Journal articles: 'Elvis Presley'

1

Palmer, Landon. "‘And Introducing Elvis Presley’." Music, Sound, and the Moving Image 9, no. 2 (December 2015): 177–90. http://dx.doi.org/10.3828/msmi.2015.12.

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Jackson, Richard, and Patsy Guy Hammontree. "Elvis Presley: A Bio-Bibliography." American Music 5, no. 3 (1987): 337. http://dx.doi.org/10.2307/3051747.

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Ilott, Irene. "Did Elvis Presley Die of Boredom?" British Journal of Occupational Therapy 70, no. 10 (October 2007): 415. http://dx.doi.org/10.1177/030802260707001001.

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Duffett, Mark. "Caught in a trap? Beyond pop theory's ‘butch’ construction of male Elvis fans." Popular Music 20, no. 3 (October 2001): 395–408. http://dx.doi.org/10.1017/s026114300100157x.

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Common knowledge has it that Elvis Presley stood for sexual liberation – because his gyrations caused the first controversy, he liberated Western culture from the curse of sexual repression. Beyond the female fans that play a role in that image, Elvis has a vast number of male followers. With more than 20,000 members, the Official Elvis Presley Fan Club of Great Britain (OEPFC) is the largest fan club in the world. According to the president, half the members are male (Slaughter 1996, p. 1). This means that thousands of male fans are dedicated enough to stay in one organisation. Over 400 smaller clubs remain active, so Elvis still has thousands of male devotees. What can be said about how these fans relate to their idol? More fundamentally, what are the most suitable research methods, ideas and approaches to use when answering that question?

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5

Holst, Søren. "Elvis, Hans Jørgen og desperadoerne på trinbrættet - Om begejstring for populærmusik." Religionsvidenskabelig Skriftrække 1 (June 9, 2022): 160–66. http://dx.doi.org/10.7146/rvs.v1i.132818.

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KVALVAAG, ROBERT W. "Elvis Presley og fortellingen om rockens opprinnelse." Kirke og Kultur 107, no. 05-06 (December 15, 2002): 477–95. http://dx.doi.org/10.18261/issn1504-3002-2002-05-06-08.

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Duffett, Mark. "Elvis Presley and Susan Boyle: Bodies of Controversy." Journal of Popular Music Studies 23, no. 2 (June 2011): 166–89. http://dx.doi.org/10.1111/j.1533-1598.2011.01278.x.

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8

Harrison, Douglas R. "Elvis Presley: A Southern Life by Joel Williamson." Journal of Southern History 82, no. 3 (2016): 736–38. http://dx.doi.org/10.1353/soh.2016.0229.

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Mehrazin, Reza, Ithaar H. Derweesh, Matthew C. Kincade, Adam C. Thomas, Robert Gold, and Robert W. Wake. "Adrenal Trauma: Elvis Presley Memorial Trauma Center Experience." Urology 70, no. 5 (November 2007): 851–55. http://dx.doi.org/10.1016/j.urology.2007.07.004.

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10

Rössner, Stephan. "‘Are you lonesome tonight?’ Elvis Presley 1935-1977." Obesity Reviews 11, no. 9 (August 25, 2010): 688–89. http://dx.doi.org/10.1111/j.1467-789x.2010.00742.x.

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11

Janowiak, John. "Unintended Consequences: A Case Study of Elvis Presley." Journal of Health Education 30, no. 6 (December 1999): 364–66. http://dx.doi.org/10.1080/10556699.1999.10604658.

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12

Bertrand, Michael T. "Elvis Presley and the Politics of Popular Memory." Southern Cultures 13, no. 3 (2007): 62–86. http://dx.doi.org/10.1353/scu.2007.0025.

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13

Parrish, Timothy. "Our White Whale, Elvis; or, Democracy Sighted." Prospects 20 (October 1995): 329–59. http://dx.doi.org/10.1017/s0361233300006104.

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The lyrics cited above are from the 1990 Living Colour single “Elvis Is Dead” and serve as another reminder, as if we needed one, that, despite the song's emphatic refrain, the rumors we hear are true: Elvis is alive. His shade haunts us, bringing with it strange but vital messages. Greil Marcus, Elvis's best critic, may be blessed with second sight when he avers that Elvis comprises our “cultural epistemology,” that he holds the “skeleton key to a lock we've yet to find.” Marcus's elliptical prophecy promises what for many may be a stunning revelation: Elvis Presley so profoundly embodies the complexities of American culture that only Melville'sMoby Dickis comparable to his richness, his ambiguity, his mysterious meaning. As with most supernatural sightings (or Melville's whale), Elvis's presence is nearly impossible to identify.

