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Dans l'après-midi du 16 août 1977, Elvis Presley est retrouvé inanimé dans sa salle de bain. Il décède quelque temps plus tard au Baptist Memorial Hospital de Memphis, âgé de 42 ans. La nouvelle fait instantanément le tour du monde. Les radios modifient leur programmation. Les journaux changent leur une. Soixante-quinze mille personnes se regroupent devant les grilles de Graceland, la propriété du chanteur, afin de lui rendre un ultime hommage. C'est, semble-t-il, la fin d'une vie, d'une oeuvre, d'une histoire, d'un phénomène qui ont bouleversé la musique et la culture populaire. La fin ? Pas tout à fait. Car Elvis Presley va renaître, devenir l'un des plus grands mythes du vingtième siècle et l'objet d'un culte croissant. Son succès posthume est retentissant. Elvis renaît, plus complexe, plus grand, plus fort, plus adulé. Il vend année après année toujours davantage de disques et établit aujourd'hui encore de nouveaux records de recettes. Pourquoi, une fois mort, n'est-il donc pas progressivement tombé dans l'oubli qui guette les gloires disparues ? Pourquoi et comment est-il devenu ce personnage omniprésent, régnant au panthéon des plus grandes figures du siècle ? Pour répondre à ces questions, le sociologue Gabriel Segré, spécialiste du « culte Presley », dissèque la façon dont a été élaborée la postérité du King, montre comment s'est construit et développé son mythe, comment est né et a grandi le culte - souvent empreint d'une grande religiosité - qui lui est voué par des fans et fidèles toujours plus nombreux. Il permet de comprendre pourquoi il est finalement permis aujourd'hui d'affirmer : ELVIS EST VIVANT !

Rock music fans --- Rock music --- Presley, Elvis, - 1935-1977

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Biografie van Syd Barrett, stichtend lid van de psychedelische band Pink Floyd.

Lyricists --- Rock music fans --- Rock musicians --- Barrett, Syd. --- Pink Floyd (Musical group).

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Rock music fans --- Popular culture --- Rock (Musique) --- Culture populaire --- Fans --- Presley, Elvis, --- Popular culture. --- Popular music --- Music fans --- Popular music fans --- Rock music --- Social aspects --- Appreciation --- Popular music - Social aspects --- Rock music - Social aspects --- Presley, Elvis, - 1935-1977 --- Presley, Elvis, - 1935-1977 - Appreciation

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Rock music --- History and criticism --- Grateful Dead (Musical group) --- Deadheads (Music fans) --- Dead Heads --- Grateful Dead fans --- Rock music fans --- History and criticism. --- Dead (Musical group) --- The Grateful Dead (Musical group) --- The Dead (Musical group) --- Warlocks (Rock group : San Francisco, Calif.)

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On May 8, 1977, at Barton Hall, on the Cornell University campus, in front of 8,500 eager fans, the Grateful Dead played a show so significant that the Library of Congress inducted it into the National Recording Registry. The band had just released Terrapin Station and was still finding its feet after an extended hiatus. In 1977, the Grateful Dead reached a musical peak, and their East Coast spring tour featured an exceptional string of performances, including the one at Cornell.Many Deadheads claim that the quality of the live recording of the show made by Betty Cantor-Jackson (a member of the crew) elevated its importance. Once those recordings-referred to as "Betty Boards"-began to circulate among Deadheads, the reputation of the Cornell '77 show grew exponentially.With time the show at Barton Hall acquired legendary status in the community of Deadheads and audiophiles.Rooted in dozens of interviews-including a conversation with Betty Cantor-Jackson about her recording-and accompanied by a dazzling selection of never-before-seen concert photographs, Cornell '77 is about far more than just a single Grateful Dead concert. It is a social and cultural history of one of America's most enduring and iconic musical acts, their devoted fans, and a group of Cornell students whose passion for music drove them to bring the Dead to Barton Hall. Peter Conners has intimate knowledge of the fan culture surrounding the Dead, and his expertise brings the show to life. He leads readers through a song-by-song analysis of the performance, from "New Minglewood Blues" to "One More Saturday Night," and conveys why, forty years later, Cornell '77 is still considered a touchstone in the history of the band.As Conners notes in his Prologue: "You will hear from Deadheads who went to the show. You will hear from non-Deadhead Cornell graduates who were responsible for putting on the show in the first place. You will hear from record executives, academics, scholars, Dead family members, tapers, traders, and trolls. You will hear from those who still live the Grateful Dead every day. You will hear from those who would rather keep their Grateful Dead passions private for reasons both personal and professional. You will hear stories about the early days of being a Deadhead and what it was like to attend, and perhaps record, those early shows, including Cornell '77."

Deadheads (Music fans) --- Dead Heads --- Grateful Dead fans --- Rock music fans --- Cornell University. --- Grateful Dead (Musical group) --- Ithaca (N.Y.). --- Kʻang-nai-erh ta hsüeh --- Kornelʹskii universitet --- 康奈爾大學 --- Dead (Musical group) --- The Grateful Dead (Musical group) --- The Dead (Musical group) --- Warlocks (Rock group : San Francisco, Calif.) --- Performances --- Autonomy and independence movements --- Self-determination, National --- Political violence --- Organizational behavior --- Behavior in organizations --- Management --- Organization --- Psychology, Industrial --- Social psychology --- Violence --- Political crimes and offenses --- Terrorism --- National self-determination --- Nationalism --- Nation-state --- Nationalities, Principle of --- Sovereignty --- National independence movements --- Secession movements --- Social movements --- Decolonization --- History