June 2003
| http://LisaMarie.tripod.co.jp/ |
|---|
June 2003 |
| http://LisaMarie.tripod.co.jp/ |
| LISA 2003 | ||
|---|---|---|
| June 1 | East Rutherford, NJ | (Guest host) Z100's "Zootopia 2003" (Giants Stadium) |
| June 1 | USA | VH1's "Driven" |
| June 2 | Chicago, IL | The Mix's "Eric & Kathy" |
| June 4 | San Antonio, TX | (ABC-TV) A halftime show at NBA Finals, New Jersey vs. San Antonio (SBC Center) |
| June 7 | Baltimore, MD | (Cancelled) (Free Show) Mix 106.5 "Mix fest" (Power Plant Live) |
| June 20 | New York, NY | NBC's "Today Show Summer Concert" (Rockfeller Plaza) |
| June 24 | London, UK | ITV, "This Morning" |
| June 25 | London, UK | (Cancelled) |
| June 26 | Windsor, UK | Elton John Aids Foundation Dinner |
| June 30 | London, UK | BBC Radio 2, "Steve Wright in the Afternoon" |
| July 9 | Bonner Springs, KS | Mix 93.3's "Red, White & Boom" (Verizon Wireless Amphitheater, Kansas City) |
 | ||
| July 11 | Boston, MA | Fleet Boston Pavilion (with Chris Isaak) |
| July 12 | Hyannis, MA | Cape Cod Melody Tent (with Chris Isaak) |
| July 13 | Portland, ME | Merrill Auditorium (with Chris Isaak) |
| July 15 | Hampton, NH | Hampton Beach Casino Ballroom |
| July 16 | Westbury, NY | Westbury Music Fair (with Chris Isaak) |
| July 17 | Pittsburgh, PA | Amphitheater at Station Square (with Chris Isaak) |
| July 19 | Atlantic City, NJ | Trump Marina (with Chris Isaak) |
| July 20 | Asbury Park, NJ | The Stone Pony |
| July 21 | New York, NY | Beacon Theater (with Chris Isaak) |
| July 23 | Vienna, VA | Wolf Trap Filene Center (with Chris Isaak) |
| July 24 | Baltimore, MD | Pier Six Concert Pavilion (with Chris Isaak) |
| July 25 | Portsmouth, VA | NTELOS Pavilion Harbor Center (with Chris Isaak) |
| July 26 | Anderson, SC | Anderson Civic Center (with Chris Isaak) |
| July 28 | North Myrtle Beach, SC | House Of Blues (with Chris Isaak) |
| July 30 | Cary, NC | Amphitheatre At Regency Park (with Chris Isaak) |
| July 31 | Atlanta, GA | Chastain Park Amphitheater (with Chris Isaak) |
| Aug.1 | Memphis, TN | Botanic Garden (with Chris Isaak) |
| Aug.2 | Nashville, TN | Ryman Auditorium (with Chris Isaak) |
| Aug.4 | Jackson, MI | Jackson County Fair |
| Aug.5 | Detroit, MI | Meadow Brook Music Center (with Chris Isaak) |
| Aug.8 | Chicago, IL | House Of Blues (with Chris Isaak) |
| Aug.9 | Minneapolis, MN | Orpheum Theatre (with Chris Isaak) |
| Aug.11 | Des Moines, IA | Iowa State Fair (with the Goo Goo Dolls) |
| Aug.12 | Springfield, IL | Illinois State Fair (with the Goo Goo Dolls) |
| Aug.16 | (Cancelled) | |
| Sep.20 | Puyallup, WA | Puyallup Fair (with the B-52's) |
| Compiled by Haruo Hirose | ||
| 日本語のページは こちら。 Japanese page is here。 |
(large image) |
CD Album, "To Whom It May Concern"
Germany; Mar.24 (EMI-Electrola) Amazon.de Amazon.uk
|
|
CD-Single, "Lights Out" / "Savior"
Germany; Mar.24 (EMI-Electrola) Amazon.de, UK; DVD Video Single (Amazon.uk) that contains the video of 'Lights Out' and a video called 'About Lights Out' along with the audio track of 'Savior'. |
 
Lisa On Charts; "To Whom It May Concern" Billboard Album Charts; #53(June 21) <-- #55 <-- #47(24,303) <-- #31(28,454) <-- #25(40,219) <-- #24(39,418) <-- #17(46,312) <-- #14(92,742) <-- #5(140,245)(Apr.26) "Lights Out" - Billboard Adult Top 40; #38(June 21) <-- #33 <-- #29 <-- #21 <-- #18 <-- #18 <-- #20 <-- #21 <-- #21 <-- #21 <-- #25 <-- #25 <-- #28 <-- #31 <-- #38(Mar.8) Lisa Lyrics | |
| 日本語のページは こちら。 Japanese page is here。 |
(June 27, 2003)
|
Lisa and Elton John
The Fifth Annual White Tie & Tiara Ball to Benefit the Elton John Aids Foundation in Association with Chopard - Dinner Venue: Elton John Residence Location: Windsor, England United Kingdom Date: 6/26/2003 
|
(June 25, 2003)
|
Top of the Pops
By Anthony Barnes, PA News, Tue 24 Jun 2003
Funnyman Jonathan Ross is to be a guest presenter on BBC1 music show Top
Of The Pops, it was announced today.
