Monday, June 4, 2012

The Skateboard Mag Addresses Elvis' Role in the Skateboard World





Elvis' prominence in pop culture is evident in many of today's trends including skateboarding. Members of The Skateboard Mag stopped by Graceland to pay homage to the man who broke down barriers and made history with his own unique and resistant style. "Rock 'n' roll is the blood of skateboarding and the king's spirit runs deep within all of us," said Austin Mayer with The Skateboard Mag. "Thirty five years later and Elvis still lives on in the hearts and minds of the world." In the video above, you get a glimpse inside the recent travels of the crew and how Elvis plays a major role in the skateboard world. During their travels, a stop by the King of Rock 'n' Roll's home was at the top of their list. "Graceland preserves the inner workings of the man that started all of this - in a way that makes all the myth feel real. Taste and style bleed out of every room with each turn presenting a new idea impossible to disagree with," said Mayer. The Skateboard Mag recently celebrated their 100th issue and continues to influence a sub-culture filled with rock 'n' roll and alternative trends. When referring to Elvis' pool at Graceland, Mayer said, "Now if we could just get that swimming pool drained for an afternoon, things would really get interesting!" Learn more about Elvis' role in the skateboarding culture by visiting the skateboardmag.com.






Aloha Elvis Image From: http://fieldey.wordpress.com




Sunday, May 27, 2012

Elvis Lives.


So August 16th is near and we are working on a few  nice surprises for all of our readers to remember Elvis,  in the mean time, maybe a bit too much on the cheap TV entertainment side but still done in the right way and is always good to hear other artists paying tribute to our man, so here  it is, the 2002 full Elvis Lives TV special  for you to enjoy ten years after. 

Thanks to all the people in youtube for sharing this. 




Friday, March 16, 2012

1972 - Elvis As Recorded At Madison Square Garden. Plus: An Afternoon in The Garden and other rarities.


Everybody gets enough of what they want to get what they need. By Bob Palmer, ROLLING STONE MAG, AUGUST 31 1972

