfer of the relics of Mary Magdalene from her sepulchre in the oratory of Saint Maximin at Aix-en-Provence to the newly founded abbey of Vézelay; the transportation of the relics is entered as undertaken in 771 by the founder of the abbey, identified as Gerard, duke of Burgundy. The earliest mention of this episode is the notice of the chronicler Sigebert of Gembloux (died 1112), who asserts that the relics were removed to Vézelay through fear of the Saracens. There is no record of their further removal to the other St-Maximin; a casket of relics associated with Magdalene remains at Vézelay.

Afterwards, since September 9, 1279, the purported body of Mary Magdalene was also venerated at Saint-Maximin-la-Sainte-Baume, Provence. This cult attracted such throngs of pilgrims that the earlier shrine was rebuilt as the great Basilica from the mid-13th century, one of the finest Gothic churches in the south of France.

The competition between the Cluniac Benedictines of Vézelay and the Dominicans of Saint-Maxime occasioned a rash of miraculous literature supporting the one or the other site. Jacobus de Voragine, compiling his ''Legenda Aurea'' (Golden Legend) before the competition arose, characterized Mary Magdalene as the emblem of penitence, washing the feet of Jesus with her copious tears (although it is now believed that Mary of Bethany was the woman known for washing or anointing the feet of Jesus) protectress of pilgrims to Jerusalem, daily lifting by angels at the meal hour in her fasting retreat and many other miraculous happenings in the genre of Romance, ending with her death in the oratory of Saint Maximin, all disingenuously claimed to have been drawn from the histories of Hegesippus and of Josephus.

The French tradition of Saint Lazare of Bethany is that Mary, her brother Lazarus, and Maximinus, one of the Seventy Disciples and some companions, expelled by persecutions from the Holy Land, traversed the Mediterranean in a frail boat with neither rudder nor mast and landed at the place called ''Saintes-Maries-de-la-Mer'' near Arles. Mary Magdalene came to Marseille and converted the whole of Provence. Magdalene is said to have retired to a cave on a hill by Marseille, La Sainte-Baume ("holy cave." ''baumo'' in Provençal), where she gave herself up to a life of penance for thirty years. When the time of her death arrived she was carried by angels to Aix and into the oratory of Saint Maximinus, where she received the viaticum; her body was then laid in an oratory constructed by St. Maximinus at Villa Lata, afterwards called St. Maximin.

In 1279, when Charles II, King of Naples, erected a Dominican convent at La Sainte-Baume, the shrine was found intact, with an explanatory inscription stating why the relics had been hidden.

During the Counter Reformation and Baroque periods (late sixteenth and seventeenth centuries), the cult of Mary Magdalene saw a great, new popularity as the Catholic Church publicized her as an attractive, persusasive model of repentance and reform, in keeping with the goals of the reform Council of Trent (1545–63). Numerous works of art and theater featuring the tearful penitent Magdalene appeared in the seventeenth century. As part of this new attention to the cult of the Magdalene, in 1600, her relics were placed in a sarcophagus commissioned by Pope Clement VIII, the head being placed in a separate reliquary. The relics and free-standing images were scattered and destroyed at the Revolution. In 1814, the church of La Sainte-Baume, also wrecked during the Revolution, was restored. In 1822, the grotto was consecrated afresh. The head of the saint now lies there and has been the centre of many pilgrimages.

The traditional Roman Catholic feast day dedicated to St. Mary Magdalene celebrated her position as a penitent. The Magdalene became a symbol of repentance for the vanities of the world to various sects. In 1969, the Catholic Church allegedly admitted what critics had been saying for centuries: Magdalene's standard image as a reformed prostitute is not supported by the text of the Bible. They reportedly have revised the Roman Missal and the Roman Calendar, and now neither of those documents mention Mary Magdalene as a repentant sinner of ill repute. St. Mary Magdalene was the patron of Magdalen College, Oxford, and Magdalene College, Cambridge (both colleges pronounce her name as "maudlin"). In contrast, her name was also used for the Magdalen Asylum, institutions for "fallen women".

