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Elvis Presley

Interesting. Might have a lil peek at it when it's released (I think they could've picked a better photo though for the artwork).
 
I haven't visited this thread.. I know super late but that nixon meeting.. Elvis!! Elvis wanted to be able to move his drugs/guns and have it legal to do so.. slice it how ever you want, that's what it was.
 
Hi there
I haven't been so active on forums for a long long time. Been "lurking" on MJJ lately and this thread caught my eye. I'm a huge Elvis fan! loved the man and his music for 20+ years and always will. Just as i will love honour and defend MJ. Both great men that i look up to!

KOPV said:
I haven't visited this thread.. I know super late but that nixon meeting.. Elvis!! Elvis wanted to be able to move his drugs/guns and have it legal to do so.. slice it how ever you want, that's what it was.
Click to expand...

Not really sure what you point is but there are lots more to Elvis than guns and drugs!
 
^ well of course there is... But I can comment on the drugs & guns after reading a portion of the thread about the meeting with Nixon!
 
I suppose MJ and Elvis must be the two biggest entertainers on our planet earth. It's extremely sad they are not with us today. :(
 
By Manohla Dargis | July 5, 2018 | The New York Times
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Wildly ambitious, thoroughly entertaining and embellished with some snaky moves, Eugene Jarecki’s documentary “The King” is a lot like its nominal subject, Elvis Presley. In part, it tells the familiar story of the poor little boy who became a king. But Jarecki has a second, larger and more complicated story he wants to address, too: that of the United States. Tying one man’s body to the body politic, he seeks to turn Presley’s life — from ravishing, thrilling youth to ravaging, putrefying fame — into the story of the country, an arc that takes the documentary from Graceland to Trumpland.

Why Elvis? For Jarecki, the answer seems to be, why not? Mostly, though, there is the 1963 Rolls-Royce Phantom V, which came into Jarecki’s sights a few years back and serves as both the documentary’s roving stage and silent co-star. It’s a silver beast: huge, cumbersome-looking and temperamental. (It breaks down.)

Jarecki, who is regularly seen and heard throughout the movie, never goes into how he got behind the wheel of this pricey collector’s item (now resold), which is too bad because it provokes your curiosity. He just invites you to hop in while he steers you cross-country, following ribbons of road and a time line that shifts from the past to the present and back again. The details of some of that history are as familiar as a fairy tale, like the shotgun shack in Tupelo, Miss., where Presley was born on Jan. 8, 1935.

Presley was the only surviving child of his beloved mother, Gladys, and his father, Vernon, who three years later was in prison for check forgery, just one of the many milestones that Jarecki passes as he quickly begins complicating his story. Working with a team of editors, he introduces Presley, the man and the myth, using an onslaught of archival images and sounds.

“The King” is at its strongest when Jarecki uses his material to build an actual argument. That’s what happens when he enters a juicy virtual discussion about Presley, white supremacy, black heritage and cultural appropriation.

Every documentary is also a chronicle of its own moment, and so it’s no surprise that throughout “The King” Jarecki restlessly looks at contemporary America as he tracks Presley’s path from Tupelo to Memphis, Nashville and beyond, and simultaneously heads toward Donald J. Trump, Bernie Sanders, Hillary Clinton and beyond.

While most of the Presley experts Jarecki confers with are men (an unfortunate lapse), this otherwise generous, perceptive director, more than anything, clearly yearns to fit not only Elvis but also the whole wide world into his sweet ride.
[video=youtube;csXtdjsqYLM]https://www.youtube.com/watch?v=csXtdjsqYLM[/video]
 
Elvis Presley’s US album sales


https://chartmasters.org/2018/07/elvis-presleys-us-album-sales/13/

A grand total of 154,7 million albums sold in the US alone. Factor in non-reissues from FTD and you come very close to 155 million. This monstrous total is 40 million higher than the total certified by the RIAA although all albums appear to be up to date.

We can also point out that albums issued since 1991 add for 21,57 million Soundscan sales while their sales top 28,13 million. Back catalog albums scanned 18 million in the same time and likely sold in the region of 22 million since they include a lower share of direct marketing albums. In other words, in spite of a total Soundscan sales under 40 million, Presley shifted 50 million albums since 1991. It’s already closer to the near 70 million Soundscan sales of the Beatles. As a reminder, since their albums weren’t sold at music clubs nor by direct marketing, nearly all their sales are properly tracked.

Speaking about the Liverpool band, their US career total album sales of 168,27 million as of last year gives them a comfortable lead over Presley. While estimations can never be perfect, the margin of error doesn’t allow a gap of 14 million to be filled.