This is a damn fine record, friend, and you're going to like it whether you like it or not. There's Wagnerian bombast, plenty of your favorite songs, some jukebox music and some Las Vegas lounge music. There's even some old fashioned rock 'n' roll. And most of all there's lots of Elvis, doing what he does best, strutting his stuff before adoring fans. There's even historical interest; this was Elvis' first New York stage appearance, and you can bet plenty of folks had been waiting since 1956 for a little of that Elvis magic. Well, they got it, and you can hear them getting it right here, the whole thing, from the opening whisper of "Also Sprach Zarathustra" to the MC announcing that "Elvis has left the building. Thank you and good night." When Elvis became a rock 'n' roll singer he was picking up on a good thing, namely black blues. White Southerners had been recording black blues since the Twenties, but Elvis was the first one to become a star. He had the looks, the dynamism, the appeal of violent, impulsively sexual white trash. He could sing and he had that rhythmic drive. Even when he was starring in some of the worst exploitation movies ever made you knew he was just one step away from stepping out of his jive role and rocking the joint. Since he's started performing in public again he's discovered that his fans range in age from pre-teen to menopausal, and he's done his best to satisfy them all. Madison Square Garden, though, is his rockingest record in a long time, so Elvis fans who like it when he gets down are really going to dic it. Every great rock and roll singer needs a great rock and roll band, and Elvis has got one. James Burton, the guitarist, can pick Sun era rockabilly, country twang, laid-back bluesy fills and sharp, ringing single string leads. Bassist Jerry Schiff and drummer Ronny Tutt are super tight; when they nail down the beat, it stays nailed down. Pianist Glen Hardman knows when to honk and when to tonk. The backup singers are the Sweet Inspirations and J.D. Summer and the Stamps, the one a black gospel group, the other white gospel. Church music of the sanctified, shouting kind has never been far removed from blues and rock & roll, so these two groups are perfect complements to Elvis' gospel-tinged voice. Kathy Westmoraland of the Inspirations sings graceful obbligatos way up high, and Mr. J.D. Sumner is the most authorative bass singer you could imagine, especially when he ends a song with one of his long, perfectly timed slides down from the dominant to the tonic. Of course there's also a flaccid orchestra sawing away in the background, but it's used like the krchestras on some of the classic Phil Spector records, to reverberate around the core of band and singers and occasionally come out with a sweet lead line. Elvis and the band were in excellent form for their Saturday night Madison Square Garden concert. The record spares you the lukewarm opening set by the Sweet Inspirations and the public crucifixion of a sacrificial comic, not to mention the cries of the vendors hawking Elvis souvenir booklets and balloons. As it begins, the orchestra strikes up Zarathustra, which somehow seems more appropriate for Elvis than for Grand Funk, and the King himself comes bounding out, straps on a  guitar, and roars into one of his early Sun hits, Big Boy Crudup's "That's All Right." Elvis doesn't even sound like he's tired of the song, and the band is giving him a lot of push. His voice has deepened and mellowed, but he can give it that old stridency when he wants to, and he matches the band with some pushing of his own, laying right into the beat and building up an overpowering momentum that is over all too soon. James Burton out-Creedences Fogerty on "Proud Mary" and then the band rocks on "Never Been to Spain," with a sinuous vocal from Elvis and soaring treble-string fills from Burton. Not even a string-heavy arrangement can make "You Don't Have to Say You Love Me" into a complete anticlimax, and orchestra and band get together to make "You've Lost That Lovin' Feelin'" a memorable cut. "Polk Salad Annie" roars, and Jerry Scheff has a rumbling bass solo that consists of a few notes, perfectly placed, that build up some head of steam. The record keeps on mixing up old favorites like "Teddy Bear" and "Don't Be Cruel" with more recent things like "Suspicious Minds." The latter has a thrashing, Cecil B. DeMille finale highlighted by Tutt's thundering drums. "I Can't Stop Loving You" is a surprise. Here it's a medium rocker with weeping guitar, more kicks from Tutt, and a powerful vocal that manages to find things to do with the song that even Hank Williams and Ray Charles didn't get to. "Hound Dog" includes some humor, Elvis starts it several times and lets it drop. "Now you don't know what I'm going to do yet," he tells the audience. When the tune gets started, it's a funky semi-boogaloo with wah-wah guitar and a deftly rhythmic vocal from Elvis that tenses the releases like a tightly coiled spring. Then the whole band falls right into the rocking tempo of the original, without missing a lick. Even Mickey Newbury's pretentious "American Trilogy" -- which is really just "Dixie," "Battle Hymn of the Republic," and "All My Trials" strung together -- is fun, with Elvis laying some funky inflections on the grandiose orchestral and choral parts. "Can't Help Falling in Love," "You Don't Have to Say You Love Me," and "The Impossible Dream" are pretty Lake Tahoe, but still, you've got to admire Elvis' singing. He brings a touch of home-style raunch to even these saccharine evergreens. So all things considered, just like I said before, this is a damn fine record. Elvis may not generate the polymorphously perverse hysteria the Rolling Stones arouse, he may not move around and jump into the air and wiggle his hips as much as he used to, but he's come through superstardom without forgetting what it means to rock, that's the important thing. So everybody gets enough of what they want to get what they need. - Bob Palmer, Rolling Stone, 8/31/72.


Click: Elvis: Like A Prince From Another Planet. By Collin Escot
"[Elvis] was a major hero of mine. And I was probably stupid enough to believe that having the same birthday as him actually meant something. I came over for a long weekend. I remember coming straight from the airport and walking into Madison Square Garden very late. I was wearing all my clobber from the Ziggy period and had great seats near the front. The whole place just turned to look at me and I felt like a right idiot. I had brilliant red hair, some huge padded space suit and those red boots with big black soles. I wished I'd gone for something quiet, because I must have registered with him. He was well into his set."
David Bowie


"One day I walked into my office on 49th and Broadway. I went up to the 11th floor and my secretary says, "Hey Jer, you got a note that's probably worth a million dollars if you sell it at Sotheby's." I said, "What's that?" She said, "It's a note from E.P." I said, "You're kidding? What does it say?" It said, "Dear Jer, I'm leaving four tickets for tomorrow night's show at the (Madison Square) Garden and I want you to see my show." One of the reasons I never saw my acts in person over all those years was that I was claustrophobic and I couldn't take the crowds. But I went and took my family. "I'm gonna grit my teeth," I thought, "I'm gonna grin and bear it and go to the show. It's Elvis!" I loved the guy and hadn't seen him in a coon's age. We went to Madison Square Garden and we were in this select elegant box seat with a great view of the great E.P. We sat there and watched the show and he looked magnificent to me. He was great and I enjoyed every minute of it. One, it was Elvis Presley. Two, he sang a couple of our songs. Three, I'd NEVER been to a live concert of ANYONE I've ever produced or wrote for. It was incredible. It was like going to see Joe Louis knock out Max Schmeling."
Jerry Leiber 