Protestant tradition

Protestants honor her as a highly respected apostle, disciple and friend of Jesus. Anglican and Lutheran Christians revere her as a saint and some call upon her for intercession. The Evangelical Lutheran Church in America honors Mary Magdalene, Apostle on July 22 as a Lesser Festival. Most Protestant Christians do not consider that Mary Magdalene was an apostle at all. They point out that it is Protestant Christianity's most ardent critics who try to propagate that assumption, along with strange—and in their eyes blasphemous—theories that Mary Magdalene had relations with Jesus. Those Protestant denominations that do not believe in the authority of women over men insist that the Bible clearly identifies the Apostles, and they were all men. Most Protestants see Mary Magdalene as a very dedicated follower, or disciple of Jesus, but not as an Apostle. Protestants do not believe the Catholic apocryphal texts are inspired of God, or God-breathed, in contrast to the rest of the Biblical texts that were included in the Biblical_canon.(cf John McArthur)

Easter Egg tradition

For centuries, it has been the custom of many Christians to share dyed and painted eggs, particularly on Easter Sunday. The eggs represent new life, and Christ bursting forth from the tomb. Among Eastern Orthodox Christians (including Albanian, Armenian, Bulgarian, Greek, Lebanese, Macedonian, Russian, Romanian, Serbian and Ukrainian) this sharing is accompanied by the proclamation "Christ is risen!" (in Greek ''"Christos anesti"'',Serbian:"Христос Вoскрeсе!", Armenian:"Քրիստոս յառեաւ ի մեռելոց",Albanian:"''Krishti U Ngjall!")'' and the response "Truly He is risen!" (in Greek - ''"Alithos anesti"'',Serbian:" Вaистина Воскресе", Albanian:"''Vertet U Ngjall''!").

One tradition concerning Mary Magdalene says that, following the death and resurrection of Jesus, she used her position to gain an invitation to a banquet given by Emperor Tiberius. When she met him, she held a plain egg in her hand and exclaimed, "Christ is risen!" Caesar laughed, and said that Christ rising from the dead was as likely as the egg in her hand turning red while she held it. Before he finished speaking, the egg in her hand turned a bright red, and she continued proclaiming the Gospel to the entire imperial house.

Another version of this story can be found in popular belief, mostly in Greece. It is believed that after the Crucifixion, Mary Magdalene and the Virgin Mary put a basket full of eggs at the foot of the cross. There, the eggs were painted red by the blood of the Christ. Then, Mary Magdalene brought them to Tiberius Caesar (see above).

Bahá'í tradition

There are many references to Mary Magdalene in the sacred writings of the Bahá'í Faith. `Abdu'l-Bahá, the son of the founder of the religion, said that she was "the channel of confirmation" to Jesus' disciples, a "heroine" who "re-established the faith of the apostles" and was "a light of nearness in his kingdom." `Abdu'l-Bahá also wrote that "her reality is ever shining from the horizon of Christ," "her face is shining and beaming forth on the horizon of the universe forevermore" and that "her candle is, in the assemblage of the world, lighted till eternity." `Abdu'l-Bahá considered her to be the supreme example of how women are completely equal with men in the sight of God and can at times even exceed men in holiness and greatness. Indeed he claimed that she surpassed all the men of her time, and that "crowns studded with the brilliant jewels of guidance" were upon her head.

The Bahá'í writings also expand upon the scarce references to her life in the canonical Gospels, with a wide array of extra-canonical stories about her and sayings which are not recorded in any other extant historical sources. `Abdu'l-Bahá claimed that Mary travelled to Rome and spoke before the Emperor Tiberius, which is presumably why Pilate was later recalled to Rome for his cruel treatment of the Jews (a tradition also attested to in the Eastern Orthodox Church). According to the memoirs of Juliet Thompson, `Abdu'l-Bahá also compared Mary to Juliet, one of his most devoted followers, claiming that she even physically resembled her and that Mary Magdalene was Juliet Thompson's "correspondence in heaven."

Speculations

The name Mary occurs numerous times in the New Testament. There are several people named Mary in the Gospels. There also are several unnamed women who seem to share characteristics with Mary Magdalene. At different times in history, Mary Magdalene has been confused or misidentified with almost every woman in the four Gospels, except the mother of Jesus. "The idea that this Mary was 'the woman who was a sinner,' or that she was unchaste, is altogether groundless."

"Beloved Disciple" in the Gospel of John

A group of scholars, the most familiar of whom is Elaine Pagels, have suggested that for one early group of Christians Mary Magdalene was a leader of the early Church. These scholars have even suggested that Mary might even be the unidentified "Beloved Disciple" to whom the ''Gospel of John'' is ascribed.

