Elvis Documentary Company Goes Public.

Memphis Productions One AVV is a television, video production and marketing
company that will invest primarily, although not exclusively, in the
development and production of a documentary and related DVD series on Elvis
Presley as presented through the historical Barton Elvis Archives and the
eyes of some of his closest confidants and friends, such as the "Memphis
Mafia", the producer of his comeback Chips Moman and others with candid
insight into Graceland and Elvis' world.

The series will include priceless materials, as yet unreleased, from the
Barton Elvis Archives and works such as ELVIS: The Echo Will Never Die and
other material on the formative years leading to stardom and thereafter on
Elvis Presley and others in the Memphis music scene. Production will also
include new and candid interviews with many of the people that knew Elvis
and the Memphis music scene extremely well. To download a copy of the
confidential offering memorandum please visit www.ppdaq.com.

Memphis Productions One AVV is pleased to announce the offering of 500,000
Common Stock Shares to qualified investors.

The offering is the first being handled by one of the fast emerging Micro
Exchange Sites, www.ppdaq.com. PPDAQ is an Online Listing Exchange dedicated
to the support and trading of Aruba International Business Companies (IBC's)
know as Aruban Exempt Companies, AEC's or A.V.V.'s.

2005/11/30  PR Web  /  Ep.Gold.Com.

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Elvis #1 Singles Box Set and 50th Anniversary Re-Release of Heartbreak
Hotel.

ELVIS # 1 SINGLES BOX SET RELEASED JANUARY 24, 2006 FROM THE SONY BMG
STRATEGIC MARKETING GROUP

CAMPAIGN WILL KICK OFF WITH JANUARY 10, 2006

RE-RELEASE OF ELVIS' FIRST #1 SINGLE 'HEARTBREAK HOTEL'

CELEBRATING THE 50TH ANNIVERSARY OF ELVIS' FIRST RCA RECORDING SESSION

Celebrating the milestone 50th anniversary of Elvis Presley's first RCA
recording session and first #1 hit 'Heartbreak Hotel,' the SONY BMG
Strategic Marketing Group will release the deluxe 'Elvis #1 Singles' Box Set
on January 24, 2006. The UK version of this box set caused frenzy among
Elvis fans as they anxiously waited week to week for the release of the next
single to build out their box set. The US version will release all 21 #1 US
hits on 20 individual CD singles together in a limited edition, numbered
collectors box set. (One of the 20 CD singles is a double A-side containing
two #1 hits, 'Hound Dog' and 'Don't Be Cruel'). Each single will be
individually packaged in a dynamic mini sleeve reflective of the original
single artwork. Preserving the look of the original 45's, each CD will be
pressed on black plastic with grooves to mimic vinyl.

Presley's famous first RCA Studios session, recorded just days after his
21st birthday, produced 'Heartbreak Hotel.' Recorded on January 10th and
11th in 1956, and released just a few weeks later, the epic single spent 8
weeks on the Billboard Top 100 chart at #1. The single crossed genres,
topping the country charts for 17 weeks and reaching #3 on the R&B charts.
Sony BMG commemorates the 50th anniversary of this legendary recording by
re-releasing the 'Heartbreak Hotel' single on January 10, 2006. The single
artwork will emulate that of the EP that was released in April of 1956, as
well as the artwork of the original single that was released in a generic
RCA paper sleeve.

The newly formed SONY BMG Strategic Marketing unit works closely with the
company's labels to oversee and coordinate activities in a variety of areas,
including master television, film and commercial licensing, creative product
development, partnership marketing alliances, and the coordination of joint
soundtrack projects between the Sony Music and BMG label groups, as well as
overseeing Elvis Presley content management.

SONY BMG MUSIC ENTERTAINMENT is a global recorded music joint venture with a
roster of current artists that includes a broad array of both local artists
and international superstars, as well as a vast catalog that comprises some
of the most important recordings in history. SONY BMG MUSIC ENTERTAINMENT is
50% owned by Bertelsmann A.G. and 50% owned by Sony Corporation of America.

Track Listing:

1) Heartbreak Hotel / I Was The One
2) I Want You, I Need You, I Love You / My Baby Left Me
3) Don't Be Cruel / Hound Dog
4) Love Me Tender / Any Way You Want Me
5) Too Much / Playing For Keeps
6) All Shook Up / That's When Your Heartaches Begin
7) Teddy Bear / Loving You
8) Jailhouse Rock / Treat Me Nice
9) Don't / I Beg Of You
10) Hard Headed Woman / Don't Ask Me Why
11) A Big Hunk O' Love / My Wish Came True
12) Stuck On You / Fame And Fortune
13) It's Now Or Never / A Mess Of Blues
14) Are You Lonesome Tonight / I Gotta Know
15) Surrender / Lonely Man
16) Good Luck Charm / Anything That's Part Of You
17) Return To Sender / Where Do You Come From
18) In The Ghetto / Any Day Now
19) Suspicious Minds / You'll Think Of Me
20) Burning Love / A Matter Of Time

2005/11/30   EPE  /  Ep.Gold.Com.

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Bruce Campbell On How He Prepared For Hhis Role As Elvis In Bubba Ho-Tep.

Q: You played Elvis in "Bubba Ho-tep". Taking that role was a risky
proposition, wasn't it? Elvis Presley has an army of imitators, a subculture
all its own, and the challenge for any actor playing the King would be
playing the man, not the icon. I'm curious: how did you prepare for the
role?

BC: Mainly, I watched documentaries and learned my lines. I wasn't
interested in Elvis' persona, so I didn't watch his movies. I was more
interested in what he was like as a guy. Ultimately, I just played

2005/11/30   The Trades - www.elvisinfonet.com  /  Ep.Gold.Com.

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Memphis Recording Service Delayed.


The Memphis Recording Service set is around 10 days delayed.

2005/11/30  www.elvisunlimited.com  /  Ep.Gold.Com.

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The Man Who Made Elvis Laugh.

Sammy Shore, the comedian who opened for Elvis between 1969 and 1971, is
working on a TV Show / Book / movie project entitled "The Man Who Made Elvis
Laugh".

He is currently working on the contracts for these three aspects of the
project.

2005/11/29  www.elvismatters.be  /  Ep.Gold.Com.

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THE KING'S BUSINESS The Man Who Bought Elvis.

Investor Robert Sillerman is combining the King, American Idol, and other
entertainment assets to build his next media conglomerate.

Elvis left the building 28 years ago, but as a pop icon he's still hot. Over
half a million tourists from all over the world stream into the shrine
called Graceland each year. When his record company rereleased Elvis singles
to promote his latest greatest-hits compilation in 2002, 19 of them became
top five hits in Britain. (A hip-hop-style remix of "A Little Less
Conversation" was a No. 1 hit in more than two dozen countries, including
the U.S.) And Elvis impersonators are still fixtures in everything from
movies to corporate events.

As a business, though, Elvis has been stagnating. Revenues at the company
that manages his affairs, Elvis Presley Enterprises, have been flat at $40
million for five years. A costly restaurant venture in Memphis went bust.
There is little profit to invest in potentially lucrative assets like the
Heartbreak Hotel, across the street from Graceland. Elvis's 37-year-old
daughter and heir, Lisa Marie, has been unhappythat the business has been
going nowhere: "We were doing good, but you can't stay the same," she says.
"You either have to grow or go down." In other words, Elvis is a classic
buying opportunity: The underlying fundamentals are sound, but current
management has been unable to take the business to the next level.

At least so says a Wall Street entrepreneur who is hoping to make Elvis the
centerpiece of his burgeoning media company-not only extending the King's
reign but also taking advantage of technological and demographic changes
rocking the media and entertainment industries. In just the past few weeks
we've seen a flurry of deals by companies seeking to profit from this
tumult: TV networks are offering shows for sale, AOL is selling vintage
programs online, and cellphones and iPods can now deliver music, video, and
TV. In other words, distribution companies are falling all over each other
to reach customers through new, competing outlets. With so many formats
vying for consumers' attention, content is king. And the King is content!