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Inglis, Ian. "Ideology, Trajectory & Stardom: Elvis Presley & The Beatles." International Review of the Aesthetics and Sociology of Music 27, no. 1 (June 1996): 53. http://dx.doi.org/10.2307/3108371.

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15

Turnbull, Jessica. "Elvis Presley, New Technology, and Dying in the PICU." Family Medicine 50, no. 10 (November 2, 2018): 787–88. http://dx.doi.org/10.22454/fammed.2018.744702.

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16

Fraser, Benson P., and William J. Brown. "Media, Celebrities, and Social Influence: Identification With Elvis Presley." Mass Communication and Society 5, no. 2 (May 2002): 183–206. http://dx.doi.org/10.1207/s15327825mcs0502_5.

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17

Cochran, Robert, and Peter Guralnick. "Last Train to Memphis: The Rise of Elvis Presley." Journal of American Folklore 109, no. 432 (1996): 207. http://dx.doi.org/10.2307/541841.

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18

Davis, Jennifer. "The king is dead: long live the king." Cambridge Law Journal 59, no. 1 (March 2000): 33–36. http://dx.doi.org/10.1017/s0008197300320013.

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CHARACTER merchandising is big business and any case concerning its legal protection is bound to arouse considerable interest. This is certainly true of the recent Court of Appeal decision in Elvis Presley Trade Marks [1999] R.P.C. 567, where the character concerned was “the King” himself. Earlier, in the “Ninja Turtles” passing-off case, Mirage Studios v. Counterfeat Clothing Co. Ltd. [1991] F.S.R. 145, the High Court had apparently endorsed the view that the public's awareness of merchandising practices means that it will assume that products carrying the likeness or name of a celebrity (real or fictional) will come from one “genuine” source. This decision, together with the provisions of the 1994 Trade Marks Act which swept away previous anti-trafficking provisions and liberalised the licensing regime, seemed, to many, to herald a new dawn for the protection of character merchandising, However, the Elvis Presley decision suggests that character merchandising in the UK will remain relatively unprotected compared to other jurisdictions.

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19

Yum, Hae Jung, Eun Jung Kim, Ji Sun Kim, and Cho Long Kim. "Study on Flow and Symbolism of Elvis Aaron Presley Fashion." International Journal of Costume and Fashion 10, no. 1 (June 30, 2010): 67–79. http://dx.doi.org/10.7233/ijcf.2010.10.1.067.

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20

Mehrazin, Reza, Ithaar H. Derweesh, Matthew C. Kincade, Renee Quillin, Robert W. Wake, and Adam C. Thomas. "25: Adrenal Trauma: The Elvis Presley Memorial Trauma Center Experience." Journal of Urology 177, no. 4S (April 2007): 9–10. http://dx.doi.org/10.1016/s0022-5347(18)30290-8.

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21

Sewlall, Harry. "“Image, Music, Text”: Elvis Presley as a Postmodern, Semiotic Construct." Journal of Literary Studies 26, no. 2 (June 2010): 44–57. http://dx.doi.org/10.1080/02564711003683600.

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22

Deboick, Sophia L. "The death and resurrection of Elvis Presley, by Ted Harrison." Celebrity Studies 8, no. 2 (April 3, 2017): 359–61. http://dx.doi.org/10.1080/19392397.2017.1311640.

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23

Kloosterman, Robert C., and Chris Quispel. "Not just the same old show on my radio: An analysis of the role of radio in the diffusion of black music among whites in the south of the United States of America, 1920 to 1960." Popular Music 9, no. 2 (May 1990): 151–64. http://dx.doi.org/10.1017/s0261143000003871.

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In the autumn of 1954, the triumphal tour of a young white singer started in the south of the United States. Although many objected to his music and his way of performing, the rise of this artist – by the name of Elvis Presley – in states like Texas, Arkansas and Louisiana was not to be stopped (Goldman 1981, p. 124; Gillett 1970, p. 21).

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24

Cooper, B. Lee. "Jerry Lee Lewis: His Own Story; Elvis Presley: A Southern Life." Rock Music Studies 4, no. 2 (April 11, 2016): 157–59. http://dx.doi.org/10.1080/19401159.2016.1170510.