Raymond E. Brown suggests that to make this claim and maintain consistency with scriptures, Mary's separate existence in the two common scenes with the Beloved Disciple were modifications hastily added later to give validity to the gospel in the late 2nd century. Both scenarios have contain internal inconsistencies, possibly stemming from rough editing to make Mary Magdalene and the Beloved Disciple appear as different persons.

Anne Graham Lotz summarized this reading of the texts in 2003. She demonstrated that an early Christian writing portrays authority as being represented in Mary Magdalene or in the church community structure.

Identification as Mary of Bethany

In Roman Catholic tradition, Mary of Bethany is identified as Mary Magdalene, while in Eastern Orthodox and Protestant traditions they are considered separate persons. "Mary of Bethany" itself is an anachronism, as she is just referred to as "Mary" both in and the Gospel of John.

The identification is mainly based on the Gospel of John. The Mary appearing in Bethany is introduced in only by her first name, as if her identity was self-evident. Jesus seems to know her family well and is described visiting them several times. In , Mary anoints Jesus with expensive perfume and wipes his feet with her own hair, to which Jesus says that it was intended "she should save this perfume for the day of my burial". Following this, Mary of Bethany inexplicably disappears from the narrative, while the earlier unmentioned Mary Magdalene emerges without introduction at Jesus' crucifixion, finding later his tomb empty and being the first to be visited by him after the resurrection. Furthermore, also Mary Magdalene is referred to as "Mary" in the scenes certainly involving her.

The Gnostic texts commonly refer to Mary Magdalene as Mary.

Mary Magdalene, betrothed to John the Evangelist

The monk and historian Domenico Cavalca (circa 1270-1342), citing Jerome, suggested that Mary Magdalene was betrothed to St John the Evangelist: "I like to think that the Magdalene was the spouse of John, not affirming it... I am glad and blythe that St Jerome should say so."

The Dominican monk Jacobus de Voragine in his Golden Legend reported the legend that Mary Magdalene was betrothed to St John the Evangelist, who left his bride at the altar to follow Jesus, dismissing it as a "false and frivolous tale".

In 1449 King René d'Anjou gave to Angers Cathedral the amphora from Cana in which Jesus changed water to wine, acquiring it from the nuns of Marseilles, who told him that Mary Magdalene had brought it with her from Judea, relating to the legend where she was the jilted bride at the wedding following John the Evangelist received his calling from Jesus.

Mary Magdalene, a virgin after the Resurrection of Jesus Christ

Ambrose (''De virginitate'' 3,14; 4,15) and John Chrysostom (''Matthew, Homily 88'') have suggested that Mary Magdalene was a virgin after the Resurrection of Jesus Christ.

Relationship with Jesus

Gnostic texts

The Gospel of Philip depicts Mary as Jesus' ''koinonos'', a Greek term indicating a "close friend" or "companion". Mary Magdalene is mentioned as one of three Marys "who always walked with the Lord" and as his companion (Philip 59.6-11). The work also says that Lord loved her more than all the disciples, and used to kiss her often (63.34-36). The closeness described in these writings depicts Mary Magdalene, representing the Gnostics, as understanding Jesus and his teaching while the other disciples, representing the Church, did not. Kripal writes that "the historical sources are simply too contradictory and simultaneously too silent" to make absolute declarations regarding Jesus' sexuality. On the other hand, author John Dickson argues that it was common in early Christianity to kiss a fellow believer by way of greeting, and as such kissing would have no romantic connotations.

Mary Magdalene appears with more frequency than other women in the canonical Gospels and is shown as being a close follower of Jesus. Mary's presence at the Crucifixion and Jesus' tomb, while hardly conclusive, is at least consistent with the role of grieving wife and widow. There are also passages indicating that Mary of Bethany was behaving as a Jewish wife, for example in waiting to be summoned when Jesus arrived at Lazarus’ tomb. This would be resolved if Mary Magdalene and Mary of Bethany were one and the same character (see below).

Proponents of a companionship with Jesus argue that it would have been unthinkable for an adult, unmarried Jew to travel about teaching as a rabbi. However, in Jesus' time the Jewish religion was very diverse and the role of the rabbi was not yet well defined. It was not until after the Roman destruction of the Second Temple in AD 70 that Rabbinic Judaism became dominant and the role of the rabbi made uniform in Jewish communities.