The man who bought Elvis is Robert F.X. Sillerman, 57, a Wall Street
operator with a long history of minting money in the media business. In 1989
he sold a group of radio stations to Westinghouse (now Viacom) for $389
million. Eight years later he unloaded a bunch of stations to Hicks Muse for
$2.1 billion. In 2000 he sold a company that owned concert venues to Clear
Channel for a reported $3 billion.

In each case Sillerman assembled a collection of media properties-all in
distribution-at low prices and then unloaded the bundle for a higher price.
He seems to have a knack for selling just when markets are at their peak,
which has given some buyers severe indigestion. Now, after "lying in the
weeds" for a few years and fighting and beating cancer, Sillerman is at it
again, pulling together another media empire, which-though Sillerman won't
acknowledge that he has an endgame in mind-he'll ultimately look to sell for
another big score.

Sillerman's latest publicly traded corporate incarnation is called CKX. The
CK stands for "content is king," while the X is a reference to one of his
middle initials (they are F.X., and he won't tell anyone what they stand
for). Besides buying Elvis Presley Enterprises from Lisa Marie Presley last
February, Sillerman and his lieutenants have purchased the smash-hit TV show
American Idol and other properties from a company called 19 Entertainment,
which was owned by British pop impresario Simon Fuller. Sillerman intends to
buy more high-profile properties like these (think athletes and rock groups,
for instance-Sillerman is tightlipped about possible deals), find new ways
to distribute them, and increase their value. These are Sillerman's
strengths: identifying trends in the media business before others, then
gathering and deploying capital to make the strategy work. "Bob is like a
Clint Eastwood character in an old Western movie," says Dennis Arfa, a
business associate of Sillerman. "He rides into town and leaves with all the
money and the women. He made a lot of people wealthy, and he made himself
even wealthier."

Visit with Sillerman for an hour or two in his Manhattan office, and you are
likely to get a rapid-fire discourse on politics from the 1960s to today, or
rock & roll radio, or Thoreau, or education in America, or all of the above.
You may find him a bit quirky. He loves to party. He's been known to sneak
up on people and scare them. And there are a couple of Sillerman stories
that involve nudity. Says his longtime business partner, disc jockey "Cousin
Brucie" Morrow: "Bob is very exhausting to be with. He has unbounded energy
when it comes to business. He can outlast and outtalk anybody." Says a close
colleague: "His BlackBerry messages start at 6 a.m. and never stop into the
night. I should get a waterproof one for the shower."

At this particular sit-down, when Sillerman gets around to talking about
CKX, he says, "Technology is breaking down the old lines of distribution.
More and more content can go directly to consumers through cellphones,
devices like iPods, and home video, which makes content even more valuable."
But doesn't Sillerman's strategy fly in the face of what big media is doing
right now? Aren't companies like Viacom and Time Warner disassembling or
considering disassembling their empires, while Sillerman is putting one
together? "It's different," Sillerman says. "Those companies promised two
things. They wanted to marry content with distribution, where CKX will not
be in the traditional distribution business. And they said they would
synergize their content. Synergy is not important. It's a word I've never
liked. That's not part of our strategy."

Though the Elvis business isn't that big yet, it gives us a window into how
Sillerman operates. First, understand that Sillerman actually owns very
little of Elvis's music. Elvis's legendary manager, "Colonel" Tom Parker
(a.k.a. Andreas Cornelius van Kuijk), sold the rights to RCA-now part of
Sony BMG-decades ago. What Sillerman bought was Elvis Presley Enterprises
(EPE), a company that gets its $40 million in annual revenue from Graceland
tours, onsite retailing, and licensing-each contributing a bit less than a
third of the total-with the balance derived from an apartment complex and
the Heartbreak Hotel.

To Sillerman, Elvis is an underexploited asset, like a poorly managed
textile company or a baseball team without a marketing department. The truth
is, for all of Elvis's transcendent mystique, EPE has never been much of a
business. When the King died in 1977, his estate was a mess. Between Elvis's
legendary free spending and the fact that he didn't own his songs, the
situation was dire. "In February 1982 the probate judge told the trustees of
the estate that he feared it would go bankrupt because of taxes and legal
fees," says Jack Soden, a Kansas City money manager brought in to advise the
Presley family. "We had to do something right away to make money, and that
something was to open up Graceland for tours."

On the first day Soden and Elvis's ex-wife, Priscilla, opened up the Memphis
mansion, 3,024 fans filed in, paying $5 each. Today about 600,000 visitors
make the pilgrimage to Graceland each year (30% from abroad), paying between
$22 and $55 apiece. Take a walk through Elvis's home with the throngs, and
the feeling you get is reverential. "The Bolshoi Ballet came en masse to
Graceland," Soden recalls. "All these ballet dancers from Russia were huge
Elvis fans, and [their handlers] were asking for our help to get them out of
here and back to rehearsal. They had a per diem, and they were missing meals
and saving money so they could buy more stuff at the shop." Soden has
escorted everyone from William F. Buckley to I.M. Pei through the hallowed
halls. "I suppose there are all kinds of gratifying lines of work," he says.
"This stands out as unique. I have never had one single boring day."

Soden, who will continue running EPE in the new company, enhanced the Elvis
business by expanding into merchandising and licensing. Even so, says Lisa
Presley, "there's only so far you can take a family-run business. What we
wanted to do was to take this to another level." Lisa says that she, her
mother, and Soden had spoken for years about bringing in outside investors
and/or management, but nothing clicked. Then, Lisa says, the failure of the
Elvis Presley's Memphis restaurant on Beale Street in 2003 made matters
urgent. "We took on more debt than I felt comfortable with," she says. But
an informed source says that Lisa Presley's spending habits were also an
issue: She had been running through $5 million to $7 million a year, amounts
that closely matched the annual net income of EPE. (A spokesman for Lisa
Presley declined to comment.)

Sillerman, who had extensive exposure to the rock & roll business as a radio
executive and concert promoter, realized that owning the rights to a rock
act could be a great business. But it had to be a biggie to make economic
sense. "We thought there were only three rock groups worth owning," says a
source in Sillerman's camp, "Elvis, the Beatles, and the Stones. Elvis was
available." (Note: CKX also recently bought MBST, a small talent agency in
L.A., which does advisory work for the Beatles' company, so stay tuned.)
Late last year Lisa Presley flew to New York to meet Sillerman face to face.
"I liked him," she says. "He's obviously smart, and he doesn't b.s. around."
As for Sillerman's take on Lisa: "I was impressed with how 'real' and
grounded she was. Recognizing the environment she was raised in, I thought
she was astounding. I also thought she was shrewd and perceptive. And she
had a great sense of humor."

Here then are the terms of the deal between Sillerman and Lisa Presley: CKX
paid $114 million for an 85% interest in Elvis Presley Enterprises; Lisa
retains the other 15%. Lisa received $50 million in cash, plus $26 million
in CKX common and preferred stock. Another $25 million from CKX went to pay
off EPE debt. And $6.5 million went to Priscilla Presley for use of the
family name-even though Sillerman wasn't legally obligated to pay her
anything, since Priscilla and Elvis were divorced, and Elvis's estate went
to Lisa Marie. The payment will no doubt make it easier for Sillerman to
call Priscilla up and ask her to come to a ribbon cutting of a new Elvis
property, for instance. (The balance is transaction costs.)

For its money, CKX got a 90-year lease on Graceland, stipulating, among
other things, that the premises may not be used as "a massage parlor, a
mortuary, or [for] the manufacture, sale, or distribution of feminine
hygiene products." (Gives you an idea of how much attention Lisa and Soden
pay to protecting Elvis's image.) CKX has the rights to the Elvis name,
image, likeness, and trademark, which are currently used in 100 or so
merchandising and licensing deals. CKX also gets the publishing rights to
650 songs, but owns the more valuable royalty rights to only the few songs
Elvis recorded after 1973. CKX also gets royalty rights to 24 Elvis movies.

I ask Lisa about Sillerman's plans. "He doesn't want to mess with anything.
He wants to do what we want to do." Like what? "I don't want to be like
Martha Stewart and talk about what I shouldn't," Lisa says with a chuckle.
Speak with executives at Graceland and in New York, though, and it quickly
becomes obvious how they want to further elevate the King. Yes, Elvis's core
fans are aging, but young people still are drawn to the man with the
oversized Q-rating. Even very young people. Just ask the makers of the
smash-hit movie Lilo and Stitch, who used an Elvis soundtrack to great
success.