|
(June 21, 2003)
|
Click HERE to see 4 video clips of Lisa's performances of "Lights Out", "Sinking In" and "Nobody Noticed It" plus Presley Place coverage.
|
(June 21, 2003)
|
Lisa Marie's generosity lands Memphis family on Today show
By Tom Walter, June 20, 2003, The Commercial Appeal
When Stephanie Robinson, 33, arrived at MIFA's Presley Place housing
three months ago, she couldn't have anticipated ending up on national
television. But this morning, she will be.
Each Friday during nice weather, Today features live performances on the
program. Taped pieces provide background on the performers.
Lisa Marie Presley is today's performer, and as part of its profile of
her, Today wanted to include charities she supports. It chose Presley Place.
Presley Place, 709 St. Paul, is part of the Metropolitan Inter-Faith
Association's Estival Communities, which offer 77 apartments for
homeless families. It is transitional housing that allows the families
to live rent-free for up to nine months while putting income into
savings or completing educational courses.
In addition to interviewing MIFA executive director Margaret Craddock,
the Today show crew spent last Sunday taping Robinson and her two
daughters, Carmen Robertson, 11, and LaKesha Larry, 8. When the show's
producers learned that Robinson was graduating from the Tennessee
Technology Center at Memphis's surgical assistant program Wednesday, a
crew returned to tape that as well.
Robinson could not be reached for comment.
Due to editing, the piece may or may not include the fact that Robinson
also is caring for her sick mother.
Or that the Robinsons came to MIFA from Lauderdale Courts, where Elvis
Presley's (Lisa Marie's father) family lived after coming to Memphis.
Or that she hadn't caught much of a break before coming to MIFA.
"Unfortunately, she was a victim of abuse. That's why she ended up being
homeless," said MIFA's director of public relations Bert Kelly.
Things are looking up for the family in other ways. Robinson already has
a job interview scheduled with a local hospital, a MIFA official said.
Today airs 7-10 on WMC-TV Channel 5; a program spokesman said she didn't
know where in the show the piece would run.
|
(June 13, 2003. Thanks to elvis4life)
| Lisa Marie in June 11 issue of "Steppin' Out" Magazine |
(June 11, 2003. Thanks to Kira)
Click here for large photos from Mix fest 2003. |
(June 7, 2003. Thanks to Dora)
|
Moving on from Memphis
The Guardian (UK), Saturday June 7, 2003
Lisa Marie Presley was nine when Elvis died and she inherited a crushing
legacy of global fame. Ever since she's been struggling to find a reality of
her own. She talks frankly to Michael Bracewell about family, marriages and
the compulsion, finally, to create music herself
When Lisa Marie Presley was three years' old, her father Elvis
Presley would stand her on a table in his ceremonial mansion,
Graceland, and get her to sing for his guests. "I had no
aspirations to sing at that time," she says now, 32 years later,
"but the desire to please him."
