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In Sound on the Goose, I offer a work of fiction in which I seed to combine elements of humor and human drama into a re-telling on the experience of Tom Sawyer and Huck Finn as they are caught up in and participate in decisive moments of American history. Crucial in this story is the Battle of Gettysburg during the American Civil War. My text follows Tom and Huck as they interact and participate in this monumental clash. I detail their adventurous spirits, show their dedication to one another, and describe their interactions with a diverse assortment of historical personages. I utilize visual and sensory images to portray the harshness and severity of battle. (Their doubt as to why they fight for a cause that neither men truly believes in.) I attempt to show the toll that this conflict takes on both of the main characters. The use of colloquial dialogue and descriptions of settings, inner thoughts and reflections augment the scope and tone of my work.
“An interesting look at how 1977 marked the explosion of punk alongside this heartbreaking (though not altogether surprising) loss of a legend” (USA Today). In the late 1970s, punk music was setting out to destroy everything Elvis Presley had come to represent. But punk couldn’t destroy The King himself—he had already done that, succumbing to his excesses at Graceland on August 16, 1977. Ever since, Elvis has permeated the world in ways that are bizarre and inexplicable: a pop icon while alive, he has become almost a religious icon in death, a modern-day martyr crucified on the wheel of drugs, celebrity culture, junk food, and sex. In Elvis Has Left the Building, Dylan Jones takes us back to those heady days around the time of his death and the simultaneous rise of punk. Evoking the hysteria and devotion of The King’s numerous disciples and imitators, Jones offers a uniquely insightful commentary on Elvis’s life, times, and outrageous demise. Recounting how the artist single-handedly changed the course of popular music and culture, he also delves deep into the cult of The King and reveals what Elvis’s death meant—and still means to us today. “I’m not sure punk would have existed without [Elvis]. In fact I’m not sure a lot of things would have existed without him. Dylan Jones is the right man to ponder such questions.” —Bono “A gripping tale of impossible success and terrible waste and lost beauty that veers from Memphis to Las Vegas and all the way to the broken backstreets of London.” —Tony Parsons, author of The Hanging Club
Of the millions of Elvis Fans around the globe, I would place Heart Shapre' among the top ten persons for her love, mystique and dedication to King Presley. I wish her the best of luck in her new book endeavor. Capt. Bob Ferguson, Ret. Memphis Police Dept. Some things are meant to be, this writing is based on ELVIS THROUGH MY EYES; the facts remain. Here is your friend, and you will learn about the man. Would anyone who loves ELVIS toss his life away? Influential people like ELVIS are not forgotten no matter what. Seven lost childhood years of ELVIS' life is related by James Samuel Denson selected by Gladys Presley to help raise him. On stage beneath those costumes was a person who had struggles, FBI involvement and is a phenomenon. What was the price...the blood talks. This work was written with Priscilla and Lisa Marie in mind. To quote Elvis, My image is one thing and the human being is another...it's hard to live up to an image...Elvis gave possibly more than he had and his spirit still connects with all who love and understand him far beyond the emotionalism. The God in Elvis connects with the God in others.Don't miss knowing him plus the blessing this book brings as, if you shut the door here, you may be walking on Elvis' soul. As some desire only the showmanship, there is no need to say 'enjoy it' - you have that but we have the man - ELVIS. We were extremely fortunate to have had Elvis for so long. Yet today, his music is kept alive so beautifully by radio, TV, film and the gifted Tribute Artists world-wide; we are highly blessed with their artistry. Elvis was not finished by August 17, 1977
There is no other way to put it: Elvis is the King. Note the present tense: even though Elvis (supposedly) died nearly forty years ago, he has lived on in our hearts, as a sound, as an image, and as an especially vigorous personality. In fact, it’s safe to say no other celebrity has done so quite as well. The Death and Resurrection of Elvis Presley is the story of that afterlife, of Elvis after he left the building. Walking the eccentrically carpeted rooms of Graceland, bidding into stratospheric sums on his auctioned relics, and mingling among the some 200,000 impersonators of his likeness, Ted Harrison offers nothing less than the ultimate Elvis tribute. Harrison begins, of course, in pilgrimage: to Graceland. He shows how Elvis’s estate was pillaged nearly to ruin by his manager but was saved through the deft business acumen and financial vision of his divorced wife, one Priscilla Presley. If Graceland seems holy, that’s because it is: Harrison unveils in Elvis’s allure a deeply spiritual dimension, showing how Elvis fans, over the decades, have anointed their idol with Christ-like qualities. Through Elvis’s extravagance, Harrison raises fascinating links between money and faith, and through Elvis’s life, he shows how the King actually fulfilled a host of roles ranging from hero to martyr to saint. Underpinning the whole story is Elvis’s extraordinary charisma and—lest we forget—his astonishing musical genius. Fascinating, colorful, and deeply informative, this book is a must-have for any fan, anyone who was ever lucky enough to see Elvis alive or who hopes they might still be able to.