Within a matter of weeks it is likely that CKX will announce some sort of
Elvis Presley or Graceland-themed casino in Las Vegas. Which would seem to
be a natural-Elvis and Vegas go together like peanut butter and bananas.
Striking a deal shouldn't be that difficult. Sillerman already has 18 acres
on the Strip through MJX, a real estate company he controls. Bear Stearns
analyst R. Glen Reid says to also look for a 2,000-seat Elvis theater in
Vegas. And get this zinger from Reid's report: "CKX apparently has the right
to shut down impersonator shows." (Say it ain't so!) "Impersonator shows
can, if properly done, extend the brand," Sillerman says. "We have to be
careful to not deprecate Elvis's legacy or to damage our authorized and
official Elvis shows."

Down the road EPE may construct more Graceland-like properties in places
such as Dubai and Macau, and perhaps develop a concept similar to the Hard
Rock Cafés in Europe. And don't forget about the Heartbreak Hotel. Sitting
kitty-corner from Graceland across Elvis Presley Boulevard, it is a 128-room
boutique property with a small pool and a tiny bar, perennially packed to
the gills with Elvis fans. The hotel, Sillerman and Soden say, is just
screaming to be expanded, upgraded, and replicated in other locations. "No
question we could build a convention-sized hotel here," says Soden.

Almost immediately after Sillerman closed on the Elvis deal, he opened his
wallet again and purchased 19 Entertainment, a business with even more
moving parts than Elvis. In 19, Sillerman saw a small but dynamic media
company with one of the hottest TV shows on the planet. That show is
American Idol, and as with Elvis, Sillerman is convinced he can make it an
even bigger deal than it already is.

19 is the brainchild of Simon Fuller, whom Sillerman describes as a
"cherubic bundle of nonstop creative energy." Fuller started out as a talent
scout in the 1980s-his company is named after a hit song by an artist he
managed-discovering and working with British rock groups like Spandau
Ballet, Billy Idol, and Ultravox. He managed Annie Lennox and the
Eurythmics, and then created the Spice Girls. But Fuller had an even bigger
idea, a kind of interactive on-air talent show. In 2001, Britain's ITV put
Fuller's baby, Pop Idol, on the air. It was a smash right off the bat. "But
when I took it to America, almost everyone rejected it," Fuller recalls.
"They said music doesn't work on TV in America. Only Mike Darnell [at Fox]
got it straight away."

But isn't American Idol just another reality show that will soon run out of
gas? Maybe, but maybe not. "American Idol is much more like a game show than
a reality show," says Fuller. "And game shows are the longest-lasting shows
on TV. Jeopardy, Wheel of Fortune, The Price Is Right-these shows go on for
decades." This past season American Idol ratings averaged over 27 million
viewers per episode, up 5% from last season. And the show garners the
highest ad rates on network TV, between $660,000 and $705,000 for a
30-second spot, which is higher than CSI or Desperate Housewives. Why?
Because American Idol is what's known as event programming, meaning that
because it's a contest, you almost have to watch it live. That greatly
reduces the number of viewers who DVR it and skip the commercials. Fuller's
company doesn't get a direct share of ad revenues from Fox; rather, it
receives a $1.2 million fee per episode. 19 is currently renegotiating the
fee for next season, and some think the ante could be upped to $2 million
per episode (though a reported flap over American Idol judge Simon Cowell's
compensation could be complicating matters).

And that's just part of the American Idol money train. The top contestants
on the show are signed to Sony BMG, and 19 gets 10% of their recording
revenue. So far Idol stars like Kelly Clarkson and Clay Aiken have sold over
14 million albums. Then there are concert tours and merchandising. The show
is also being franchised in 100 countries. (Per capita, Canadian Idol is
much bigger than its U.S. counterpart.) "Think of how we can continue to
expand the show," says Fuller. "What about a world champion Idol drawn from
all the different nations?" The show venue may be moved from Los Angeles to
Las Vegas to save money (and perhaps to fill a certain 2,000-seat theater).
As for spinoffs, did we mention that another smash hit on Fox, So You Think
You Can Dance, is produced by Fuller too? 19 also manages the career of
soccer superstar David Beckham and his wife, Victoria (a.k.a. Posh Spice).
And Fuller is looking to bring a gritty nighttime soap opera that is popular
in Britain to America next summer.

So why did Sillerman buy Fuller's company? "American Idol is the No. 1 show
on television, drawing some 30 million viewers, which is great, but it means
that fewer than one out of ten people in America watch it," Sillerman says.
"But if you walk down the street, you'll be hard-pressed to find somebody
who doesn't know what it is. There are so many ways to exploit that level of
awareness. Connecting the show to phones, through the Internet, through
merchandising, and ways I can't talk about yet."

Sillerman paid $196 million to buy 19 Entertainment. Some $124 million was
in cash upfront and $31 million in stock, with the balance to be paid in
cash or stock after Fuller's company reports its year-end numbers. 19 did
some $92 million in revenues last year-with about a third coming from the
Idol shows-and earned $12.6 million. Fuller is signed up to head 19
Entertainment in a five-year contract. "I have a million ideas all the
time," says Fuller, "but before I could only do one a year. Now that I'm a
part of CKX, I have the resources to do three or four." Sillerman hopes
that's a positive, not a negative.

What kind of person would grow up to have business dreams like these? On
Wall Street they like to say that Bob Sillerman hardly knows failure, but he
saw it firsthand growing up. Sillerman was born into a media household,
raised in the Riverdale section of the Bronx, and attended top private
schools in New York City. His father, Michael McKinley Sillerman, was a
radio executive who went bankrupt when his son was 13. "I suppose if you
were a psychiatrist you could say I wanted to do well, where my father had
had a lack of success," Sillerman says. Michael Sillerman died in 1980, just
when his son's career was taking off.

Young Sillerman graduated magna cum laude from Brandeis in 1969 after
becoming immersed in counterculture politics and rock & roll. He set up his
own business, Youth Markets Consultants, to help big companies sell their
wares to the Now Generation. But Sillerman was drawn to his father's
business. In the mid-1970s he scraped together $600,000 and enlisted "Cousin
Brucie" Morrow, then one of the top deejays in the country, to become his
partner and buy a rock & roll radio station in Middletown, N.Y. "Bob can
sell igloos," says Morrow. "Bob can sell anything-it doesn't matter-he has
that kind of head." (Morrow says it was he who enlisted Sillerman, not the
other way around.)

Brucie and Bob bought more stations and worked their magic on operations.
"Bob went out and taught salespeople; I taught the on-air staff. It was a
very good, good combination," says Morrow. The duo's tactics could be
unorthodox. Once Morrow had a beef with the late-night deejay at their
Middletown station. "The guy didn't have any energy," says Morrow. "I
thought he was asleep. The studio of course had a glass wall. So in the
middle of one night, Bob and I took off all of our clothes and ran back and
forth in front of the glass naked. We cured him." By 1985 the pair had
accumulated some 70 stations, which they sold for some $50 million.

In the mid-1980s the Federal Communications Commission was beginning to
loosen its restrictions on the number of radio stations that could be owned
by a single operator. That lit a fire under the radio business, and
Sillerman plunged back in, buying more radio stations, leveraging up his new
company, and securing investments from the Bass family and Security Pacific
bank, among others. Sillerman was known for pushing the envelope. At various
points heated negotiations and lawsuits ensued between Sillerman and the
likes of PaineWebber, Steinhardt Partners, and W.R. Huff, who alleged that
Sillerman was trying to shortchange investors. But nearly every time
Sillerman sold, he and his investors made money. His timing seemed
impeccable. What was most impressive about his $389 million deal with
Westinghouse (which was convinced that it needed to become a big player in
the business) in 1989 wasn't that it was his biggest score ever; it was the
fact that the market for radio stations tanked soon after.