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25

Wall, David. "Reconstructing the Soul of Elvis: The Social Development and Legal Maintenance of Elvis Presley as Intellectual Property [1]." International Journal of the Sociology of Law 24, no. 2 (June 1996): 117–43. http://dx.doi.org/10.1006/ijsl.1996.0010.

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26

Duffett, Mark. "Transcending audience generalizations: Consumerism reconsidered in the case of Elvis Presley fans." Popular Music and Society 24, no. 2 (June 2000): 75–91. http://dx.doi.org/10.1080/03007760008591768.

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27

Toivonen, Timo, and Antero Laiho. "“You don't like crazy music”: The reception of Elvis Presley in Finland∗." Popular Music and Society 13, no. 2 (June 1989): 1–22. http://dx.doi.org/10.1080/03007768908591349.

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28

El Haj, Mohamad, Rosalie Altman, Catherine Bortolon, Delphine Capdevielle, and Stéphane Raffard. "Destination memory in schizophrenia: “Did I told Elvis Presley about the thief?”." Psychiatry Research 248 (February 2017): 71–76. http://dx.doi.org/10.1016/j.psychres.2016.12.023.

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29

Van Deventer, M. "Paul Slabolepszy’s angst-ridden Elvis." Literator 21, no. 1 (April 26, 2000): 121–38. http://dx.doi.org/10.4102/lit.v21i1.448.

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Paul Slabolepszy is a popular South African playwright whose plays are enjoyed by diverse multi-cultural audiences in South Africa and all over the world. Slabolepszy’s special appeal lies in his ability to reflect in his plays an authentic South African landscape with its stormy political background, diverse cultures and inhabitants, and to evoke empathy for all of his characters within this South African milieu through a variety of comic techniques. The play, The Return of Elvis du Pisanie, first performed 10 years after Slabolepszy's breakthrough play, Saturday Night at the Palace (1985), is apolitical and focuses on the plight of a white South African male. This popular play’s appeal is universal for Slabolepszy throughout evokes empathy by comically reviving with superb conviction the nostalgia of the Elvis-era, which most people are able to understand and even identify with. Through humour which is comic, sensitive and insightful, he is able to evoke empathy for his angst-ridden main character, the typical “bloke-next-door". His combination of a surreal dimension with comic humour and pathos is able to make us laugh and even wipe away a tear in this way he also intensifies our feelings of empathy for his believable and identifiable protagonist, as he takes us on a nostalgic journey through the fifties to the present, with the legendary Elvis Presley functioning as the binding force.

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30

Soo-Young Choi. "교실친화적 교사 양성을 위한 우수 교수법 사례: Elvis Presley--Story of a Super Star." Journal of the Korea English Education Society 9, no. 1 (April 2010): 203–29. http://dx.doi.org/10.18649/jkees.2010.9.1.203.

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31

Columbus, Peter J., and Michael A. Boerger. "Defining Popular Iconic Metaphor." Psychological Reports 90, no. 2 (April 2002): 579–82. http://dx.doi.org/10.2466/pr0.2002.90.2.579.

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Popular Iconic Metaphor is added to the cognitive linguistic lexicon of figurative language. Popular Iconic Metaphors employ real or fictional celebrities of popular culture as source domains in figurative discourse. Some borders of Popular Iconic Metaphor are identified, and Elvis Presley is offered as a prototype example of a popular iconic source domain, due to his ubiquity in American popular culture, which affords his figurative usage in ways consistent with decision heuristics in everyday life. Further study of Popular Iconic Metaphors may serve to illuminate how figurative expressions emerge in their localized contexts, structure conduct and experience, and affect mediation of cultural and personal meanings.

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32

Dzyuba, Oleg, and Larуsa Tatarinova. "Music samizdat." Вісник Книжкової палати, no. 7 (July 29, 2021): 9–12. http://dx.doi.org/10.36273/2076-9555.2021.7(300).9-12.

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The article considers the phenomenon of music samizdat, which allowed Soviet music lovers to listen to Western music, which was banned in the USSR. Ways of disseminating the works of such artists as Petro Leshchenko or Alexander Vertinsky, or Western artists such as Elvis Presley, Ella Fitzgerald, Chuck Berry, The Beatles, The Rolling Stones, The Beach Boys. The study focuses on music, but rather, even on the technical side of the issue of samizdat. "Ribs", "Magnitizdat", "Rock Courier" have left a significant mark on the development of popular music of the post-Soviet period, our intelligence is focused on the history of this phenomenon.