"...he almost demanded that we kick him in the butt. The music was so intense. It was a kind of punk lounge music. I was playing very busy parts and to this day, I can't listen to any of the albums we did, because everything is so intense feeling. For an example, listen to Elvis Live At Madison Square Garden. My only excuse is, I don't think anyone else was playing bass that way at the time."
Jerry Scheff




Elvis receives the Gold Record for As Recorded At Madison Square Garden album, Aug 1972 
Elvis: As Recorded at Madison Square Garden is a live album recorded by Elvis Presley and released in June 1972 by RCA Records peaking on the charts in July 1972. Recorded at the Madison Square Garden arena in New York City on a Saturday night, June 10, 1972, the concert, and the subsequent album, were promoted as being Presley's first live concerts in the Big Apple since the 1950s. The record was released only a week after the concert itself took place, and reached #11 in the U.S. and #3 in the U.K. early next month. By August 4, 1972 it was certified Gold, 3x Platinum to date. The  afternoon performance was also recorded, but except for a performance of "I Can't Stop Loving You" which appeared in the 1977 compilation: Welcome to My World, it remained unreleased until the 1990s when it was issued as An Afternoon in the Garden. Over the four shows performed by Elvis at the Garden, many celebrities attended ,including George Harrison -who meet Elvis backstage-, John Lennnon -who soon would be playing his own gigs at the Garden in August, paying tribute to Elvis by including Hound Dog in his set list-, also in the audience where Art Garfunkel, Paul Simon, David Bowie -who crossed the Atlantic just to attend Elvis' concerts in N.Y.-, the entire band Ten Years After, the great Jerry Leiber, and Bob Dylan -who have already seen Elvis in Vegas back in '70 and wrote a song about it-. Bruce Springsteen also attended one of the four shows, having signed his first record contract with Columbia Records earlier that week.


So here it is, our new entry in this blog, the long out of print classic Elvis L.P. "As Recorded At Madison Square Garden" southern rock by a funky 70's Elvis and a tight TCB Band behind the man, delivered to an electrified New York audience. As a bonus treat -you know we like it that way- also here it is the An Afternoon in the Garden concert, recorded earlier that day, some current singles of the era, original radio promos and broadcasts from the event, and a fantastic sounding rehearsal from earlier that year, just Elvis and the TCB Band, playing red hot nasty Rock and Roll that will hush anyone who dares to say he King couldn't rock in his latter days.  






Elvis: As Recorded At Madison Square Garden
Original 1972 L.P.

CD1
Also Sprach Zarathustra
That's All Right
Proud Mary
Never Been To Spain
You Don't Have To Say You Love Me
You've Lost That Lovin' Feeling
Polk Salad Annie
Love Me
All Shook Up
Heartbreak Hotel
(Let Me Be Your) Teddy Bear/Don't Be Cruel
Love Me Tender
The Imposible Dream
Introductions by Elvis
Hound Dog
Suspicious Minds
For The Good Times
American Trilogy
Funny How Times Slips Away
I Can't Stop Loving You
Can't Help Falling In Love
Closing Vamp

Bonus:
Original Radio Concert Promo
We Can Make The Morning [Early '72 Single]
Original Radio Newscast: Elvis answers the N.Y. Press
Proud Mary [Rehearsal]
Never Been To Spain [Rehearsal]
Burning Love [Rehearsal]
Funny How Times Slips Away [Rehearsal]
For The Good Times [Rehearsal]


CD2
Elvis: An Afternoon In The Garden

Also Sparch Zarathustra
That's All Right
Proud Mary
Never Been To Spain
Until It's Time For You To Go
You've Lost That Loving Feelin'
Polk Salad Annie
Love Me
All Shook Up
Hearbreak Hotel
(Let Me Be Your) Teddy Bear/Don't Be Cruel
Love Me Tender
Blue Suede Shoes
Reconsider Baby
Hound Dog
I'll Remember You
Suspicious Minds
Introductions By Elvis
For The Good Times
An American Trilogy
Funny How Times Slips Away
I Can't Stop Loving You
Can't Help Falling In Love