To Sillerman the soft patch was an opportunity to reload. He set up what
became his signature company, SFX, which he took public in 1993 at $15 a
share. Working with Steve Hicks-brother of Tom Hicks, the head of Texas
buyout firm Hicks Muse-Sillerman embarked on a dizzying run of acquisitions,
creating one of the largest radio station companies in the country. (Critics
at the time complained that Sillerman overstepped his role by collecting
fees for acting as both his company's financial advisor and investment
banker during this period.) Steve Hicks left to join another radio venture
after a few years, and in 1997, Sillerman sold SFX, which then owned some 70
radio stations, to Hicks Muse for $75 a share, or $2.1 billion. Sillerman's
personal take was a reported $219 million. Says a top Wall Street banker:
"He's a very smart guy, but I don't think you want to be sitting on the
other side of the negotiating table from him."

By then Sillerman was already toiling away on his next project, SFX
Entertainment, a company that would own concert venues and other media
properties. (Hicks Muse agreed to spin this business off to SFX
shareholders.) In short order Sillerman went on a billion-dollar shopping
spree, buying dozens of concert halls-like Roseland in New York and the
Fillmore West in San Francisco-in major cities across the country. Some
noted that Sillerman was paying huge amounts of goodwill in his deals, so
eager was he to build the company. Sillerman was looking to become the
single big fish in this business so that when acts like Eric Clapton went on
tour, his manager would deal with SFX and SFX only when booking venues.
Several managers and big-name acts from Ozzy Osborne to Shania Twain
reportedly bristled over having to negotiate with such a corporate gorilla.
Sillerman also bought the business of sports superagent David Falk (he
repped Michael Jordan, among others) and other pieces of the sports world,
such as figure-skating championships. And then in early 2000, lightning
struck again. Clear Channel, which had already purchased many of Sillerman's
radio stations from Hicks Muse, agreed to buy SFX Entertainment for a
reported $3 billion.

After that big deal, as with so many American business stories in 2000,
things began to sour. Clear Channel had "integration issues" with SFX,
according to one analyst, and now plans to spin off that business by early
next year. Clear Channel's stock, which hit a high of $95 in 2000, is
trading at $32.

Around that time Sillerman was diagnosed with tongue cancer and underwent
chemotherapy, which sidelined him for several months. Sillerman, a
triathlete who loves vigorous games of volleyball and basketball, has
recovered and now sports a yellow Livestrong bracelet. Sillerman insists
that cancer hasn't impeded his business or his social life, which can be a
bit wild and woolly. "He likes to jump out of the bushes or hide in hotel
rooms and scare people," says Cousin Brucie. "He's like a little boy." While
some might find that a 25th wedding anniversary is best celebrated
privately, Sillerman held his at the Manhattan rock hall Irving Plaza with
hundreds of guests. Lately Sillerman has become more guarded, though. And
don't even think about asking him what his middle initials, F.X., stand for.
"I've tried to get him drunk to get him to tell me," says Brucie. "Didn't
work." Okay, so come on, Bob, what does F.X. stand for? "I could tell you,
but I'd have to kill you," he says.

How big will CKX become? As big as Sillerman's ambitions, perhaps.
Attracting funds, at least at this point, won't be a limitation. "It's
funny, when we needed money we had a difficult time raising it. Now when we
don't need it, we're flooded with it," Sillerman says. CKX raised $251
million at its IPO earlier this year, which it used to pay back $150 million
in loans from Bear Stearns -the rest it paid directly to 19 Entertainment or
kept as capital. CKE's stock fell from a high of $28.80 in early May to a
current price of $12 and change. (Rumors suggesting that Sillerman's next
big acquisition has been delayed have been a drag on the stock.) Even so,
Sillerman's 47% stake is worth some $400 million. His cost basis on these
shares? Some $20 million. Not bad for a year's work.

With a market value of $1.1 billion, is CKX overvalued? Undervalued? I ask
Sillerman about his revenue and income projections for his Elvis and
American Idol businesses. "Well, it's a little early to ask that question."
Really? "That's not the basis of CKX. This is a long-term perspective, [but]
a 10% return on equity from our perspective would be insufficient."

CKX already carries a load of goodwill, $14 million from the Presley deal,
and $111 million from the 19 transaction. That means $125 million out of the
$306 million paid for these two companies exceeds any tangible assets,
including the value of trademarks. Which suggests that Sillerman is either
very confident in his ability to create more value with these two companies,
or believes he can sell them to someone who has even more confidence, or
both.

What would be the ultimate winning scenario for Sillerman? Think about it.
Elvis, a poor boy from Tupelo, Miss., comes up to Memphis, manages to get
himself into Sun Records, and lays down the track to "That's All Right
(Mama)." A local radio station airs it, the calls come streaming in, and
Elvis is on the way to glory. Today's star- making machinery is
half-a-century and light years away from that process. But stars still do
get born. In fact, there's a hit TV show in the business of finding them. So
what if the next Elvis is discovered on American Idol?

2005/11/29  By Andy Serwer  -  www.fortune.com  /  Ep.Gold.Com.

---

The Most Important Artifact in Broadcast History to Be Auctioned on December
16, 2005?

The Original Vintage Shure Brothers Model 55S Microphone From the Louisiana
Hayride Used by Elvis Presley and Through Which the Famous Phrase 'Please
Young People, Elvis Has Left the Building' Was First Broadcast.

BEVERLY HILLS, Calif., Nov. 28 /PRNewswire/ -- Profiles in History will
auction the most important artifact in broadcast history at a LIVE Hollywood
Memorabilia Auction on December 16, 2005 in Beverly Hills, California. This
original vintage Shure Brothers 55S microphone is the highlight of the
auction including over 350 pieces of Hollywood memorabilia ranging from
props and costumes to artist's sketches and vintage photographs worth over
Two Million Dollars!


Elvis Aaron Presley, known the world over simply as Elvis, truly was the
first international "Superstar" and is one of the most important figures of
twentieth century popular culture. He sold over 1 billion records, more than
any other artist. He was one of the highest paid actors of the time. His
musical influences came from pop, country, gospel and R&B. No one has been
as celebrated in the history of music. His sound and style transformed the
traditional clapping audiences into throngs of screaming and fainting fans,
which created a whole new music audience of groupies! Elvis created a music
phenomenon which stands as popular today (30 yrs. after his death) as it was
in the beginning of his career, from his first performances at the Louisiana
Hayride.

This Shure Brothers Model 55S was used at radio station KWKH located in
Shreveport, Louisiana. It was purchased by the station sometime in the mid
1950s, and appears in photographs taken at the station as early as 1956. It
was owned by the station until June 10, 1975 when it was sold, along with
the name and assets of the Louisiana Hayride radio program. In addition to
its use in the KWKH studios, it was also used on the world famous Louisiana
Hayride radio program from the mid-1950s until the end of its primary run in
August of 1960, and saw continuous use on occasional Louisiana Hayride
package shows throughout the 1960s. Artists signed by KWKH or guest-starring
on the Hayride who would have used this microphone include Johnny Cash,
George Jones, Roy Acuff, June Carter, Hawkshaw Hawkins, Jean Shepard, Roy
Clark, Minnie Pearl, Ray Price, Roger Miller, Johnny Paycheck, Hank Williams
Jr., Flatt & Scruggs, Mac Wiseman, Nat Stuckey, Leroy Van Dyke, Charley
Pride, Freddie Hart, Bob Luman, Grandpa Jones, Marty Robbins, The Wilburn
Brothers and countless others.

The most famous role for this Model 55S came on the evening of December 15,
1956 when Hayride announcer Horace Logan first spoke the words "Elvis has
left the building" into the microphone as the young Presley exited the
Hirsch Youth Building in Shreveport after concluding his final Louisiana
Hayride show. Simply trying to encourage the crowd of teenagers to take
their seats for the remainder of the Hayride show, Mr. Logan had no idea how
famous his words would become in later years! The microphone is offered
together with the full rights to the "Elvis has left the building" sound
recording, as made by Horace Logan on that December evening. (The full
rights, title and interest in the recording will be transferred to the
successful bidder from the current owner when the sale is complete.) The
microphone comes with letters of authenticity from Frank Page, an employee
of KWKH from 1947 to present, and Joey Kent, son of the Louisiana Hayride
owner. A wonderful, historic piece of sound equipment from the Louisiana
Hayride show, through which one of the most famous phrases of the 20th
century --"Elvis has left the building!" -- was first spoken.