On an overstuffed sofa in a massive hotel suite, Lisa Marie sits
with the posture of a teenage boy - a small figure, shoulders
hunched, her hands hanging loosely between her knees. Her
fingernails are bitten down; she has a battered black cap pulled
low over her forehead, a few green-dyed strands of
shoulder-length hair sticking out from the side. It's hard to
imagine that she once modelled for Versace. Her clothes - black
trousers, black hooded sweatshirt - are drab and anonymous. Her
voice is low, her sentences short and precise - at times to the
point of seeming blunt.
Looking down in the middle of a slow, jet-lagged sentence, Lisa
Marie widens her eyes as though to refocus them. You see the
unusually straight lines of her features, and when she looks up
with the hint of a grin, her eyes acquire a lustre that appears
both roguish and regal, amused even, in a lazy southern way. And
then you feel as if you're looking directly into the eyes of Elvis;
that the voice, the expression and the mannerisms have cohered in such a way as to
ventriloquise his presence. In this instant, Lisa Marie becomes almost too unnervingly
recognisable, too beautiful, to comprehend - how could the female Elvis be anything else?
As the King's daughter and sole heir, Lisa Marie has inherited not simply an empire - in
this case, the presidency and ultimate control of Elvis Presley Enterprises, as well as a
personal fortune worth nearly $300m - but a name and a legend more potent, and more
prompting of ravenous curiosity, than that of nearly any dynastic royalty. Now, however, asurvivor of teenage drug abuse, divorce - most publicly from Michael Jackson - poor
health and depression, in her mid-30s and a mother of two, she has decided to make a
record. Which, as Elvis Presley's daughter, might be asking for trouble.
When you talk to Lisa Marie, she seems like a woman carrying more than her fair share of
sadness. But this impression is followed by another, of strength and pragmatism. As the
Presley family were southern US rural working class, more than used to setback and
hardship, so Lisa Marie, despite the sheer weirdness of her background and her
astonishing wealth, seems throughout her adult life to have been attempting an epic
voyage of self-healing. As if her enduring adherence to Scientology, her children, even
her highly publicised, at times disastrous, relationships, have all been an attempt to dress some ancient wound - the wound being caused by her own name, and her lifelong search
for her own identity.
Lisa Marie is no longer prepared to exist as merely a name, a free-floating signifier of
kooky American fame, however elevated or intoxicating. It may have taken 30 years since
the table-top performances at Graceland, but her current aspirations towards her own
career as a singer are serious. And they seem to be paying off. After four years working in the studio, her debut album, To Whom It May Concern, has entered the US Billboard chart
at No 5, and she is set to start her first US tour. In the meantime, she has stopped off in the UK for a few days, specifically to perform a short showcase concert at a small club in London to an invited audience of around 300 press and music business employees.
"I'm female, thank God, because if I was male this really would be difficult," she says.
"And, of course, I don't attempt to sound like my father - I do my own thing. Those sorts
of comparisons are something I was intimidated by for a very long time. But I had to go
with it. Music is a huge part of my life, and I had to park all that fear and not let it stop something that was important to me."
To Whom It May Concern is a surprisingly solid piece of work: sultry, guitar-driven rock,
tinged here and there with filmic electronic effects, over which she projects her
frequently dark and confrontational lyrics with the growling passion of an apprentice Patti Smith. In a business in which family connections are more likely to work against you than for you, Lisa Marie has delivered a record that would more than give Courtney Love a run for her money, while probably having a much broader appeal to the mainstream of radio
airplay. Above all, she does not want the album to be a curiosity - a footnote to her
father's discography. Her mission, in fact, is finally to escape from being simply her
father's daughter (clearly, she has made a policy decision not to discuss her father except through the most glancing of details: asked if he was an easy man to please, she answers, laconically, "Very").
The more she discusses her often fraught sense of self, the more pressing her mission to
move on appears - to define herself on her own terms through her music. "I
underestimated doing this, I have to say. I thought of putting the record out under
another name, and I thought about putting it out under a band name, or anonymously - I
ran through everything. Andy Slater, the president of Capitol [her record label], and I tend to battle a lot, and he always wins - so far. He persuaded me to put the record out under my own name. I was 22 when I went into a studio just to check, just to see if I could sing. Actually, I was doing vocal scales with this woman teacher for ever, but I was always too scared to try actually singing. Then, one day, I said, 'I'm going to sing something but I'm going to turn around so I can't see you', and it was her reaction to that. She went and got her husband who was a producer, and I thought, 'Well, if I can impress her, I must have something because she's, like, really hardcore.' So I went into the studio and did a cover of an Aretha Franklin record called Baby I Love You. I did it in about six takes and it turned out pretty good.