Garth Brooks can’t compete against Presley though. If his skills to optimize his RIAA total are impressive, so was his success during the 90s, he is still a good 50 million behind the rock ‘n roll giant. Since no other solo artist is even remotely close to 100 million US album sales, the #1 spot of Presley there can’t be safer.

Please keep in mind that our CSPC tally will also involve counting of box sets of existing content. 2009’s Triple Feature for example is listed as a stand-alone entry here because the 3 albums on it haven’t been updated by the RIAA since its release. In terms of CSPC though, each of these albums will be assigned with its sales.



Sources: RIAA, Soundscan, Billboard, Discogs, Elvisoncd, Biwa, elvisnews, worldwideelvis, elvispresleyftd, elvispresleyshop, BuzzAngle, Time-Life, Hanboo, Earthslayer, Ernst Jorgensen, Michael Omansky, LA Times, Reuters, Nashville Post.

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Elvis Presley’s physical singles sales

https://chartmasters.org/2018/07/elvis-presleys-physical-singles-sales/


Figures refer to sales based on the release date of a single, independently of when the single was actually sold. For example, 1954’s Sun singles have been mostly sold through the years rather than on their first year.

The true start of Presley‘s career has been insane. His singles from 1956 moved a combined 16,35 million units. Amazingly, his singles cumulatively topped 5 million during 10 consecutive years. He never dropped below 1 million until his passing, registering 22 years in a row over that barrier.

We can notice that the US represented more than 75% of his sales during the initial hype. That share dropped year after year until hitting a low of 39% – and a high of 61% abroad – in 1960 thanks to It’s Now Or Never and You Are Lonesome Tonight? which remain his only two 2-million sellers outside of the US. His large sales outside of the US and the UK lasted from 1960 to 1964. After that period, the gospel tune Crying In The Chapel and Pot Luck singles maintained his popularity stateside while it went down elsewhere, proportionally speaking.

During the later part of his career the promotion was focused on his largest markets, arguably the US and the UK. The only exception came in 1969/1970 when In the Ghetto, Suspicious Minds and The Wonder of You were global hits.

This table is fundamental. I already pointed out that his big hits are by far his main assets to sell compilations globally nowadays, while in the US it is possible to sell relevant amounts of various kind of recordings. The root cause appears on this page. If it was possible to make money from moderate sellers in the US, it wasn’t profitable to promote tracks that weren’t so strong in many markets. Thus, RCA focused on Presley‘s main markets for his weakest material while giving him a stronger push elsewhere for singles with higher potential.

The total of 135 million puts him nearly 20 million ahead of the Beatles in physical singles sales. Now, has he sold more units in this format than Bing Crosby? That’s a real question!

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By Justin Kroll | March 28, 2019 | Variety
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<article class="c-content">Tom Hanks is in negotiations to play Elvis Presley’s iconic manager Colonel Tom Parker in Baz Luhrmann’s untitled Warner Bros. biopic about the legendary musician.

Luhrmann will direct the movie. He also penned the script with Craig Pearce.

Parker discovered Presley when he was just an unknown and quickly moved in as his lone representation. Parker was responsible for various milestones, including Presley’s record deal with RCA and his successful acting career.

While Luhrmann always envisioned a star for Parker’s part, he wants a newcomer for the role of Presley. The director has begun meeting with talent for the part.

Insiders say a budget is still being ironed out, but Hanks’ commitment will urge the studio to push the project forward. Luhrmann hopes to get the pic into production sometime this year.

Hanks is no stranger to portraying real-life figures like astronaut Jim Lovell in “Apollo 13,” Washington Post editor Ben Bradlee in “The Post,” airline captain Chesley Sullenberger in “Sully,” Captain Richard Phillips in “Captain Phillips,” Walt Disney in “Saving Mr. Banks,” and Mister Rogers in Sony’s upcoming biopic “A Beautiful Day in the Neighborhood.” Besides the Mister Rogers movie, Hanks can next be seen in the World War II drama “Greyhound” and as Woody in “Toy Story 4.”

He is repped by CAA.
</article>
 
By Mike Fleming Jr. • July 1, 2019 • Deadline
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EXCLUSIVE: Baz Luhrmann is testing a top group of young actors for the role of Elvis Presley in his Warner Bros film about the legendary singer and his manager Colonel Tom Parker. Luhrmann filmed a group of actors last weekend, and will make a decision by next week. Tom Hanks is already set to play Presley’s manager, Parker.

The top names we hear, and all of them can sing and showed their hip swivel and sneer to Luhrmann, who has a tough choice.