Collectors may bid in person, live on the Internet at
http://www.ebayliveauctions.com, by phone or fax. Visit Profiles in History
on the web at http://www.profilesinhistory.com. Profiles in History is
located at 110 N. Doheny Drive, Beverly Hills, CA 90211. Joseph Maddalena,
President of Profiles in History, is available for interviews and auction
items are available for filming. For more information, please contact Lorna
Hart at lorna@profilesinhistory.com or at (310) 859-7701.

Note:

2002/09/05 Transcribed by Kevan Budd  exclusive for Ep Gold.Com.
An nterview with Joey Kent owner of the Louisiana hayride archives.
Interview by Fabris Giovanni Luca

Question number twenythree,

What's the most interesting find I made recently and what am I looking for
at this moment?

I don't know if you are referring to Elvis here or just Louisiana hayride.
I would say the most interesting find; I come across photographs on a fairly
regular basis that people have taken of Elvis. My most recent acquisition is
the original RCA model 44 microphone that was used by all the hayride
performers in those after hours recording sessions at KWKH and im looking
for anything hayride related and KWKH related that I can find, I collect
those items.

2005/11/29  Delboy / Ep.Gold.Com.

---

Elvis' Gold Records Vol.2 & Christmas Wishes.

New US issue of '' Elvis' Gold Records Volume 2 '' with the same content as
the original album. The sticker on the front specifies '' Newly Remastered''. 
The version of '' Christmas Wishes '' shown above is the European version.

2005/11/29   Barry McLean  /  Ep.Gold.Com.

---

EPE revenues in spotlight.

The owner of EPE, CKX, Inc. filed its half-year return with the US
Securities and Exchange Commission in August. Some of the interesting
filings were:

revenues for the first six months of 2005 were US$28.1m, an increase of
$9.1m, or 48%, over the similar time period in 2004
licensing and royalty revenues were $14.4m, an increase of 136% over the
corresponding period in 2004
tour and exhibit revenues were $5.5m, representing an 8% increase
visitor numbers to Graceland increased by 6,000, from 262,000 to 268,000 for
the six-months period
Contained in the return was also that in 2004, EPE revenues had declined by 6%.

On the expenses side of the ledger, operating expenses for the last 3 months
of 2004-5 period increased by $23.8m. During that 3 months period, revenue
increased by only $22.4m.

2005/11/29  Sale of EPE - www.elvisinfonet.com  /  Ep.Gold.Com.

---

ONE FOR THE MONEY,TWO FOR THE "REALITY" SHOW.

Over the past few months, there have been various stories regarding an Elvis
reality show, based on the "Pop Idol" TV show.

According to Bill Burk, there are two shows in pre-production. The first
show, which is involving a series of auditions in Garland, Texas, and is apparently
called, "Elvis, Then, Now and Forever".

This first show is the brainchild of Harry T. Keane Jr., the creator of
American Idol and among those taking part in the competition are tribute artists, Kraig
Parker, James Wages, Matt King and Matt Spalding.

The winner of "Elvis, Then, Now and Forever" will receive a mint-condition
1968 Cadillac, a $25,000 recording contract and other prizes.

The second show in pre-production is tentatively called "Who Wants To Be
Elvis?". Former Elvis bodyguard Sonny West, T.G. Sheppard, Sheena Easton
and B.J. Thomas are rumoured to have been approached to be judges, and the
host is expected to be Ronnie McDowell.

2005/11/29  www.elvisinfonet.com  /  Ep.Gold.Com.

---

BYRON THE SIREN HITS BACK


Early in October, included two stores relating to an article to be featured
in the November issue of 'Playboy' magazine by Alanna Nash and Byron
Raphael. (In Bed With Elvis & Dumb Pals Cost Elvis Romance With Monroe).

Now the former William Morris agency worker who claims was given the task of
finding women for the 21 year old King of Rock, gives his response to Elvis
Presley' former associates claims that his story never really happened.

FROM BYRON RAPHAEL:

I would like to respond to the attack on me about my article in "Playboy.
" I also want to clear up some of the misconceptions which have appeared on
Elvis sites and in "Elvis World" since the article appeared.

In 1956, I was Elvis Presley's first confidante on the West Coast.
Everything I said in the "Playboy" story is true, and I cherish those days
with the most charismatic man in the world.

Neither Lamar Fike nor Marty Lacker were with Elvis at the time, so their
harsh words about me are just empty rhetoric.
Lamar, you remember me well, by your own admission.
You say you were there in 1956, but while you may have been in and out, you
did not really arrive on the scene until 1957. Please be honest about this.

I respect the fact that you and Marty spent so much of your lives with
Elvis. But a lot of things happened before you joined Elvis' entourage, and
certainly much more occurred before Marty ever got there.

George Klein, I never met you. You were mostly home in Memphis during that
first year. Joe Esposito, Jerry Schilling, and Larry Geller, you all came in the '60s,
and have no right to comment on the veracity of my comments about 1956.

To Bill Burk, who says, "In checking with those closest to Elvis during his
career, EW could find no one who could even hint that Raphael ever worked
for Elvis, in any capacity, be it gofer or pimp," I want to say this.

That is patently unfair. While there is photographic evidence that I was
around Elvis (James Forsher, Trude Forsher's son, has a photo of me sitting
at the lunch table in the Paramount commissary with Elvis, Trude, the
Colonel, and others), I never claimed to have worked for him.

I was employed by William Morris and assigned to the Colonel.  In that
capacity, I spent a great deal of time with Elvis.
It was such a fantastic time for me! Those are the best memories that I ever
had! But I was not his employee. Now, things changed as Elvis's entourage
grew, and that's when my relationship with him changed.

Abe Lastfogel, head of the William Morris Agency had something to do with
it, and certainly the Colonel had something to do with it.
My social relationship with Elvis ended. I didn't get girls for him after
that.

Colonel didn't want me to do it.  But during that first year, it was exactly
as I wrote it in "Playboy."
George Klein, you may have been at the Los Angeles concert, but you did not
have the vantage point that I did.
You also say that Elvis never met Marilyn Monroe, but even Marty confirms
that they had contact, though his version of the event differs from mine.

And Bill, you ask why the police didn't arrest Elvis for indecency for
dry-humping Nipper on stage in Los Angeles.
That's exactly why the authorities came the second night, because of the raw
nature of what went on the first night! Do you think they would have come if Elvis 
had simply patted the dog on the head? That is simply outrageous.

Just as I did for the Colonel, I did everything Elvis asked. The truth is,
all of us who worked with Elvis loved him and wanted above all to please him. I hope I
did.I sign this with the name Elvis gave me, "Byron the Siren."

2005/11/28  Byron Raphael  - www.elvis-express.com  /  Ep.Gold.Com.

---

Elvis named top race driver in films.

A recent television show, "ESPN Hollywood", named the top five drivers of
all time in films. The list was ranked by Peter Bonventre of "Entertainment Weekly." The top
five drivers named are:

1 Elvis Presley, who played a racer in the films "Viva Las Vegas", "Spinout"
and "Speedway".
2 Burt Reynolds in "Cannonball Run"
3 Sylvester Stallone in "Deathrace 2000"
4 Paul Newman in "Winning"
5 Tom Cruise in "Days of Thunder"Source: Google

2005/11/28  Google  -  Ep.Gold.Com.

---

Memphis Recording Service, Vol. 1 Will Be Released This Week.

If you haven't ordered the long awaited project about Elvis' first two years
at the Memphis Recording Service (Sun Records) yet then will we advice you
to do so now because the first printing is nearly sold out. The second
printing will not be ready before late January. The release date for the
first printing is November 28, 2005.

The Memphis Recording Service, Vol. 1 will contain a book, a 5.1 DVD audio
CD and a vinyl 45 single.

There will be a detailed book with exclusive new information, unseen
documents and colour photos covering the humble beginnings of Elvis
Presley's music career and its effects on the birth of Rock'n'Roll during
1953 -1954.