"My earliest memories of music had been listening to the Sweet Inspirations, who sang
back-up for my father. Then it went from Elton John - huge for me, a big part of my
drives and interest early on; all those songs like Someone Saved My Life Tonight, Goodbye
Yellow Brick Road, the whole Daniel period. Then it was, like, Linda Ronstadt and Pink
Floyd - The Wall and Dark Side Of The Moon; they were a big impact on my life, still are.
I've been through all the phases - punk, heavy metal, goth. I went through everything.
Johnny Ramone and I became good friends, and he gave me a bunch of Ramones CDs. And
I had a huge crush on Sid Vicious."
From this, you might guess that Lisa Marie had within her reach a competent,
middle-of-the-road rock album with a sheen of professionalism and some impressive
production credits. But what comes across on To Whom It May Concern is something
more startling: an attempt at a cri de coeur, the intensity of which can be gauged from
this lyric from the opening track, SOB - "You said, 'I won't forget' and 'I don't remember' and you said I'm something I'm not, and I fell on my face. You said I wouldn't rot, but
worms are crawling on me. I'm just a son of a bitch, no matter what you say."
Inevitably, you scan the lyric sheet for clues to its writer's life. On the one hand, Lisa Marie says of her lyrics, "It's purely conceptual - not about a particular person", and on the other, "It's totally autobiographical." In most good writing, the truth lies somewhere in between. On To Whom It May Concern, Lisa Marie steers a course between what seem to
be overt references to specific subjects - being the daughter of Elvis Presley, troubled
relationships - and a more ambiguous thread of challenge and remorse.
There are strange, jagged little details, evidence of crises perhaps. On The Road Between, for example: "How many roads between your world and mine, How many broken doors and
how many fights?" And attracting most attention, on Lights Out, a verse that describes
the Presley family graves at Graceland: "Someone turned the lights out there in Memphis.
That's where my family's buried and gone. Last time I was there I noticed a space left next to them there in Memphis, In the damn back lawn."
"I'd been writing since I was 22," says Lisa Marie, "just sort of as therapy, for cathartic reasons of my own with no particular purpose to it. But I hit a point in my life where I needed a record to outlet things. I didn't want to do it in some flash-in-the-pan way or
novelty way; I waited until I actually felt really passionate about doing it. I'll start to write from pain, anger, sadness - beautiful sadness, even. I usually pull pain or something awful I went through. It's a way for me to release myself, or make something dissipate. It's a personal thing for me, that I've let everyone else in on." A personal thing, but public, too. No one had been famous on the scale, or in the same way, that her father had become famous. Exposed to an unprecedented amount of psychological pressure, Elvis became the first crashed test pilot of contemporary celebrity. For his only child, there could never be any chance of an even halfway normal childhood.
Quite simply, no child had been in her situation before - there was no map through the
perils of growing up sequestered by global celebrity. Hence the unimpeachable honesty
with which Lisa Marie says of her childhood, "I don't know how to assess it, because I
don't know any different. Do they mean, compared with someone who's never known that
kind of life? It's all relative." Her own children wouldn't look out of place playing beside a bus stop in Slough - polite, ordinary kids, in ordinary, shopping-mall clothes.
Of her relationship with her mother, Priscilla, which has been reported as at times stormy, she says merely, "My relationship with my mother is fine. It took us a while to get there, but it's fine. Because we're completely the opposites of each other, so we didn't find our place with one another until about a year and a half ago. It's been a bit, like, a
hit-and-miss situation."
Lisa Marie was born in 1968, and her parents divorced when she was four. For the
remaining five years of her father's short life, her time was divided between her mother's house in Los Angeles - where there was a certain amount of household discipline - and
Graceland, where her every whim was indulged and she could hold despotic sway over the
estate workers, just like a real princess. Stories of the presents that Elvis lavished on his only child have now passed into the febrile Presley myth: that he gave her a pony before she could walk and a diamond brooch for her sixth birthday; that he gave her a jet called the Lisa Marie and spent ｣25,000 on flying her across the country to see snow for just 20 minutes.