Medieval dualism

The 13th-century Cistercian monk and chronicler Peter of Vaux de Cernay claimed it was part of Catharist belief that the earthly Jesus Christ had a relationship with Mary Magdalene, described as his concubine. Quote: "Further, in their secret meetings they said that the Christ who was born in the earthly and visible Bethlehem and crucified at Jerusalem was 'evil', and that Mary Magdalene was his concubine – and that she was the woman taken in adultery who is referred to in the Scriptures; the 'good' Christ, they said, neither ate nor drank nor assumed the true flesh and was never in this world, except spiritually in the body of Paul. I have used the term 'the earthly and visible Bethlehem' because the heretics believed there is a different and invisible earth in which – according to some of them – the 'good' Christ was born and crucified."

A document, possibly written by Ermengaud of Béziers, undated and anonymous and attached to his ''Treatise against Heretics'', makes a similar statement. Quote: "Also they [the Cathars] teach in their secret meetings that Mary Magdalene was the wife of Christ. She was the Samaritan woman to whom He said, 'Call thy husband.' She was the woman taken into adultery, whom Christ set free lest the Jews stone her, and she was with Him in three places, in the temple, at the well, and in the garden. After the Resurrection, He appeared first to her."

Mary Magdalene and Iona

The author Fiona MacLeod reported "there's a story that Mary Magdalene lies in a cave in Iona".

Mary Magdalene in historical fiction

Edgar Saltus's historical fiction novel ''Mary Magdalene: A Chronicle'' (1891) depicts her as a heroine living in a castle at Magdala, who moves to Rome becoming the "toast of the tetrarchy", telling John The Baptist she will "drink pearls... sup on peacock's tongues."

See also

Jesus bloodline

Magdalen Society of Philadelphia forced labour society

Magdalene Asylum forced labour organisation

Mary of Bethany

Saint Sarah

Saintes-Maries-de-la-Mer

St. Mary Magdalene's Church

References

Further reading

Acocella, Joan. "The Saintly Sinner: The Two-Thousand-Year Obsession with Mary Magdalene." ''The New Yorker'', February 13 & 20, 2006, p. 140–49. Prompted by controversy surrounding Dan Brown's ''The Da Vinci Code''.

Brock, Ann Graham. ''Mary Magdalene, The First Apostle: The Struggle for Authority''. Cambridge, Massachusetts: Harvard University Press, 2003. ISBN 0674009665. Discusses issues of apostolic authority in the gospels and the ''Gospel of Peter'' the competition between Peter and Mary, especially in chapter 7, "The Replacement of Mary Magdalene: A Strategy for Eliminating the Competition."

Burstein, Dan, and Arne J. De Keijzer. ''Secrets of Mary Magdalene''. New York: CDS Books, 2006. ISBN 1593152051.

Jansen, Katherine Ludwig. ''The Making of the Magdalen: Preaching and Popular Devotion in the Later Middle Ages''. Princeton, N.J.: Princeton University Press, 2000. ISBN 0691058504.

ISBN 0226453812.

Pearson, Birger A. "Did Jesus Marry?." ''Bible Review'', Spring 2005, pp 32–39 & 47. Discussion of ''complete'' texts.

Picknett, Lynn, and Clive Prince. ''The Templar Revelation''. New York: Simon & Schuster, 1997. ISBN 0593038703. Presents a hypothesis that Mary Magdalene was a priestess who was Jesus' partner in a sacred marriage.

Shoemaker, Stephen J. "Rethinking the ‘Gnostic Mary’: Mary of Nazareth and Mary of Magdala in Early Christian Tradition." in ''Journal of Early Christian Studies'', 9 (2001) pp 555–595.

Thiering, Barbara. ''Jesus the Man: Decoding the Real Story of Jesus and Mary Magdalene''. New York: Simon & Schulster (Atria Books), 2006. ISBN 1416541381.

Wellborn, Amy. ''De-coding Mary Magdalene: Truth, Legend, and Lies''. Huntington, Indiana: Our Sunday Visitor, 2006. ISBN 1592762093. A straightforward accounting of what is well-known of Mary Magdalene.

External links

St. Mary Magdalene (pdf) from Fr. Alban Butler's ''Lives of the Saints''

"Saint Mary Magdalene." Encyclopædia Britannica Online.