The 5.1 DVD Audio CD will contain 11 fully restored tracks from 1953-1954.
All of them has been remastered using never before released original sources
of masters, acetates and tapes to produce high quality sound never before
heard. A selection of photographs is used to accompany each song.

Highlights Include: For the first time since 1954 we can hear That's All
Right in its true Sun sound without the fake RCA echo. This track has now
finally been re-mastered from the original Sun Mother master straight to 5.1
Audio/ Dolby Digital sound. This original version has never before been
re-released on record, CD or any digital disc until now.

Tracklist:

1. My Happiness
2. That's When Your Heartaches Begin
3. That's All Right
4. Blue Moon of Kentucky
5. Good Rockin' Tonight
6. I Don't Care If The Sun Don't Shine

First Louisiana Hayride Show 16th October 1954
7. Lucky Strike (Scotty and Bill tune up)
8. That's All Right
9. Blue Moon of Kentucky

10. Milkcow Blues Boogie
11. You're A Heartbreaker

That's All Right 45 rpm single

Processed and pressed for the first time since 1954 from the original Sun
master "Mother stamper"

The original Sun 209 45 rpm issue of That's All Right was Elvis Presley's
first commercial record. It was recorded on the 5th July 1954 at the Memphis
Recording Service and was released later that month.

In late 1955 That's All Right was re-released by RCA Records with an added
echo effect on the vocal track. Subsequent re-issues of this song from 1955
to the present day have all contained that same echo effect, not faithful to
the first Sun recording.

If you have never been fortunate to own the original pressing and hear the
sound as it was intended, here it is.

Through acquisition of the Sun's master "Mother" - the part responsible for
pressing the first run of records, we can present That's All Right back in
it's original format with the same matrix number and three pushmarks. This
will give all true Elvis fans an exclusive chance to experience the birth of
Rock'n'Roll for themselves.

2005/11/28  www.elvisunlimited.com  /  Ep.Gold.Com.

---

Celeste Yarnall (A LITLE LESS CONVERSATION) on Birthday Party exclusively
for ElvisMatters!


Finally... Finally we can reveal the name of our very special guest for the
Birthday Party! On January 7th, we'll have none less than THE lady of THE
world hit song "A Little Less Conversation" with us in Kasterlee! We're
talking about Celeste Yarnall of course, the star actress of "Live A Little
Love A Little" (1968), the lady Elvis sang "A Little Less Conversation" to.

Well, this very special lady is our special guest, exclusively for
ElvisMatters! Needless to say that Celeste will bring a lot of memories with
her to Belgium, especially about her 1968 Elvis movie - and, let's not
forget how important 1968 really was for Elvis! Celeste has agreed to sign
pictures, talk to the fans, and answer all of your questions.

The other ingredients of our Birthday Party are there as well: an XL Buffet
(spread over 2 places), live music by the KOB Band and Fonzy Reno, free
drinks all evening, a super birthday cake at midnight... and our own World
Record Holder Elvis-DJ Olav as the icing on the cake. So, in short: this
will be another super birthday party with all the good time mood you can
think of. Tickets are 37 euro only (for members + same price for partners),
and 42 euro for non-members. Place to be: the cosy showroom of "Klaveren
Drie" in Kasterlee (address: Houtum 102). Interested in this unforgettable
evening? Mail to peter@elvismatters.be - and the train is on the track!

2005/11/28  www.elvismatters.be  /  Ep.Gold.Com.

---

Jerry Schilling book & film deal.

A while ago we reported that Memphis Mafia member, Jerry Schilling, was
apparently working on a major Elvis project.

While it is yet to be confirmed, the latest issue of Elvis World from Bill
E. Burk mentions that Jerry may soon close a million dollar package deal
that will include a book and movie rights.

2005/11/27  Elvis World, Bill E. Burk -  www.elvisinfonet.com  / 
Ep.Gold.Com.

---

Sonny West book update.

Meanwhile, Bill Burk's Elvis World also indicates that Sonny's new book
needs only two more chapters before its first draft is finished.

2005/11/27  Elvis World, Bill E. Burk -  www.elvisinfonet.com  / 
Ep.Gold.Com.

---

Ultimate Gospel" CD release in China: Licensed in China as an Asian release
is the gospel compilation "Ultimate Gospel".

This time no HDCD format or bonus CD, but you do get a cardboard slipcase.
The tracklisting is the same as the standard edition of this release.

Track listing:
1. How Great Thou Art
2. So High
3. Amazing Grace
4. Crying In The Chapel
5. You'll Never Walk Alone
6. Swing Down Sweet Chariot
7. Milky White Way
8. His Hand In Mine
9. I Believe In The Man In The Sky
10. Where Could I Go But To The Lord
11. If The Lord Wasn't Walking By My Side
12. Run On
13. He Touched Me
14. Bosom Of Abraham
15. Lead Me, Guide Me
16. Joshua Fit The Battle
17. If We Never Meet Again
18. I, John
19. Reach Out To Jesus
20. Who Am I?
21. Help Me
22. Miracle Of The Rosary
23. Take My Hand, Precious Lord
24. (There'll Be) Peace In The Valley (For Me)

2005/11/26  www.elvisnews.com  /  Ep.Gold. Com.

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"Wild At Heart" DVD extras.

The 1990 David Lynch cult film, Wild At Heart, infused with Wizard of Oz and
Elvis symbolism, is getting the royal treatment in its latest DVD release.

A generous raft of extras to satisfy the most jaded fan, including
interviews with cast and crew, trailers, a making of called 'Love, Death,
Elvis and Oz', a photo gallery and a 'Wicked Game' vocal, not used in the
film.

In "Dell's Lunch Counter", containing nine mini-featurettes, novelist Barry
Gifford discusses the adaptation and reveals Lynch had originally neglected
to use the line "wild at heart and weird on top" ("the single most important
line in the novel!") in his first draft - and was persuaded to put it back
in. Diane Ladd recalls how she managed to shock even Lynch during her
bathroom scene with Cage. Willem Dafoe reveals how he urinated for real
(take after take) when Peru visits Lulu - later to learn the toilet was a
prop, to be cleaned afterward by an unfortunate crew member. We also
discover that Cage's iconic snakeskin jacket ("a symbol of individuality and
my belief in personal freedom") was the actor's own, bought years before in
a junk shop, and which he'd always hoped to wear one day in a film. He later
gave the jacket to Laura Dern as a present.

Elsewhere, Lynch reveals there was "zero thought" that Wild At Heart would
win the Palme d'Or - "It was an unbelievable surprise!" While, in "David
Lynch On DVD", he explains how he supervised the transfer himself, aiding
the colourisation process and boosting the sound to 5.1 Surround. "I tweaked
that bad boy to make a high-def master." The film stars ex Presley
son-in-law, Nicolas Cage and Laura Dern.

2005/11/26   Channel 4 - www.elvisinfonet.com  /  Ep.Gold.Com.

---

Has Madonna tied Elvis?

There is a report circulating that Madonna has tied Elvis for the most top
10 hits in the rock era on the Billboard Hot 100 (Singles chart). The report
claims both artists have achieved 36 top 10 hits.

In fact, Elvis has scored 38 top 10 hits on Billboard as listed in The
Billboard Book of US Top 40 Hits by Joel Whitburn. Elvis' tally comprises 32
different singles with both sides of six "double sided" hits making the top 10.

The most notable of these was Hound Dog/Don't Be Cruel where both sides
reached #1. Billboard's media release says: Madonna racked up that tally in
about 21 and a half years, starting with "Borderline." Presley scored his 36
top 10 hits in 16 and a half years, from 1956 with "Heartbreak Hotel" until
1972 with "Burning Love."

We're not sure how Billboard has missed two of Elvis' top 10 hits but
hopefully they'll correct their release soon. For the record, the Billboard
Hot 100 was introduced on August 4, 1958. Prior to that date Billboard
published a Top 100 chart from November 1955.

2005/11/26   Reuters   /  Ep.Gold.Com.