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33

Nygaard, Bertel. "Mediating Rock and Roll: Tommy Steele in Denmark, 1957–8." Cultural History 11, no. 1 (April 2022): 27–48. http://dx.doi.org/10.3366/cult.2022.0253.

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Though rarely acknowledged in later historiography, British singer Tommy Steele was a key figure in the early European negotiations of rock and roll in 1957–58. As an accommodating British working-class youth with an energetic, yet non-sexual mode of performance, he was favourably compared with the image of American rock and roll with its associations of juvenile delinquency, cultural ‘blackness’ and illegitimately sexuality as personified by Elvis Presley in particular. Yet, Tommy Steele's version of rock and roll provided not simply an alternative to the ‘hard’, more rebellious strands of American youth culture. Rather, it allowed him and his fans to negotiate the dominant adult conceptions of rock and roll and its cultural associations of place, race, gender, class and age, thus inadvertently creating a pattern for a rapid succession of new youth idols, including the relaunching of Presley and other American rock and roll artists to European youth though a complex pattern of locating counterparts to individual celebrities. In that sense, Tommy Steele functioned as a ‘vanishing mediator’ of rock and roll culture in Europe. This article is a particular case study of such developments of celebrity and fan culture as they occurred in 1950s Denmark.

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34

El Haj, Mohamad, Diana Omigie, and Séverine Samson. "Destination memory and familiarity: better memory for conversations with Elvis Presley than with unknown people." Aging Clinical and Experimental Research 27, no. 3 (November 11, 2014): 337–44. http://dx.doi.org/10.1007/s40520-014-0286-z.

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35

Wilson, Charles Reagan. ""Just a Little Talk with Jesus": Elvis Presley, Religious Music, and Southern Spirituality." Southern Cultures 12, no. 4 (2006): 74–91. http://dx.doi.org/10.1353/scu.2006.0059.

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36

Stornaiolo Pimentel, Alfredo. "El rock: de la rebelde autenticidad a la forma-mercancía." Mundos Plurales - Revista Latinoamericana de Políticas y Acción Pública 3, no. 2 (May 9, 2017): 51. http://dx.doi.org/10.17141/mundosplurales.2.2016.2843.

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El rock and roll nació de los blues en los años cincuenta en los Estados Unidos. A su vez, los blues habían surgido de las work songs, los field hollers y los spirituals que entonaban los esclavos en las plantaciones sureñas para expresar oraciones, lamentos y deseos de libertad mientras se rompían el alma trabajando. A mediados de los cincuenta, Chuck Berry y Little Richard lo inventaron, sin embargo, un blanco, Elvis Presley, sería “el Rey” interpretando música negra para un mercado blanco. No obstante, a fines de la década, esta música declinaba en Estados Unidos mientras que en Gran Bretaña nacía, también de los blues, un ritmo trascendente, con estatus de arte que sedifundiría por el mundo transformado en mercancía. Sin embargo, el rock and roll supo mantener su autenticidad, su aura.

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37

Nygaard, Bertel. "The High Priest of Rock and Roll: The Reception of Elvis Presley in Denmark, 1956–1960." Popular Music and Society 42, no. 3 (March 9, 2018): 330–47. http://dx.doi.org/10.1080/03007766.2018.1447188.

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38

Lee Cooper, B. "Tribute Discs, Career Development, and Death: Perfecting the Celebrity Product From Elvis Presley to Stevie Ray Vaughan." Popular Music and Society 28, no. 2 (May 2005): 229–48. http://dx.doi.org/10.1080/03007760500045360.

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39

Park, Bert E. "Extraordinary Care: The Medical Treatment of Adolf Hitler, Howard Hughes, Elvis Presley, President Ronald Reagan, Barney Clark..." JAMA: The Journal of the American Medical Association 258, no. 21 (December 4, 1987): 3175. http://dx.doi.org/10.1001/jama.1987.03400210119039.

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40

Peterson, Richard A. "Why 1955? Explaining the advent of rock music." Popular Music 9, no. 1 (January 1990): 97–116. http://dx.doi.org/10.1017/s0261143000003767.