The Life of St. Mary Magdalene: Saint of the Christian Church

St Mary Magdalene, Catholic Encyclopaedia 1911

Convent of Saint Mary Magdalene

St Mary Magdalen and the case for the ordination of women in the Catholic Church

Legends of Mary Magdalene

The Pesher Technique: ''The Marriage of Jesus'' by Barbara Thiering

Miriam/Myriam M'Gadola: Mary Magdalene

Articles and more than 40 Paintings

Early Christian Writings: ''Gospel of Mary''

''Gospel of Mary Magdalene''

Showing inaccuracy of ''The Da Vinci Code'' in respect to Mary Magdalene

Category:1st-century Christian female saints Category:1st-century deaths Category:Anglican saints Category:Eastern Orthodox saints Category:Equal-to-apostles Category:Followers of Jesus Category:New Testament people Category:People celebrated in the Lutheran liturgical calendar Category:Roman Catholic saints Category:Saints from the Holy Land Category:Saints of the Golden Legend

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name	Lee Strobel
birth date	January 25, 1952
birth place	Arlington Heights, Illinois, U.S.
occupation	Legal editor, writer, journalist
alma mater	University of Missouri Yale University
nationality	United States
period	Current
genre	Science and ReligionHistoricity of the Gospels
subject	Christian apologetics
spouse	Leslie Strobel
children	Kyle Strobel, Alison Strobel
influences	Frank Morison (English journalist)
website	http://www.leestrobel.com/
awards	Illinois' top honors for investigative reporting and public service journalism from United Press International, Gold Medallion Book Award }}

Lee Patrick Strobel (b. January 25, 1952 in Arlington Heights, Illinois) is a writer, creationist, former journalist and former megachurch pastor. He is the author of several books, including four which received ECPA Christian Book Awards (1994, 1999, 2001, 2005) and a series which addresses challenges to a Biblically inerrant view of Christianity. Strobel also hosted a television program called ''Faith Under Fire'' on PAX TV, and runs a video apologetics web site. Strobel has been interviewed on numerous national television programs, including ABC's 20/20, Fox News and CNN.

Biography

Strobel received a journalism degree from University of Missouri and a Master of Studies in Law degree from Yale Law School, becoming a journalist for ''The Chicago Tribune'' and other newspapers for 14 years. He stated he was an atheist, before he became a Christian. When his wife became a Christian, Strobel decided to use his journalism skills to investigate Christianity. After investigating the evidence for Christianity, Strobel became a Christian.

Strobel was a teaching pastor of Willow Creek Community Church in South Barrington, Illinois, from 1987 to 2000, and of Saddleback Church in Lake Forest, California from 2000 to 2002, before shifting his focus to writing and producing his TV show. He continues to speak periodically at both churches and has been a board member of the Willow Creek Association. In 2007, Strobel was awarded an honorary doctoral degree by Southern Evangelical Seminary in recognition of his contributions to Christian apologetics. His daughter Allison is a novelist.

Books

''The Case for a Creator''

''The Case for a Creator'' consists of interviews with intelligent design advocates and Christian apologists who argue for the existence of a creator. Critics of the book accuse it of bias, which they assert is contrary to the book's own claims of being neutral and scientifically rigorous.

The advocates interviewed in the chapters and their topic(s) of discussion are as follows:

Intelligent design advocate and Discovery Institute Center for Science and Culture (CSC) fellow Jonathan Wells presents a case against evolution;

Intelligent design advocate, CSC fellow and philosopher of science Stephen C. Meyer discusses the relationship between science and religion, as well as the origin of life, arguing against the likelihood of abiogenesis without the assistance of a creator;

CSC fellow and philosopher of religion William Lane Craig discusses the Big Bang and argues for a creator as first cause, using the Kalam cosmological argument;

International Society for Complexity, Information and Design fellow and philosopher Robin Collins discusses the anthropic principle and argues that the universe must be designed by a creator;

Intelligent design advocates and CSC fellows Guillermo Gonzalez (an astronomer) and Jay Richards (a theologian) present a case that the Rare Earth hypothesis supports intelligent design;

Intelligent design advocate, CSC fellow and biochemist Michael Behe discusses irreducible complexity in biology as an argument for a creator; and,

CSC fellow, philosopher and theologian J.P. Moreland examines the supposed existence of consciousness separate from the brain, including near-death experiences, as an argument for a creator.

