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My artistic practice and research explore automatic processes used throughout time that develop conceptual and physical aptitude in the performer; to transcend the status quo and experience alternative versions of embodied reality. In homage to Elvis Presley and the spirit of Rock and Roll, I define automatism as a process formulated as Automatic Corporeal Gesture in a Flash (ACG) where I work to make art without fear from an inspirational sensation in my body. ACG is inspired, authentic action that I do in a creative act through some kind of plan or set of parameters to get a material result; it is automatic action through diffraction in an apparatus, to produce material with qualitative data that can be considered for its meaning after the performance. Like having a conversation with someone, this approach helps me to understand things as they are, learning about their qualities. In ACG I combine my vibration with the vibration of what inspires me. It is a relational act of co-agential meaning making. It is a performance process that uses perception and action intrepidly while in an apparatus to maintain corporeal balance, integrity and momentum during an event. Practising ACG changes qualities in material, which changes the way meaning is made from it. These changes are always particular to each event. Our senses are physical and extra-sensory. My imagination contains qualitative, empirical data. I am using my corporeal senses to perceive my imagination's inspiration, as I would also use my other senses and their correlating extra-sensory capabilities to perceive the material world around me. The meditative groove of my ACG is a trance dance. Trance is maintaining the entrainment of one's body to a frequency which focuses perceptive consciousness. How a piece is created carries discursive information. Qualities of the movement of the body and the marks it makes speaks about our corporeal condition as well as speaking of its perception of qualities through/of itself and its local and extra-local environments. I use ACG to learn about the qualities that experience has had in my body, and this knowledge increases my ability to be more responsible and accountable as a receiver and transmitter of discourse, which is the function of my relationality. ACG helps me to access my full body, and it allows me to coordinate and integrate all my other senses and their correlating extra aspects into my creative action. ACG is what keeps sparking the dynamic process in which I realize my creative potential, and where I can expand my abilities to perceive more of the qualities of life. [ABSTRACT FROM AUTHOR]

This article from the journal "Clinical & Experimental Optometry" explores the potential medical reasons behind Elvis Presley's iconic sunglasses. It delves into his ocular health, including issues like photophobia, conjunctivitis, and uveitis, and how they may have impacted his performances. The paper suggests a mix of ocular and non-ocular causes, such as dry eye disease, chronic medication use, migraines, traumatic brain injuries, and medication side effects, contributing to Presley's light sensitivity. The authors acknowledge various individuals for their contributions to the research, emphasizing that the paper reflects their own opinions and any errors are their own. [Extracted from the article]

The roots that raised Elvis Presley to become the man that he is in history, are not found in rock’n’roll but they go much deeper. They are found in the Gospel, in what Joe Moscheo defined as “the Gospel side of Elvis”. This paper highlights the gospel music of Elvis Presley and its vast impact on American society and religion. One of the aims of this article is to underline the impact that sacred music had over Presley’s artistical work and how Elvis and his Southern spirituality influenced the history of Christian music. One more important aspect of this paper argues the worldwide role Presley had as an evangelist of the Gospel, and how he influenced Christian identity and its values among Americans. This paper tried to answer to Mark Duffet’s question: “If star musicians are positioned as centers of attention, what happens when they use their privileged position in the spotlight to offer a ‘spiritual’ message?”. As a result, this paper offers original contents of Elvis Presley’s faith and spirituality and is intended as a starting point for future studies. Surprisingly, few researchers have evaluated the effect the singer had on evangelization and gospel music development. Previous studies have mostly paid attention to the role that Elvis played on the Rock’n’Roll scene and the iconic legend created around him. They forget that the Gospel is a key part of Presley’s life and music.

The death of Elvis Presley in August 1977 unveiled a field of contested interpretative and emotional positions regarding his public persona and its wider cultural implications. Closely studying the particular repercussions of such contestations in Denmark, using the totality of available source material, this article analyses a historically specific complex of temporal sediments and contested cultural norms and emotional expressions in connection with international celebrities and their fans and detractors. In more general terms, this study can contribute to the ongoing endeavours to historicise approaches to celebrities and the webs of significance surrounding their deaths. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Almost all the stages in the early history of rock and roll were intuitive and affective. In the most spectacular moment for the development of this genre – in 1956 – no one was able to accurately verbalize musical experiences and emotions. New phenomena have not been linked to the tradition of the American subcultures, and no cultural or anthropological research has been undertaken. Therefore, the random, spontaneously improvised session in December 1956 with Carl Perkins, Johnny Cash, Jerry Lee Lewis and Elvis Presley constitutes a unique event. In the legendary Sun Records recording studio in Memphis, the white artists associated with the early rock revolution used music to tell a story about their roots and identity, “narrativize” the white and black tradition, but, most of all, they revealed the spiritual aspect of rock and roll – the rhythms and gospel emotions that lay at its foundation. [ABSTRACT FROM AUTHOR]

Elvis Presley (1935-1977) is an iconic figure in modern pop culture. Although many of his medical conditions have been the subject of extensive speculation, less is known about his ophthalmological problems, including steroid-induced glaucoma caused by a life-long use of steroids, both prescribed and self-administered, and secondary angle closure glaucoma most likely due to anterior uveitis. Further, he had an episode of acute angle closure glaucoma in 1971 that was treated with a subconjunctival injection of a mydriatic agent or, less likely, a paracentesis combined with an iridotomy. David Meyer, MD, was Presley's main ophthalmologist from 1971 until the latter's death in 1977., Competing Interests: Declaration of conflicting interestsThe authors declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

A casa que Elvis Presley comprou para seus pais, em 1957, se chama "Graceland" – "Terra da Graça" – e fica na cidade de Memphis, no estado do Tennessee. No sul dos Estados Unidos, muitas casas têm nomes, especialmente as casas históricas, algumas datando de antes da guerra civil de 1860-65. Na história da casa de Elvis Presley não fica claro se a casa já tinha este nome antes ou se o próprio Elvis escolheu "Graceland". A casa não é velha, pelo menos em comparação com outras casas históricas do sul, porque foi construída no século XX. Seja como for, esta casa, depois de tantos anos da morte do artista, se transformou em um ponto de romaria para os milhões de fãs de Elvis Presley no mundo inteiro, e seu nome, Graceland, aparece em músicas e filmes.

Elvis, the hidden king of rock and roll. Messianism, revolutionary delusion and birth of new pop fetishisms. Taking inspiration from Simmel’s insight regarding the presence of hidden kings in every distinguished cultural epoch, this paper explores the forms through which pop culture has got to generate new models of power, capable to set new standards by means of intrisic capabilities of overcoming social distortions the political power could not overtake. Elvis Presley, its myth, and the fetishisms derived from his stardom, condensed a number of Western stereotypes, subsuming counterposed social consciousnesses. In Presley’s figure, social antinomies are smoothed out through the delusion of a revolutionary pledge, that eventually comes out to be socially reassuring and equitable with an epiphany.