Bonus:
Press Conference N.Y. 1972
Until Its Time For You To Go [Early '72 Single]
An Americna Trilogy [Single Version]
Burning Love [Mid '72 Single]
Reconsider Baby [Alternate Rare Mix from the Afternoon Show]










Saturday, March 10, 2012

Elvis: Like a Prince From Another Planet. By Colin Escot



Its hard to know why it took so long for Elvis to play New York. He had performed on sound stages there when he had guested on "The Ed Sullivan Show", "The Steve Allen Show" and "The Dorsey Brothers Stage Show". He had recorded there, and he had embarked for Germany from Brooklin, but the most popular star of all time had neve played a stage show in his country´s most populous city. That changed on June 9-11 1972, when Elvis played four shows at Madison Square Garden.

Elvis at a Press Conference, N.Y. 1972
The Colonel's first idea had been to stage the New York debut at Radio City Music Hall, then he switched to the much larger Madison Square Garden. The media scrutiny was intense. The Col. decided to use the advance publicity to his advantage. After he hadn't found any takers for an exclusive interview with Elvis for $120,000, he scheduled one of Elvis' exceedingly rare press conferences five hours before the first show at the Mercury Ballroom in the New York Hilton. Elvis was in a bouyant mood, sidestepping questions about draft dodgers and current entertainers, attributing his staying power to Vitamin E, and bantering lightheartedly with the press corps.

There was one glorious soundbite, which must have made it all worthwhile from the Colonel's standpoint. "Elvis", came the question, "we're told that deep down you´re really very shy and humble".

"What do you mean shy? replied Elvis, standing uo and pulling back a powder blue cape jacket to reveal a splendiferously gaudy belt buckle, a gift from the Las Vegas Hilton for setting an attendance record. It was on every newscast that night. The Colonel knew you couldn't buy that kind of publicity. 

Everything now hinged on the shows themselves. There were four shows spread over three days, one on Friday, June 9, two on Saturday, June10, and another on Sunday, June 11. Tickets were $5.00, $7.50 and $10.00 and every seat was sold. There where no freebies. George Harrison, John Lennon and Bob Dylan had to pay like everyone else. RCA, deciding to make the most of the publicity surrounding the even, planned an in-person album to be issued just days afterward.

Elvis brought along his own emcee, Al Dvorin. Dvorin reminded the fans that Elvis merchandise was available after the show, and introduced the supporting act, Vegas comic Jackie Khane. A Slow handclap ushered Kahane from the stage; his act didn't work in New York. Dvorin brought on the Sweet Inspirations before the break. The Anticipation was intense by the time everyone had settled back in their seats. The lights dimmed and the Joe Guercio Orchesta broke into the omnious opening bars of Richard Strauss' "Also Sprach Zarathustra". A cordon of red-jacketed security men appeared, and suddenly Elvis appeared in a blue body suit with gold appliqué. "He looked like a prince from another planet", said The New York Times reviewer.

The Horns slowly subsided, pairing down the intrumentation for "That's All Right". At double the original tempo, it was clear that this was going to be a high-energy show. "I'm sure Elvis never sang bettet than he did at the Madison Square Garden," said pianist Glen D. Hardin. "I supose he thought the fans in the BIg Apple might be more demanding, so he turned on the power, and powerful it was." The shows recapped everything that the New York Fans had been missing in the 18 years that Elvis had been a professional entertainer. He barely gave the fans let alone himself, a chance to catch their breath between songs. The crowd danced in their seats as Elvis tore through his '50s classics, "All Shook Up," "Teddy Bear," "Love Me," "Blue Suede Shoes" and "Hound Dog," punctuating them with his recent hits, "An American Trilogy" and "Until Its Time For You To Go"," and a selection of songs that moved him. "That afternoon he chose Three Dog Night's "Never Been To Spain," " Kristofferson's "For The Good Times,"  Creedence Clearwater Revival's "Proud Mary," and Tony Joe White's "Polk Salad Annie." He roved the Stage, giving those seated at awkward angles a chance to see him. Then, at the close of "Can´t Help Falling In Love", the red-jacketed guards reappeared, and he was gone, leaving Dvorin to tell the Crowd that Elvis had left the building. The Colonel was a firm believer in leaving the wanting more ...and Elvis did.