THE NEW YORK TIMES BESTSELLER Elvis Presley’s fiancée and last love tells her story and sets the record straight in this deeply personal memoir that reveals what really happened in the final years of the King of Rock n' Roll. Elvis Presley and Graceland were fixtures in Ginger Alden’s life; after all, she was born and raised in Memphis, Tennessee. But she had no idea that she would play a part in that enduring legacy. For more than three decades Ginger has held the truth of their relationship close to her heart. Now she shares her unique story… In her own words, Ginger details their whirlwind romance—from first kiss to his stunning proposal of marriage. And for the very first time, she talks about the devastating end of it all and the fifty thousand mourners and reporters who descended on Graceland in 1977, exposing Ginger to the reality of living in the spotlight of a short yet immortal life. Above it all, Ginger rescues Elvis from the hearsay, rumors, and tabloid speculations of his final year by shedding a frank yet personal light on a very public legend. From a unique and intimate perspective, she reveals the man—complicated, romantic, fallible, and human—behind the myth, a superstar worshipped by millions and loved by Ginger Alden. INCLUDES PHOTOS
“Outstanding pop-culture history.” —Newsday The “smart and zippy account” (The Wall Street Journal) of how Las Vegas saved Elvis and Elvis saved Las Vegas in the greatest musical comeback of all time. Elvis’s 1969 opening night in Vegas was his first time back on a live stage in more than eight years. His career had gone sour—bad movies, mediocre pop songs that no longer made the charts—and he’d been dismissed by most critics as over-the-hill. But in Vegas he played the biggest showroom in the biggest hotel in the city, drawing more people for his four-week engagement than any other show in Vegas history. His performance got rave reviews; “Suspicious Minds,” the song he introduced there, gave him his first number-one hit in seven years; and Elvis became Vegas’s biggest star. Over the next seven years, he performed more than 600 shows there, and sold out every one. Las Vegas was changed, too. By the end of the ‘60s, Vegas’ golden age—when the Rat Pack led a glittering array of stars who made it the nation’s premier live-entertainment center—was losing its luster. Elvis created a new kind of Vegas show: an over-the-top, rock-concert extravaganza. He set a new bar for Vegas performers, with the biggest salary, the biggest musical production, and the biggest promotion campaign the city had ever seen. He opened the door to a new generation of pop/rock artists and brought a new audience to Vegas—not the traditional well-heeled older gamblers, but a mass audience from Middle America that Vegas depends on for its success to this day. At once “a fascinating history of Vegas as gambling capital, celebrity playground, mob hangout, [and] entertainment Valhalla” (Rolling Stone) and the incredible “tale of how the King got his groove back” (Associated Press), Elvis in Vegas is a classic feel-good story for the ages.
When a musician dies, it is rarely the end of their story. While death can propel megastars to even further success, artists overlooked in their lifetime might also find a new type of fame. But a badly timed move or the wrong deal can see the artist die all over again. Colonel Tom Parker, the former carnival huckster, understood this high-wire act implicitly and the posthumous career of Elvis Presley has provided a template for everyone else. Estates have two jobs: keeping the artist's name alive and ensuring they continue to make money. These can sometimes be compatible goals, but often they spark a tension that is unique in the music business. Drawing on interviews with those running music estates as well as music lawyers, record company executives and archivists, Leaving the Building reveals how the music industry is constantly striving to perfect the business of death.
On a Saturday night in 1948, Hank Williams stepped onto the stage of the Louisiana Hayride and sang "Lovesick Blues." Up to that point, Williams's yodeling style had been pigeon-holed as hillbilly music, cutting him off from the mainstream of popular music. Taking a chance on this untried artist, the Hayride--a radio "barn dance" or country music variety show like the Grand Ole Opry--not only launched Williams's career, but went on to launch the careers of well-known performers such as Jim Reeves, Webb Pierce, Kitty Wells, Johnny Cash, and Slim Whitman. Broadcast from Shreveport, Louisiana, the local station KWKH's 50,000-watt signal reached listeners in over 28 states and lured them to packed performances of the Hayride's road show. By tracing the dynamic history of the Hayride and its sponsoring station, ethnomusicologist Tracey Laird reveals the critical role that this part of northwestern Louisiana played in the development of both country music and rock and roll. Delving into the past of this Red River city, she probes the vibrant historical, cultural, and social backdrop for its dynamic musical scene. Sitting between the Old South and the West, this one-time frontier town provided an ideal setting for the cross-fertilization of musical styles. The scene was shaped by the region's easy mobility, the presence of a legal "red-light" district from 1903-17, and musical interchanges between blacks and whites, who lived in close proximity and in nearly equal numbers. The region nurtured such varied talents as Huddie Ledbetter, the "king of the twelve-string guitar," and Jimmie Davis, the two term "singing governor" of Louisiana who penned "You Are My Sunshine." Against the backdrop of the colorful history of Shreveport, the unique contribution of this radio barn dance is revealed. Radio shaped musical tastes, and the Hayride's frontier-spirit producers took risks with artists whose reputations may have been shaky or whose styles did not neatly fit musical categories (both Hank Williams and Elvis Presley were rejected by the Opry before they came to Shreveport). The Hayride also served as a training ground for a generation of studio sidemen and producers who steered popular music for decades after the Hayride's final broadcast. While only a few years separated the Hayride appearances of Hank Williams and Elvis Presley--who made his national radio debut on the show in 1954--those years encompassed seismic shifts in the tastes, perceptions, and self-consciousness of American youth. Though the Hayride is often overshadowed by the Grand Ole Opry in country music scholarship, Laird balances the record and reveals how this remarkable show both documented and contributed to a powerful transformation in American popular music.
The first book to document the extraordinary costume and apparel collection at Graceland, this volume features archival photos of Elvis in costume.
Describes what Graceland, the home Elvis Presley built in Memphis, tells about the late singer's life and personality.