Other books

Strobel says that he wrote ''Inside the Mind of Unchurched Harry and Mary'' to help advance lay people's understanding and to increase the effectiveness of evangelistic efforts, and says insights drawn from his own experiences as a former atheist on why people avoid Christianity.

Strobel describes ''The Case for Christ'' as a retracing and expansion of him becoming a Christian. It summarizes Strobel's interviews with 13 evangelical Christian scholars — Craig Blomberg, Bruce Metzger, Edwin Yamauchi, John McRay, Gregory Boyd, Ben Witherington III, Gary Collins, D.A. Carson, Louis Lapides, Alexander Metherell, William Lane Craig, Gary Habermas, and J. P. Moreland — defending their view of the historical reliability of the New Testament.

''The Case for Faith: A Journalist Investigates the Toughest Objections to Christianity'' offers replies to doubts of Christianity, including the problem of evil, the contradiction between miracles and science, whether God is worthy of worship if he kills innocent children, whether Jesus is the only way to God, and the church's history of oppression and violence.

''The Case for the Real Jesus: A Journalist Investigates Current Attacks on the Identity of Christ'' presents a number of counter-arguments to challenges to the evangelical Christian view. Strobel addresses differences between the portrayal of Jesus in the non-canonical gospels versus the four canonical gospels, whether the church has changed this depiction over time, new explanations that refute Jesus's supposed resurrection, the possible origins of the Jesus story in pagan religions, whether Jesus fulfills messianic prophecies, and whether contemporary people should have freedom of belief.

''Experiencing the Passion of Jesus'' was co-written with Garry Poole as a discussion guide for Mel Gibson's film The Passion of the Christ.

Bibliography

''Reckless Homicide? Ford's Pinto Trial'' (1980) ISBN 0-89708-022-X

''Inside the Mind of Unchurched Harry and Mary'' (1993) ISBN 0310375614

''What Jesus Would Say'' (1994) ISBN 0310485118

''God's Outrageous Claims'' (1998) ISBN 0310266122

''The Case for Christ'', September 1, 1998, Zondervan, ISBN 0310226058

''The Case for Faith: A Journalist Investigates the Toughest Objections to Christianity'', October 1, 2000, Zondervan, ISBN 0310220157

''Surviving a Spiritual Mismatch in Marriage'' (2002) ISBN 0310220149

''The Case for a Creator: A Journalist Investigates Scientific Evidence That Points Toward God'' (2004), Zondervan, ISBN 0310263867

''The Case for Easter: Journalist Investigates the Evidence for the Resurrection'' (2004), Zondervan, ISBN 0310254752

''Experiencing the Passion of Jesus'' (2004), with Garry Poole, Zondervan, ISBN 0310263751

'' The Case for Christmas: A Journalist Investigates the Identity of the Child in the Manger'' (2005), Zondervan, ISBN 0310254760

''Discussing the Da Vinci Code : Exploring the Issues Raised by the Book and Movie'' (2006) ISBN 0310272637

'' The Case for the Real Jesus: A Journalist Investigates Current Attacks on the Identity of Christ'' September 10, 2007, Zondervan, ISBN 031024210X

Children's apologetics series

''The Case for Faith for Kids'' (2006), Zonderkidz, ISBN 978-0310711469

''The Case for Christ for Kids'' (2006), Zonderkidz, ISBN 978-0310711476

''A Case for a Creator for Kids'' (2006), Zonderkidz, ISBN 978-0310711483

''Off My Case for Kids: 12 Stories to Help You Defend Your Faith'' (2006), Zonderkidz, ISBN 978-0310711995

References

External links

Official website

Category:Christian ministers Category:Christian apologists Category:Intelligent design advocates Category:1952 births Category:Living people Category:Yale University alumni Category:People from Arlington Heights, Illinois Category:University of Missouri alumni Category:Converts to Christianity from atheism or agnosticism Category:American Christian clergy

cs:Lee Strobel de:Lee Strobel pl:Lee Strobel fi:Lee Strobel

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, working with Sun Records owner Sam Phillips, who wanted to bring the sound of African American music to a wider audience. 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 multiple 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 his first guitar for his birthday; 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 played and sang 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 ''Opry''s 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 Los Angeles. 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 at its main studio in New York, 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 ''Billboard''s 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. His arrival was a major media event. 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."