---

Dear Friends and Customers:

We have a few short days left before we must leave the store that has been
our life for more than 27 years.  Again, I must thank you for your loyalty,
your prayers, and all of your last-minute orders!
Many of you have expressed concern for us and our future.  We have been
working very hard behind the scenes!  We simply could not fade away!  Last
evening we finalized plans to transition into a new venture.


WE ARE EXCITED TO ANNOUNCE THE OPENING OF OUR NEW STORE,

CAROL'S GIFTS & COLLECTIBLES
7174 Stage Road
Bartlett, TN 38133
(only 20 minutes from Graceland)


OPENING DATE IS SCHEDULED FOR MARCH 1, 2006.  WE WILL CONTINUE TO OFFER MANY
OF YOUR FAVORITE ELVIS ITEMS, BOTH IN THE STORE AND ON OUR WEBSITE AT
http://www.carolsmemoriesofelvis.com/ !

WE WILL BE EXPANDING TO INCLUDE UNIQUE GIFTS, JEWELRY, AND COLLECTIBLES.

We are happy that some of our staff will be at our new location.  Debbie
Vasquez will continue as Supervisor of Operations and as my assistant, and
Satoshi Matsui will remain as Music Logistician.

Each time we hear from you we are reminded of the long-lasting relationships
we have with customers world-wide.  Special friendships were made here at
Memories of Elvis and we treasure the times we have shared!
Without you all, Memories of Elvis could not have enjoyed the success we
have known serving Elvis fans worldwide.  We have loved these years across
from Graceland.

Please visit us at our new location so that we may continue the tradition we
so long ago established
.
Sincerely,

Carol J. Light

2005/11/25  Bud Glass  /  Ep.Gold.Com.

---

U.S. Billboard Elvis Chart listings for the week of December 3, 2005.

(sg - sales gainer, gg - greatest sales gainer, ne - new entry, re -
re-entry)

Top Country Albums              - Ultimate Gospel       - down 1 to #58
Top Christian Albums            - Ultimate Gospel       -  up 6 to #35 (sg)

Top Holiday Albums              - It's Christmas Time   - down 6 to #22

Comprehensive Album          - It's Christmas Time   - up 37 to #150 (sg)
Top Pop Catalog Album        - It's Christmas Time   - down 1  to #18

New entries and Re-entries on the charts include:
none this week

Dropping off the charts include:
Elvis 30 #1's drops off the top Country Catalog Album Chart

Notes of Interest include:
Nothing spectacular this year on the Christmas charts with only It's
Christmas
Time charting...leaving the much better If Everyday Was Like Christmas
out of the cd bins and off the charts.

2005/11/25  www.elvischarts.com  /  Ep.Gold.Com.

---

Elvis Has To Share Record?

As Madonna's "Hung Up" jumps seven places to No. 7 on the Billboard Hot 100
singles chart, the pop icon matches Elvis Presley's tally for top-10 hits:
36, the most for any artist in the rock era.

Madonna racked up that tally in about 21 and a half years, starting with
"Borderline." Presley scored his 36 top 10 hits in 16 and a half years, from
1956 with "Heartbreak Hotel" until 1972 with "Burning Love."

Depending the source, Elvis has 38 Top 10 hits. Elvis Presley has 38 Top 10
hits on the Billboard chart and that is officially listed in The Billboard
Book of US Top 40 Hits, written by Joel Whitburn.

Elvis has had 32 different singles in the Billboard Top 10, 6 of those
singles were "Double A Sides" like "Hound Dog/Don't Be Cruel" where both
sides reached #1. On the Official Elvis Presley website the following list
is featured:

Top 20 Pop Singles (Song Title / Pop Chart / Year Released)

Heartbreak Hotel 1 1956 / I Want You, I Need You, I Love You 1 1956
Don't Be Cruel 1 1956 / Hound Dog 1 1956 / Love Me Tender 1 1956
Love Me 2 1957 / Too Much 1 1957 / All Shook Up 1 1957
(Let Me Be Your) Teddy Bear 1 1957 / Jailhouse Rock 1 1957
Don't 1 1957 / I Beg of You 8 1957 / Wear My Ring Around Your Neck 2 1958
Hard Headed Woman 1 1958 / One Night 4 1958 / I Got Stung 8 1958
(Now and Then There's) A Fool Such As I 2 1959
I Need Your Love Tonight 4 1959 / A Big Hunk O' Love 1 1959
Stuck On You 1 1960 / It's Now or Never 1 1960
Are You Lonesome Tonight? 1 1960 / Surrender 1 1961
I Feel So Bad 5 1961 / Little Sister 5 1961
(Marie's the Name of) His Latest Flame 4 1961
Can't Help Falling in Love 2 1961 / Good Luck Charm 1 1962
She's Not You 5 1962 / Return to Sender 2 1962
(You're the) Devil in Disguise 3 1963 / Boss Nova Baby 8 1963
Crying in the Chapel 3 1965 / In the Ghetto 3 1969
Suspicious Minds 1 1969 / Don't Cry, Daddy 6 1969
The Wonder of You 9 1970 / Burning Love 2 1972

2005/11/25  Google  /  Ep.Gold.Com.

---

DVD Elvis Adrenaline Volume 2 Review.
By Simon de Wit.



A Praytome Publishing Production In Association With Andylon Lensen & Bud
Glass Productions.

Live on Stage Las Vegas, Nevada
January & February, August 1971
Rare & Phenomenal Comeback 1969

This is the long awaited follow up to Adrenaline 1970.

It is a chronological run through of the year 1971. Wedged in between the
''documentary years 1970 and 1972'' it never really got the merit it
deserves, as Elvis did some outstanding work this year, in Las Vegas, Lake
Tahoe, on the road and in the studio.

Seeing all events envelop on this DVD really gives the viewer a good
impression of everything that happened in Elvis' life during this particular
year.

(WATCH THE TRAILER)

The menu looks very good, with chapter selection, bonus features, a.o. Jean
Marc Gargiulo talking about his meeting with Elvis and everything he saw
show wise, the Making Of, a compilation of action on stage footage, all the
trailers of Praytome Publishing releases.

Jean Marc also filmed the shows he attended and that is the footage used on
this DVD.

There is footage of Elvis in the Elvis Now suit, various Cisco Kid suits,
'69 Comeback footage, English Lord suit. There is even a clip from the New
York press conference.

The footage is taken from the original 8mm reels and it shows, pristine
quality, a joy for the eye. Obviously no Elvis songs can be used, so you
don't hear Elvis' singing voice.

There is a lot of Elvis dialogue however, some of it very rare indeed.

Throughout the program there are rare pictures, I saw 2 never before seen
Jaycees shots, one at the breakfast ceremony and one of Elvis walking
outside in the crushed velvet suit.






As I said, the DVD is a chronological look at the year 1971 and lots of rare
photos pass by, Elvis attending a showing at Ellis Auditorium of the first 
Ali-Frazier fight, arriving at recording studios, in private, and even a
shot of Elvis wearing an eye-patch(covered mostly by sunglasses however)
which he had to wear when being diagnosed with glaucoma.



The film footage shows Elvis at his best, finally the full film (12.10 min)
footage of 1969 that Jean Marc filmed is presented in its best possible
form.

I had the footage as early in 1981 through a friend of mine, he had a 8mm
copy of the original.
I had it transferred at the time but the quality had deteriorated a lot
through the years.
So to once again see it in this quality is wonderful. You can see how active
he was in those days.

The 1971 footage is showing a very karate orientated performer, he is doing
his kata's with unbelievable fervour.
The ladies will love the karate footage in the Elvis Nowsuit, finally for
the first time ever the full length of film (22 min) with Elvis bare almost
to his waist!

The English Lord suit footage must be some of the rarest footage EVER, as
not even photos of Elvis in this suit exist.
There are several jumpsuits that Elvis was never photographed in, or at
least that never were publised, and this suit is one of them.

I think this DVD will compliment every seventies fan' collection.

Even if you already had the footage, you will not have it in this quality,
and the storyline is interesting, you hear new things like the fact that
Dolly Parton cried as she turned down Parker's offer for Elvis to record I
Will Always Love You.
Parker demanded credit for Elvis having co-written the song.

When Whitney Houston later recorded the song, Dolly earned 6 million dollar
with her recording!
If she'd agreed at the time with Parker's proposal 3 million would have gone
towards EPE.