In terms of her formative years, such extravagance - and Lisa Marie admits to being a
spoiled child, given at times to tyrannical and brattish behaviour - mixes like a volatile chemical with her childhood witnessing of her father's decline into constant
self-medication and seclusion. She was nine when Elvis died, and present at his sudden
death. By the time she was barely 14, Lisa Marie was using drugs herself.
"I'd probably have ended up in jail," she says when asked how her life might at times have turned out. "In trouble, I'm sure, somewhere. Homeless or in jail, possibly. I dropped out of school in the 11th grade because there was no purpose in it for me. I'm not proud of this, and I'm not trying to promote it. Maybe I would have been a guitar player on a street corner somewhere, with a bucket in front of me. I felt that I needed a foundation early on, which is why I had kids so early. I knew that I would be like an unconducted energy blast that would end up God knows where if I didn't plant myself in that particular situation. I always had that potential, so I had children and grounded myself immediately, which
worked, thank God. No matter what's going on with me, or in my life, I'll go up there and
they'll be fighting and I have to go break it up. And that gets the attention off myself or whatever's going on in my life, which is good."
Lisa Marie is fully aware that people might easily write her off as a kind of Marie
Antoinette of the rock scene, playing at being in a band for a couple of years - a Kelly
Osbourne without the excuse of teenage exuberance. But in an irony that reverses the
usual procedures of pop celebrity, it is precisely in order to transcend her fame and
money that she is pursuing her musical career with such determination.
"The reason I did this, and the reason the record is called To Whom It May Concern, is
that there are going to be people who will immediately judge me, or label me, or try to
shut me down right out of the gate. And it's them versus someone who's moved by the
music. I also did a record because, as I've said, music has had such a huge impact on me
all my life, and my hope was to affect others musically the way I was affected... And the
credibility helps, you know what I mean? I'm able to do something, and that's nice, after
having been known for so long for something that I didn't particularly do and feel pretty
uncomfortable about getting the attention for - merely for existing. So, if I put out
something that is actually credible, and recognised as such, then I feel a little more
justified as a human, you know."
By the time Lisa Marie was 17, and addicted to sedatives, Priscilla took the step of placing her in a Scientology facility known as the Celebrity Centre - a school for studying
Scientology - in Hollywood. And it was here that Lisa Marie met her first husband, a
musician called Danny Keough, with whom she had her two children, Danielle Riley and
Benjamin Storm, now aged 14 and 11 respectively. This period in Lisa Marie's life was
possibly the most fruitful in offering her some solid foundation for a normal existence.
"Basically, Scientology explains to me the answers to life, the mind, people, insanity, man, in a way that, to me, is applicable. It doesn't use fear, or suppression or the devil - it's not repressive. Mainly, it's a way for me to figure out who I am. It's a lot of self-discovery; it's not someone you follow or praise. You do a lot of work on yourself and you figure it out for yourself. In that sense, it's closest to Buddhism. It means the study of the spirit. I needed to know what my dark, black cloud was. It's nondenominational - mostly the study of life: there's a studying side of it and a counselling side of it. There are levels you graduate towards and things like that. But it doesn't enforce any belief system or God or supreme being or whatever. That's left to you; you can believe whatever the hell you want."
Her subsequent marriage to Michael Jackson would present the 1990s - a decade
obsessed with celebrity - with the ultimate pairing of famous names. >From the outside,
the Jackson-Presley union looked like monolithic pop art: a pure Warholian fantasy of
fame, wealth and beauty, as it might have been staged by Jeff Koons. The couple's now
legendary television interview with Diane Sawyer on ABC's Prime Time Live, in which they
announced that they were "just a normal married couple" and would indeed "be expecting
a child", prompted the gossip columnist Cindy Adams to retort, "I'll bet my pearls he gets pregnant before she does."
The marriage lasted 21 months, with Lisa Marie allegedly asking for a separation in
December 1995 while Jackson was in New York's Beth Israel North Medical Centre after
collapsing with what was reported as low blood pressure. Of Martin Bashir's recent
television interview with Jackson, she says simply, "It was like someone antagonising a
patient in a hospital - not that he's a patient; but someone who's in a vulnerable position. It just seemed cruel."