Soon after Presley commenced basic training at Fort Hood, Texas, he received a visit from Eddie Fadal, a businessman he had met on tour. According to Fadal, 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. In early August, his mother was diagnosed with hepatitis and her condition swiftly worsened. Presley, granted emergency leave to visit her, arrived 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, 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. 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 generated 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 in Burbank, California, 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 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. According to Joe Moscheo of the Imperials, the failure of Presley's marriage "was a blow from which he never recovered."

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 Mike 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 Enquirer''s 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 ranked 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. He was again the second-highest-earning deceased celebrity.

Presley holds the records for most songs charting in ''Billboard''s 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 ''Billboard''s unified Hot 100 chart, are analyzed. According to Whitburn, Presley holds the record for most top ten hits with 38; per ''Billboard''s 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

Presley was a central figure in the development of rockabilly, according to music historians. Katherine Charlton calls him "rockabilly's originator". "Rockabilly crystallized into a recognizable style in 1954 with Elvis Presley's first release, on the Sun label", writes Craig Morrison. Paul Friedlander describes the defining elements of rockabilly, which he similarly characterizes as "essentially ... an Elvis Presley construction": "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". In "That's All Right", the Presley trio's first record, Scotty Moore's guitar solo, "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 ''Billboard''s 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's contracts with Presley gave him 50 percent of most of the singer's earnings from 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 the 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 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 Sound''s 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. 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 also had number one hits in many countries beside the United States and United Kingdom.

Number one albums

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
style="text-align:left;"	4/5	—	1
		2/23	—	1
	1	—	1
	5	—	1
style="text-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

Elvis Presley Enterprises

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 (''Billboard''s 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"; ''Billboard''s 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.

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

Elvis Presley 1955 interview material on ''Pop Chronicles''

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Richard Bauckham (born September 22, 1946) is a widely published scholar in theology, historical theology and New Testament. He is currently working on New Testament Christology and the Gospel of John as a Senior Scholar at Ridley Hall, Cambridge.

Life and career

Richard Bauckham (M.A., Ph.D. Cambridge; F.B.A.; F.R.S.E) was until 2007 Professor of New Testament Studies and Bishop Wardlaw Professor in the University of St Andrews. He has recently retired in order to concentrate on research and writing, is Senior Scholar at Ridley Hall in Cambridge, and a Visiting Professor at St Mellitus College in London.

He was born in London in 1946, and studied at the University of Cambridge, where he read history at Clare College (1966–72) and was a Fellow of St John's College (1972–75). He taught theology for one year at the University of Leeds, and for fifteen years at the University of Manchester (1977–1992), where he was Lecturer, then Reader in the History of Christian Thought, before moving to St Andrews in 1992. He is a Fellow of the British Academy and a Fellow of the Royal Society of Edinburgh.

Research and Teaching Areas

Bauckham has been published in a variety of fields in New Testament studies and early Christianity. His current research interests include Jesus and the Gospels, New Testament Christology, and the relevance of the Bible to ecological issues. He gave the Sarum lectures for 2006 on ‘Beyond Stewardship: The Bible and the Community of Creation,’ and is preparing these for publication. He also gave a recent series of the Scottish Journal of Theology Lectures, in Aberdeen, on ‘The Gospels as History: Comparisons with Ancient and Modern Historiography,’ and these will also soon become a book.

Selected bibliography

Bauckham, Richard (2003). ''Bible and Mission : Christian Mission in a Postmodern World.''

Bauckham, Richard (2008). ''Jesus and the God of Israel : God Crucified and Other Studies on the New Testament's Christology of Divine Identity.''

Bauckham, Richard (2007). ''The Testimony of the Beloved Disciple : Narrative, History, and Theology in the Gospel of John.''

Bauckham, Richard (2006).'' Jesus and the Eyewitnesses : The Gospels as Eyewitness Testimony.''

Bauckham, Richard. ''James : Wisdom of James, Disciple of Jesus the Sage, New Testament Readings.''

Bauckham, Richard.'' The Book of Acts in Its Palestinian Setting, The Book of Acts in Its First Century Setting V.''

See also

Richard Bauckham (Theopedia)

Ridley Hall, Cambridge">Profile at Ridley Hall, Cambridge

Personal website of Richard Bauckham

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fr:Richard Bauckham ja:リチャード・ボウカム fi:Richard Bauckham