The press eedict was unanimous. "From Backwoods Phenom in 1956 To Polished Superstar," said Variety", "Presley Talents Richly Intact," said The New York Times, "Elvis Enjoying Reign As King In New York," added the Memphis Commercial Appeal, "Nostalgia was but a small part of the celebration," said Billboard. "Elvis' voice, always better than the critics admitted has become even richer and more resonant than before... Thousands of bursting lightbulbs created a psychedelic lightshow, and the stage seemed to shudder and jump in the tiny spaces between light and dark. That image only reinforced what one had suspected from the start. Elvis has transcended the exasperating constrictions of times and place."



Elvis, rockin' at Madison Square Garden, June 10, 1972




As Elvis sang on Saturday, the RCA tape machines were rolling. "We recorded two of the shows", said Joan Deary. "The second was what we put out". The album, ELVIS AS RECORDED AT MADISON SQUARE GARDEN, was released the week after the show. It reached No.11 on the LP Charts, and No.3 in the U.K, and was certified double-platinum.










 "Elvis Enjoying Reign As King In New York," said  the Memphis Commercial Appeal,
but as soon as the N.Y. tour was over, Elvis was back in Memphis, and rather than looking like "A prince from another planet," as the New York Times stated about his concert appearence, he in fact looked as the downhome southern rebel he always was. Here the Memphis Commercial Appeal captures a long haired Elvis riding his Harley with a long legged girl on his back,  August 1972.





Wednesday, February 8, 2012

Elvis: American David. By Bono

Out of Tupelo, Mississippi, out of Memphis, Tennessee, came this green, sharkskin-suited girl chaser, wearing eye shadow — a trucker-dandy white boy who must have risked his hide to act so black and dress so gay. This wasn't New York or even New Orleans; this was Memphis in the Fifties. This was punk rock. This was revolt. Elvis changed everything — musically, sexually, politically. In Elvis, you had the whole lot; it's all there in that elastic voice and body. As he changed shape, so did the world: He was a Fifties-style icon who was what the Sixties were capable of, and then suddenly not. In the Seventies, he turned celebrity into a blood sport, but interestingly, the more he fell to Earth, the more godlike he became to his fans. His last performances showcase a voice even bigger than his gut, where you cry real tears as the music messiah sings his tired heart out, turning casino into temple. In Elvis, you have the blueprint for rock & roll. The highness — the gospel highs. The mud — the Delta mud, the blues. Sexual liberation. Controversy. Changing the way people feel about the world. It's all there with Elvis.


I was eight years old when I saw the '68 comeback special — which was probably an advantage. I hadn't the critical faculties to divide the different Elvises into different categories or sort through the contradictions. Pretty much everything I want from guitar, bass and drums was present: a performer annoyed by the distance from his audience; a persona that made a prism of fame's wide-angle lens; a sexuality matched only by a thirst for God's instruction. But it's that elastic spastic dance that is the most difficult to explain — hips that swivel from Europe to Africa, which is the whole point of America, I guess. For an Irish boy, the voice might have explained the sexiness of the U.S.A., but the dance explained the energy of this new world about to boil over and scald the rest of us with new ideas on race, religion, fashion, love and peace. I once met with Coretta Scott King, John Lewis and some of the other leaders of the American civil rights movement, and they reminded me of the cultural apartheid rock & roll was up against. I think the hill they climbed would have been much steeper were it not for the racial inroads black music was making on white pop culture. Elvis was already doing what the civil rights movement was demanding: breaking down barriers. You don't think of Elvis as political, but that is politics: changing the way people see the world. 

 In the Eighties, U2 went to Memphis, to Sun Studio — the scene of rock & roll's big bang. Elvis' music diviner Cowboy Jack Clement opened the studio so we could cut some tracks within the same four walls where Elvis recorded "Mystery Train." He found the old valve microphone the King had howled through; the reverb was the same reverb: "Train I ride, 16 coaches long." It was a small tunnel of a place, but there was a certain clarity to the sound. You can hear it in those Sun records, and they are the ones for me. The King didn't know he was the King yet. Elvis doesn't know where the train will take him, and that's why we want to be passengers. Jerry Schilling, the only one of the Memphis Mafia not to sell him out, told me that when Elvis was upset and feeling out of kilter, he would leave the big house and go down to his little gym, where there was a piano. With no one else around, his choice would always be gospel. He was happiest when he was singing his way back to spiritual safety. But he didn't stay long enough. Self-loathing was waiting back up at the house, where Elvis was seen shooting at his TV screens, the Bible open beside him at St. Paul's great ode to love, Corinthians 13. Elvis clearly didn't believe God's grace was amazing enough. Some commentators say it was the Army, others say it was Hollywood or Las Vegas that broke his spirit. The rock & roll world certainly didn't like to see their King doing what he was told. I think it was probably much more likely his marriage or his mother — or a finer fracture from earlier on, like losing his twin brother, Jesse, at birth. Maybe it was just the big arse of fame sitting on him. I think the Vegas period is underrated. I find it the most emotional. By that point Elvis was clearly not in control of his own life, and there is this incredible pathos. The big opera voice of the later years — that's the one that really hurts me. Why is it that we want our idols to die on a cross of their own making, and if they don't, we want our money back? But you know, Elvis ate America before America ate him. 