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At the time, 1929, 1939, 1945 and 1968 all seemed important turning points in the track of our civilisation. By contrast, as anyone alive at the time will attest, 1955 seemed like an unexceptional year in the United States at least. Right in the middle of the ‘middle-of-the-road’ years of the Eisenhower presidency, 1955 hardly seemed like the year for a major aesthetic revolution. Yet it was in the brief span between 1954 and 1956 that the rock aesthetic displaced the jazz-based aesthetic in American popular music. Frank Sinatra, Tommy Dorsey, Patty Page, Perry Como, Nat King Cole, Tony Bennett, Kay Starr, Les Paul, Eddie Fisher, Jo Stafford, Frankie Lane, Johnnie Ray and Doris Day gave way on the popular music charts to Elvis Presley, Chuck Berry, The Platters, Bill Haley, Buddy Holly, Little Richard, Carl Perkins and the growing legion of rockers.

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41

Brown, Douglas. "Images of Elvis Presley in American Culture 1977‐1997:9836George Plasketes. Images of Elvis Presley in American Culture 1977‐1997: The Mystery Terrain. New York, NY: Harrington Park Press 1997. 334 pp, ISBN: 1 56023 861 5 $24.95 (paperback)." Reference Reviews 12, no. 1 (January 1998): 31–32. http://dx.doi.org/10.1108/rr.1998.12.1.31.36.

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42

Grünhagen, Céline. "Our queen of hearts' - the glorification of Lady Diana Spencer: a critical appraisal of the glorification of celebrities and new pilgrimage." Scripta Instituti Donneriani Aboensis 22 (January 1, 2010): 71–86. http://dx.doi.org/10.30674/scripta.67363.

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Religiosity and spirituality respectively have always been and will be subject to change. The emergence of the manifold forms of new religious and spiritual movements in the last century includes a variety of cult-like venerations of specific individuals, such as politicians (e.g. Mao, Lenin) and modern idols (e.g. Elvis Presley, Princess Diana, Michael Jackson), who are glorified like saints. Devotees gather annually for memorials of their departed idols or travel long distances to visit the tomb, former home, etc. of a specific person to pay tribute to him or her. Due to the motivations of these devotees, the trouble they take, the practices and the tangible emotionality that are connected with this phenomenon, it can be considered a form of pilgrimage. This article presents some thoughts about the glorification of celebrities which leads to these considerable forms of cult and pilgrimage, using as an example the case of Lady Diana Frances Spencer (d. 1997).

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43

Pyle, Robin Lea. "Elvis Presley and the Western performing artist's unrecognized role as social and self‐healer: Issues of transformation and addiction." Popular Music and Society 13, no. 4 (December 1989): 7–15. http://dx.doi.org/10.1080/03007768908591369.

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44

Presley, Elvis, and J. McD. "Elvis Presley and the Rieger Award: I don't know anything about music. In my line you don't have to." Journal of the American Academy of Child & Adolescent Psychiatry 28, no. 5 (September 1989): 654. http://dx.doi.org/10.1097/00004583-198909000-00002.

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45

Sternberg, Robert J., Marek C. Chawarski, and David W. Allbritton. "If You Changed Your Name and Appearance to Those of Elvis Presley, Who Would You Be? Historical Features in Categorization." American Journal of Psychology 111, no. 3 (1998): 327. http://dx.doi.org/10.2307/1423445.

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46

Taylor, Joy T. "“You Can't Spend Your Whole Life on a Surfboard”: Elvis Presley, Exotic Whiteness, and Native Performance inBlue HawaiiandGirls! Girls! Girls!" Quarterly Review of Film and Video 32, no. 1 (October 28, 2014): 21–37. http://dx.doi.org/10.1080/10509208.2012.757532.

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47

Marshall, Wayne. "Ragtime Country." Journal of Popular Music Studies 32, no. 2 (June 1, 2020): 50–62. http://dx.doi.org/10.1525/jpms.2020.32.2.50.