But if the Presley-Jackson marriage seemed weighed down by the celebrity, wealth and
eccentricity involved, there was, perhaps, a kind of method in its madness. Until now, she has spoken of the marriage only as a "delusional" episode in her life, prompted by a desire to save Jackson from his own demons, and a greater, more infantilist desire that together they could save the world; she has chosen not to comment on what might be seen as the
far more understandable reasons she had for attempting marriage to Jackson - and for
seeking happiness with the actor Nicolas Cage.
"I think I've been with 14 people in my life, and I'm 35, so that's not too bad," she begins. "Two of them were famous because I realised that, in the other situations I was in,
although the men may be amazing people, may be beautiful, may be talented, they would
just get pummelled by me. Their egos would be shot to hell, and it would create
resentment, and love would never overcome that in the end. Because their identities
would be taken away from them, or their importance; basically, they'd have their balls cut off, every time. Probably Michael and I connected because there was an unusual
upbringing, unusual circumstances, and I felt honestly more comfortable being with
someone who was as famous, or more famous, than me. Because it took the pressure off
me and I could feel like a female for the first time - like a regular female, not some female who has balls and who runs everything. I never liked that positioning, even though I'm strong and I have the name and the celebrity and whatever it is I have, it doesn't feel
natural. Because I want to be able to have a man who's running things, and who I can
admire and respect - and that's always been my dilemma. So... I go with Michael.
"And then when you go with that, that's got its drawbacks; because then you're
surrounded by whatever circumstances that person's been in their whole life - which can
be completely unrealistic, but that's the way they are and you have to deal with
whatever's going on around that person - like entourages, shady people, all that that's
about. Then, I left Michael; two more people in a row that weren't anyone. Again, it was all about me, and they'd get..." Here, Lisa Marie pauses for breath. "...Like, I was engaged to someone who was an amazing singer and had a great record out, and none of that
mattered - it was about me. And I saw too many men lose their identity and purpose in life because it was all about me. And so I ended up with Nic... It's like ping pong, what do I do? And, somewhere in the middle, there's got to be the answer. But I've got to find
something in between where it's not too extreme - right now, I go to extremes.
"And you know what I'll say that I've not said before? I think that me being with these
high-profile people is an attempt to hide - it's kind of like I was too afraid, too
uncomfortable with the attention on me, so it was kind of a way to hide behind someone,
you know what I mean? That's what's really underneath it for me, it's like I can just exist and be a female and not have the pressure on me. It was probably a way to run away and
never deal with who I am and what I can do. It was always: hide behind somebody else,
because they're good at what they can do. I just realised that. And that probably has a lot to do with it."
Being caught up within such a cat's cradle of contradictory desires seems to have been
another spur to her own creative self-expression. Asked if she relates to WH Auden's line
about being "hurt into poetry", she immediately comes back with, "Sure - I call it 'bitten by the snake of life'." At the same time, she remarks, "I don't have the instinct to flee. Yet."
In Europe with her children, Lisa Marie travels with a reasonably modest team of
assistants. There's Scooter, her manager, a very low-profile bodyguard, and two or three
personal assistants. They look fairly dowdy, given their mile-wide opportunity for giving a full-on display of pure pop glamour, and they seem to respond to British attention with
absolute courtesy and that deeply American impassivity that verges on utter boredom.
When Lisa Marie takes her place with fellow guests during the filming of the Jonathan
Ross show, Ross proudly announces his line-up of celebrities before announcing, "And
Lisa Marie Presley! Who hasn't got a clue who any of them are." Watching her watching
the filming of the programme, you can't help but be reminded of the way in which Elvis
seems almost half asleep during some of his monologue sections on the legendary 1968
Special. Lisa Marie is charmed by Ross's wit and graciousness but, somehow, his closing
line, "And I really was a huge fan of your dad", comes across as unintentionally tactless.