The top contenders: Ansel Elgort, The Fault in Our Stars and Baby Driver star; Miles Teller, who’s about to be seen in Top Gun: Maverick, and who nearly got the lead role in La La Land after starring in such films as Whiplash; Austin Butler, who is about to be seen in a breakout turn in Quentin Tarantino’s Once Upon a Time In Hollywood after playing in the cast of Jim Jarmusch’s The Dead Don’t Die.

Last but not least and just as intriguing: Harry Styles, the former One Direction lead singer who broke into movie acting with Dunkirk and Love, Simon.

This is going to be a big job, so stay tuned. Luhrmann wrote the script with Craig Pearce, and it covers the relationship between the veteran manager and the young singer, who came from dirt-poor origins to become an iconic star who changed the course of music. Parker was reputed to have taken half of Presley’s earnings for himself, in exchange for building him.
 
October 25, 2019 by Piya Sinha-Roy Hollywood Reporter
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Baz Luhrmann has found the Priscilla to his Elvis in The Society actress Olivia DeJonge, Warner Bros. said Friday.

Australian DeJonge, who also starred in M. Night Shyamalan's 2015 thriller The Visit, will portray Priscilla Presley in Luhrmann's untitled movie that will follow a 20-year period of Elvis Presley's life as he hit stratospheric levels of fame and success.

“Olivia is capable of manifesting the complex depth and presence that has made Priscilla Presley an icon in her own right. She’s an extremely talented young actor and the perfect counterpoint to Austin’s [Butler] Elvis,” Luhrmann said in a statement.

Butler beat out the likes of Ansel Elgort and Harry Styles to play the King of Rock 'n' Roll in the film that will examine the musician's life through his relationship with his manager Colonel Tom Parker, played by Tom Hanks.

Principal photography will begin early next year in Queensland, Australia.
 
by Ben Kaye • February 22, 2020 • Consequence Of Sound
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She’s conquered late night TV, stood behind NPR’s Tiny Desk, and received recognition from the Grammys; now, Yola is ready to take on Hollywood. The British Americana artist has been cast as Sister Rosetta Tharpe in Baz Luhrmann’s forthcoming Elvis Presley biopic.

Rolling Stone confirmed the news that the breakout Walk Through Fire singer-songwriter had nabbed the role in Elvis. <mark data-markjs="true" class="hindsightCosUnderline" data-ht-entity-name="Yola" tabindex="0">Yola</mark> joins a production of big-name talents that includes Austin Butler as Elvis; Tom Hanks as Colonel Tom Parker, the King’s manager; Rufus Sewell as Elvis’ father, Vernon Presley; and Maggie Gyllenhaal as Elvis’ mother, Gladys Presley.

Posthumously inducted into the Rock and Roll Hall of Fame in 2018, Tharpe earned the moniker of “The Godmother of Rock and Roll”. As such, Elvis himself was greatly influenced by the Arkansas native, as were the likes of Chuck Berry and Johnny Cash.

Tharpe began her career as a gospel singer, eventually moving to New York City to play with Duke Ellington. Her 1944 hit single “Strange Things Happening Every Day” became the first gospel track to cross over onto what was then the unfortunately titled <mark data-markjs="true" class="hindsightCosUnderline" data-ht-entity-name="Billboard">Billboard</mark> race charts (which is now the R&B chart).
[video=youtube;l4-22b72muY]https://www.youtube.com/watch?v=l4-22b72muY[/video]
Elvis marks <mark data-markjs="true" class="hindsightCosUnderline" data-ht-entity-name="Luhrmann">Luhrmann</mark>’s first film since 2013’s The Great Gatsby. He co-wrote the biopic alongside Craig Pearce, and will produce with his wife Catherine Martin and Gail Berman.

Yola, meanwhile, has a number of tour dates on the horizon, including a run with Chris Stapleton and appearances at Newport Folk Festival, Bonnaroo, and Lockn’ Music Festival. Get tickets to all her upcoming shows here.
 
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release: April 21, 2020

Elvis Presley brings a new beat to Bourbon Street in KING CREOLE; presented here newly remastered from a 4K film transfer. Directed by Michael Curtiz (Casablanca, White Christmas), Elvis plays a troubled youth whose singing sets the French Quarter rockin’. With a sweet girl to love him and nightclubbers cheering, it looks like he’ll shake off his past and head for the top. But a mobster (Walter Matthau) and his man-trap moll (Carolyn Jones) could snare him into a life of crime.
 
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Uh, bit late to be marking Elvis' birthday which was on the 8th Jan. But, I feel like celebrating anyway, so here's a lovely photo.
 
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