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In 1955, Elvis Presley and Ray Charles each stormed the pop charts with songs employing the same propulsive rhythm. Both would soon be hailed as rock 'n' roll stars, but today the two songs would likely be described as quintessential examples, respectively, of rockabilly and soul. While seeming by the mid-50s to issue from different cultural universes mapping neatly onto Jim Crow apartheid, their parallel polyrhythms point to a revealing common root: ragtime. Coming to prominence via Maple Leaf Rag (1899) and other ragtime best-sellers, the rhythm in question is exceedingly rare in the Caribbean compared to variations on its triple-duple cousins, such as the Cuban clave. Instead, it offers a distinctive, U.S.-based instantiation of Afrodiasporic aesthetics—one which, for all its remarkable presence across myriad music scenes and eras, has received little attention as an African-American “rhythmic key” that has proven utterly key to the history of American popular music, not least for the sound and story of country. Tracing this particular rhythm reveals how musical figures once clearly heard and marketed as African-American inventions have been absorbed by, foregrounded in, and whitened by country music while they persist in myriad forms of black music in the century since ragtime reigned.

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48

Bulgakova, O., and E. S. Maksimova. "“CRAZY ZOOM MAKES EVERYONE TO FIND HIMSELF IN A DOUBLE ROLE OF A SPECTATOR AND AN ACTOR”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 3 (September 1, 2021): 7–21. http://dx.doi.org/10.18522/2415-8852-2021-3-7-21.

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Oksana Bulgakowa is a researcher of visual culture, a film critic, a screenwriter, a director, and a professor at the Johannes Gutenberg University Mainz. She has taught at the Humboldt University of Berlin, the Leipzig Graduate School of Music and Theater, the Free University of Berlin, Stanford University and the University of California Berkeley. Author of the books “FEKS: Die Fabrik des exzentrischen Schauspielers” (1996), “Sergei Eisenstein – drei Utopien. Architekturentwürfe zur Filmtheorie” (1996), “Sergej Eisenstein. Eine Biographie” (1998), “The Gesture Factory” (2005, a renewed edition to be published by NLO publishing house in 2021), “The Soviet hearing eye: cinema and its sensory organs” (2010), “The Voice as a cultural phenomenon”(2015), “SINNFABRIK/FABRIK DER SINNE” (2015), “The Fate of the Battleship: The Biography of Sergei Eisenstein” (2017). Author of the network projects “The Visual Universe of Sergei Eisenstein” (2005), “Sergei Eisenstein: My Art in Life. Google Arts and Culture” (in collaboration with Dietmar Hochmuth, 2017–2018), and the films “Stalin – eine Mosfilmproduktion” (in collaboration with Enno Patalas, 1993), “Different Faces of Sergei Eisenstein” (in collaboration with Dietmar Hochmuth, 1997). In this issue of P&I, Oksana Bulgakowa talks about medial giants and midgets, obscene gestures of Elvis Presley, “voice-over discourse” of TV presenters, and the birth of Eisenstein’s “Method” from psychosis and neurosis. Interview by Ekaterina Maksimova. Photo by Dietmar Hochmuth.

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49

Ramadhania, Vivi Anggraini. "ANALYZING THE USE OF DOUBLE NEGATIVES IN THE LYRICS OF 15 ENGLISH SONGS." ETNOLINGUAL 6, no. 2 (December 29, 2022): 80–89. http://dx.doi.org/10.20473/etno.v6i2.36913.

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English has a lot of grammar elements that are very important to note in order to be used appropriately. One of the easiest ways for English learners to learn English grammar is through the song. The song is very often used as a source of learning English because it has meaningful lyrics and interesting tones. Many of the songs in English do not follow proper grammar. This is created by the songwriter so that the rhyme produced is in accordance with the aesthetic requirements of the song. When the error is not corrected, the error will occur repeatedly both spoken and written English. This study aims to analyze the use of double negatives found in the lyrics of 15 English songs. The use of double negative in proper grammar is an important element of the effective source in learning English. The methods of this study are first analyzing the use of double negatives in the 15 songs lyrics and second classifying the types of double negatives that have been determined based on their criteria. The finding shows there were 15 English songs contain lyrics with double negatives. There are fifteen songs from fifteen popular singers i.e. Adele, Sia, Galantis, Doja Cat, Drake, Cadmium ft. Rosendale, Rae Sremmurd, CHIC, Bruno Mars, Marvin Gaye, Queen, Rihanna, Pink Floyd, Elvis Presley, and Eddie & The Hot Rods.

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50

Stewart, Jon. "Joel Williamson, Elvis Presley: A Southern Life. Oxford: Oxford University Press, 2015. 368 pp. £25.00. ISBN 978-0-19986-317-4 (hbk)." Popular Music History 9, no. 2 (December 21, 2015): 215–17. http://dx.doi.org/10.1558/pomh.v9i2.29463.

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Journal articles on the topic 'Elvis Presley'

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