Source:  Read more: http://www.rollingstone.com/music/lists/100-greatest-artists-of-all-time-19691231/elvis-presley-19691231#ixzz1llx60xoS






Tuesday, January 31, 2012

Bang! Bang! We´re Back!


Bang! Bang! we´re back! most download links are fixed for you to enjoy!

Links were down after the megaupload incident and it took us some time to find a new server. Hope this one last, Yeahelvis!!! will.

And remember, what we're doing here is no crime, it is called research, criticism, and comment, and we are backed by this:

 Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

None of the download material as presented in this blog is on the market, it is offered to complement our reviews, and always intended to provide with a new angle on Elvis music, it is always an alternate playlist on an old album, or our own playlists, or ultra rare items not available on record shops, it is all part of our  research and scholarship work, all aimed to provide and in deep point of view on an often missunderstood artists. That's our job here at yeahelvis.blogspot.com



Para nuestros lectores en castellano. 

Piratería es hacer dinero con lo que no te pertenece. Aquí no vendemos Cd's quemados con pésima calidad de audio en un puesto en la calle o via web. Aquí no lucramos con lo que no nos pertenece. No hacemos dinero con este blog, y no buscamos dañar a alguien, por el contrario este blog es pensado como un trabajo de investigación, crítica y comentario a un artista, Elvis Presley, por lo general poco comprendido por la crítica musical; los artículos y la música para descargar en este blog están dirigidos para ofrecer una nueva perspectiva respecto a su música, siempre ofrecen un playlist alterno, rarezas, distintas mezclas de audio etc. todo con el objetivo de complementar el comentario ofrecido en el post y procurar un nuevo anguho respecto a dicho material en al lector.  Lector que tal vez, a través de este blog, decida ir, y comprar el material original. 

Compartir un disco favorito con un amigo que visita tu casa nunca ha sido un delito, tampoco lo es dejar que lo cargue en su ipod (tal vez después de escucharlo largo rato se decida por ir a comprar material de ese artista), considero este blog como nuestra casa, tu casa, y todo visitante un amigo . Tampoco podría ser nunca un delito mostrar un disco en un salón de clase para ilustrar un tema. Aquí en este blog lo único que nos interesa es hacer circular, de boca en boca, el arte y el conocimiento, pensamos hay cierto valor en ello. 

El valor del arte está en su circulación como lenguaje propositivo de nuevas formas (de pensar, de experimentar, de comunicar, de vivir y crear nuestra vida), no un valor de capital netamente explotable. ¿En qué momento aparecen entidades abstractas que acaparan catálogos discográficos meramente en términos de capital explotable? Material que no les pertenece en términos de trabajo, capital muchas veces divorciado en beneficios de su creador intelectual, y al que solo puedes accesar en términos de producto monopolizado, lo que reduce la circulación del arte a una clase privilegiada en poder adquisitivo, anulando así posibilidades de generación de lenguajes críticos y propositivos en la sociedad entera. 

La acaparación del arte por una clase social es el sinsentido del mismo.





Elvis For Everybody or death...



Sunday, January 8, 2012

Happy Double Seven Mr. Presley!!!



...if any individual of our time can be said to have changed the world, Elvis Presley is the one. 
In his wake more than music is diffrent. Nothing and no one looks or sound the same.
His music was the most liberating event of our era because it taught us new posibilities of feeling and perception, 
new modes of action and appearance, 
and because it reminded us not only of his greatness, but of our own potential. 

- Greil Marcus
   from his book, Mystery Train. 1975.




You will be 77 years young today...



Happy Birthday Elvis!!!