On a mild spring evening a few days later, in a basement nightclub between Piccadilly
Circus and Leicester Square, there is a curiously understated showcase concert by Lisa
Marie and her band. As they take the stage, she looks horribly vulnerable. For the first few minutes of the opening number, it looks as though this might all have been a big mistake. The band sound muddy and lumpen, and Lisa Marie doesn't seem able to find her voice. A
couple of days earlier, she had said how intimidated she felt by performing live. "I'll come to love it, but right now I'm being thrown into these horrendous nerve-racking situations right out of the gate. Most bands have a runway experience in that they get signed and
then they're excited about the record and they go out and perform it. But it was the
reverse for me: I spent four years in the studio. When I know I'm not in a hostile
environment or a curious environment, then I'm usually fine. It's just if I'm in an
environment where people are simply there because they're curious about me - then I
can feel it, I'm really perceptive. But it's just a lot of pressure right now."
And so now she's face to face with an audience who might possibly be hostile, and who are
almost definitely curious. The moment seems to waver on a razor's edge. It would be
horrible to watch her fail, particularly given the driving, almost obsessive need she seems to have to find a voice of her own. But a few minutes in, there seems to be a kind of shift in the air pressure around her performance: it's as though a gear kicks in. Lisa Marie flashes her extraordinary eyes - shadowed with bright green glitter, reflecting the lights - and suddenly her voice, not a great voice, yet, but one that seems to come from deep
within the gut, manages to win its liberation. At first, it's almost tuneless, a growl that turns to words; and then the words become distinct - each one like a hammer blow, as
though to carve her name: "I heard all the roads, they lead to Memphis," she roars,
beginning to enjoy herself. "Except for the one I'm stumbling down."
|
(June 5, 2003)
Lisa at halftime of NBA game.
|
(June 5, 2003)
|
Lisa Marie Presley Awarded Gold Record
Wed Jun 4, 2:29 PM ET WASHINGTON - Lisa Marie Presley doesn't have to look longingly at her dad's gold records any more. She has one of her own. The Recording Industry Association of America has awarded Presley a gold record for her debut album, "To Whom It May Concern." It sold 500,000 copies in just a month of release. |
(June 5, 2003)
| Sessions@AOL |
(June 3, 2003. Thanks to Stacy-Jayne)
| Here's a transcription and scans from Lisa's Playboy interview. |
(June 3, 2003)
|
Lisa Marie Presley, Jewel And Phish To Highlight Star-Studded Musical Lineup For NBA Finals 2003
NEW YORK, June 2 -- Capitol Records recording artist Lisa Marie Presley
will tip off the NBA Finals 2003 musical entertainment with a special
performance during halftime of Game 1 on Wednesday, June 4.
Multi-platinum Atlantic Records singer/songwriter Jewel will perform
during halftime of Game 3 on Sunday, June 8. The Finals will be
televised on ABC at 8:00 p.m. (ET) beginning on June 4.
Presley will premiere her second single, “SINKING IN,” from her recently
released debut album To Whom it May Concern, which is already certified
gold and is nearing platinum status, and will also perform her current
hit single, “LIGHTS OUT.” Jewel, who has sold 25 million albums
worldwide, releases her eagerly awaited fifth album, entitled 0304, this
Tuesday, June 3. She will treat fans to a special performance of her
current smash single, “INTUITION.”
Vermont rockers Phish will perform the U.S. national anthem before Game
4 of the Finals on Wednesday, June 11. The band released their most
recent studio record, Round Room, on Elektra Entertainment last
December. Known for their marathon concerts and devoted following, the
band hits the road for a nationwide tour in July.
The NBA Finals 2003 best-of-seven series tips off live from the SBC
Center in San Antonio and matches the two-time Eastern Conference NBA
Champion New Jersey Nets vs. the San Antonio Spurs. The Finals
television schedule is as follows: Game 1 on Wednesday, June 4; Game 2
on Friday, June 6; Game 3 on Sunday, June 8; Game 4 on Wednesday, June
11 and if necessary Game 5 on Friday, June 13; Game 6 on Sunday, June 15
and Game 7 on Wednesday, June 18.
|
(June 3, 2003)
Lisa at the Mix's "Eric & Kathy" on June 2 in Chicago.
|
(June 2, 2003)
Lisa from Zootopia 2003 on June 1.
|
(June 2, 2003)
Lisa from Q102 Concert in Camden, NJ on May 30.
and more pix. |
(June 1, 2003)
Photos from KISS concert on May 31 at the Tweeter Center for the Performing Arts in Mansfield, MA.
|
| http://LisaMarie.tripod.co.jp |
|---|
| http://LisaMarie.tripod.co.jp |
|---|