Buy it if you want to see a work of labour, for you can certainly tell that
these products by Praytome are made by fans.

Simon de Wit

2005/11/25  Simon de Wit  /  Ep.Gold.Com.

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More "remixes" for sale on ebay




2005/11/25   www.elvisinfonet.com  /  Ep.Gold.Com.

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New books announced.

"Fortunate Son The Life of Elvis Presley": To be published by Hill and Wang
in July 2006 is this hardcover written by Charles Ponce de Leon. ISBN:
080903042X; Amazon price US$24.00)

"Shooting Elvis": Written by Stuart Pawson and published by Allison & Busby
this novel is due for release in April 2006. ISBN: 0749082674; RRP US$25.95

2005/11/25  Amazon.com - www.elvisinfonet.com  /  Ep.Gold.Com.

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Calling All Fans - Two Elvis Books To Have And To Hold.


If Elvis Presley the man came in all shapes and sizes, why not the books
devoted to him? Cases in point: this season's The King (priced at US$75) and
Elvis: The Personal Archives (US$29.95).

The former, by Jim Piazza and published by Black Dog & Leventhal, is
tailor-made for the coffee table -- provided the coffee table measures more
than 30 by 17 inches, because those are the dimensions of The King when
opened. Bedtime reading this picture book is not, but a testament to
king-size graphic design it certainly is. Or is a gigantic two-page spread
of a scene lifted from the movie Jailhouse Rock -- pictured: actress Judy
Tyler, Elvis, and, atop the bar where they're sitting, a shapely pair of
high-heeled legs -- your idea of overdoing it?

Not according to the publisher, which is touting The King as the "grandest,
glitziest tribute to Elvis ever," and, no argument, the book packs a sizable
punch, from its rhinestone-studded cover (available in three colors,
"allowing book buyers to select for themselves the cover that best reflects
their own personal image of the King") to its 600 or so color and
black-and-white photos of Elvis covering every inch of his career.

Piazza's text -- biographical chapter intros, informative photo captions,
movie plot lines, time lines, trivia -- perforce takes a back seat to the
eye-popping visuals. But there are small moments here too, none smaller
perhaps (or more perceptive) than the conclusion reached by actress Dolores
(nicknamed by Elvis "Whistling Britches") Hart: "Elvis is a very lonely man"
-- an observation Hart made early in Elvis' movie career and, safe to say,
before Hart entered a convent.

For more on the subject of loneliness, consider Elvis' gold-plated bedroom
phone. Artist Jeff Scott has considered it. He's even had the receiver in
his hand. And he's photographed it -- a utilitarian object fit for a king
but an object, to Scott's way of seeing and thinking, "representing
something far more humble: a quiet man in his isolated domain, away from
prying eyes and the desires of others, talking late into the night."

That phone is just one object in the Graceland archives that Scott was
allowed unprecedented access to. The photographs -- straightforward shots of
Elvis' personal effects (his driver's license, his TV, his Colt 45
automatic, etc.) -- raise the real to the level of the surreal, the everyday
to the level of the iconic. They serve as subtext not only to Elvis' private
life but to the issue of Elvis' very identity, with this aim in mind: Scott
is making a visceral connection between viewer and object that goes beyond
looking. He wants you the audience to reach in, grab hold.

It's why Scott, a fine-art photographer and an art-book aficionado, has
taken such care with the design of Elvis: The Personal Archives.

Start with the size of the book. Measuring roughly 9 by 12 inches, it's easy
to handle, and it's an artifact in its own right to match the objects Scott
has brought into focus. It's also an artwork in its own right (with text by
art-historian E.A. Carmean Jr.).

"I'm aware how art is represented in coffee-table books," Scott says. "You
flip through an art book, and here's an image and here's another image. The
question for me has always been: How in book form can one replicate the
experience of viewing an artwork in person? A lot of books get larger, but
they become -- you become -- removed from the actual thing. I'm happy to say
my publisher, Channel Photographics, allowed me to make the book I wanted to
make, no compromises."

And he's happy to add that the people at Elvis Presley Enterprises gave
their full cooperation over the three years he worked on this project. "They
became like a family," Scott says. "They opened up Elvis' life to me." Scott
continues: "I've been a fan of Elvis since I was a kid. But how could I
translate Elvis' rise from rags to riches?

"I wanted to study what that journey for him was like. Frame it as one
aspect of American culture. Examine it from a fine-art perspective. Strip
away the manufactured imagery of celebrity. Humanize Elvis. I wanted to put
his archives in your hands."

2005/11/25  The Memphis Flyer  /  Ep.Gold.Com.

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Marketing Elvis in 2005 (Part 1):

"One of the reasons Elvis fails to reach many record buyers is point of
reference and that has to do with the timeframe that his popularity peaked
and the direction A&R took his music in the later part of the sixties and
seventies. RCA/BMG and later Elvis Enterprises has always marketed his
material as strictly rock and roll and to a very minor extent that was true
primarily in the first facet of his career.
However if you look at his catalog with an objective eye, you can see how
the marketing has been misguided and Elvis has suffered as an artist because
of that.

There may be some plausibility to the claim that Elvis Presley was the king
of rock n' roll in the fifties but by the late sixties that certainly was no
longer the case. Both critics and fans point to the 68 comeback as his
resurgence as a rock artist but again I stress to look at the material that
followed. His last major recording session commonly called the Memphis
recordings produced not one bonafide rock song. The biggest hit was
Suspicious Minds which at the time was called adult contemporary.

This brings us full circle to my original point that there is no point of
reference for the record buying public. To "sell" Elvis as a product in
today's marketplace you have to reinvent the work itself. The "King" tagline
needs to be dropped with the rock references. The wealth of material
recorded in the later years needs to be seperated into new CDs where the
country songs are marketed to the correct audience, ballads with ballads
etc. It's time now for Elvis to have a musical identity rather than to lump
everything together in new packaging without any thought to the work
itself."

William P. Haynes, http://www.arminus9-writers.com  /  www.elvisinfonet.com
/  Ep.Gold.Com


Marketing Elvis (Part 2):

Almost every rock icon - from Bob Dylan to the Rolling Stones to Led
Zeppelin to the Clash - has let his or her songs be shilled on the air. And
younger artists such as Death Cab for Cutie, the Shins and Modest Mouse seem
to wonder what all the "selling out" fuss is about. "As an artist, you've
got to put yourself in some interesting places and do some things you might
not have done when rock radio was more dominant and when MTV actually played
videos," says Catharine P. Taylor, a staff writer at AdWeek.

The Rolling Stones certainly have found new places to go with music from
their new album. In order to make a bigger buck for "A Bigger Bang," the
Stones have been written into the story line of the daytime soap opera "Days
of Our Lives," and their song "Streets of Love" will be played during the
show at tear-jerking moments throughout November.
Tyler Bacon is president of Position Music, a Los Angeles company that
serves as a licensing middleman between advertising agencies and music
artist. His firm, founded six years ago, manages the licensing of Elvis
Presley's songs, among other notables. He said Presley's family is selective
about how Elvis' songs are used.

"It's all about retaining his image," Bacon said. "If Elvis is going to be
used in any joke situation, the estate will automatically turn it down, no
matter how much money is offered."

One example of going too far might be Preparation H's bid in 2004 to use
Johnny Cash's "Ring of Fire" to sell the hemorrhoid cream. Cash's daughter,
singer/songwriter Rosanne Cash, refused to allow it, telling Advertising Age
magazine the idea was "moronic."

2005/11/25  Tucson.com -  www.elvisinfonet.com  /  Ep.Gold.Com

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The Legendary  Guitar of James Burton

November 15, 2005 was the street day for Hot Licks DVD Release - The Legendary 
Guitar of James Burton. The DVD contains the same material like the 1991 VHS release. 
The picture quality has been improved and the documentary is a personal teaching lesson 
where James Burton talks about how to play specific licks on guitar. The DVD comes with 
a booklet where the chords and notations are included. The official price for this DVD is $ 24.95

 

2005/11/25 André Mester / Elvis-History.com / EPGold.com

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