Cultural Impact Of Elvis Presley 6k3r1b

Cultural impact of Elvis Presley cyclopedia of Rock and Roll describes Presley as “an American music giant of the 20th century who singlehandedly changed the course of music and culture in the mid-1950s.”[1] His recordings, dance moves, attitude and clothing came to be seen as embodiments of rock and roll. His music was heavily influenced by African-American blues, Christian gospel, and Southern country. In a list of the greatest English language singers, as compiled by Q Magazine, Presley was ranked first,[2] and second in the list of greatest singers of 20th century by BBC Radio.[3] Presley sang both hard driving rockabilly, rock and roll dance songs and ballads, laying a commercial foundation upon which other rock musicians would build their careers. African-American performers like Big Joe Turner, Wynonie Harris and Fats Domino came to national prominence after Presley’s acceptance among mass audiences of White American adults. Singers like Jerry Lee Lewis, the Everly Brothers, Chuck Berry, Bo Diddley, Little Richard, Buddy Holly, Johnny Cash, Roy Orbison and others immediately followed in his wake. John Lennon later observed, “Before Elvis, there was nothing.”

Elvis impersonators

During the post-WWII economic boom of the 1950s, many parents were able to give their teenage children much higher weekly allowances, signaling a shift in the buying power and purchasing habits of American teens. During the 1940s bobby soxers had idolized Frank Sinatra, but the buyers of his records were mostly between the ages of eighteen and twenty-two. Presley triggered a lot of demand for his records by near-teens and early teens aged ten and up. Along with Presley’s "ducktail" haircut, the demand for black slacks and loose, open-necked shirts resulted in new lines of clothing for teenage boys whereas a girl might get a pink portable 45 rpm record player for her bedroom. Meanwhile, American teenagers began buying newly available portable transistor radios[4] and listened to rock 'n' roll on them (helping to propel that fledgling industry from an estimated 100,000 units sold in 1955 to 5,000,000 units by the end of 1958). Teens were asserting more independence and Presley became a national symbol of their parents’ consternation.

Folk rock musician Amy Ray wearing an Elvis shirt onstage

Presley’s impact on the American youth consumer market was noted on the front page of The Wall Street Journal on December 31, 1956 when business journalist Louis M. Kohlmeier wrote, “Elvis Presley today is a business,” and reported on the singer’s record and merchandise sales. Half a century later, historian Ian Brailsford (University of Auckland, New Zealand) commented, “The phenomenal success of Elvis Presley in 1956 convinced many doubters of the financial opportunities existing in the

Elvis Presley Avenue in Shreveport, Louisiana

Since the beginning of his career, Elvis Presley has had an extensive cultural impact. According to Rolling Stone Magazine, “it was Elvis who made rock 'n' roll the international language of pop.” Rolling Stone en1

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1 AFRICAN AMERICAN MUSIC INFLUENCE

ity of Elvis Presley was similarly founded on his transgressive position with respect to racial and sexual boundaries. ... White cover versions of hits by black musi... often outsold the originals; it seems that many 1 African American music influ- cians Americans wanted black music without the black peoence ple in it,”[12] and Elvis had undoubtedly “derived his style from the Negro rhythm-and-blues performers of the late [13] In spite of the facts that Nat King Cole had the #7 song 1940s”. in 1959, and the #1 song in 1921, and Chuck Berry had a The “Elvis stole black music” theme is an enduring one major hit with "Maybellene" in 1955, in the United States with arguments for and against published in books [14][15] in the 1950s legal segregation and discrimination against A southern background combined with a performing style African Americans was common, especially in the Deep largely associated with African Americans had led to “bitSouth. Presley would nevertheless publicly cite his debt ter criticism by those who feel he stole a good thing”, as to African American music, pointing to artists such as B. Tan magazine surmised.[16] No wonder that Elvis became B. King, Arthur “Big Boy” Crudup, Ivory Joe Hunter, and “a symbol of all that was oppressive to the black experiFats Domino. The reporter who conducted Presley’s first ence in the Western Hemisphere”.[17] A black southerner interview in New York City in 1956 noted that he named in the late 1980s even captured that sentiment: “To talk blues singers who “obviously meant a lot to him. [He] was to Presley about blacks was like talking to Adolf Hitler very surprised to hear him talk about the black performabout the Jews.”[18] ers down there and about how he tried to carry on their music.”[6] Later that year in Charlotte, North Carolina, In his scholarly work Race, Rock, and Elvis,[19] Tennessee Presley was quoted as saying: “The colored folks been State University professor Michael T. Bertrand examsinging it and playing it just like I’m doin' now, man, for ined the relationship between popular culture and social more years than I know. They played it like that in their change in America and these allegations against Presley. shanties and in their juke ts and nobody paid it no Professor Bertrand postulated that Presley’s rock and roll mind 'til I goosed it up. I got it from them. Down in Tu- music brought an unprecedented access to African Amerpelo, Mississippi, I used to hear old Arthur Crudup bang ican culture that challenged the 1950s segregated generahis box the way I do now and I said if I ever got to a place tion to reassess ingrained segregationist stereotypes. The I could feel all old Arthur felt, I'd be a music man like American Historical Review wrote that the author “connobody ever saw.”[7] Little Richard said of Presley: “He vincingly argues that the black-and-white character of the was an integrator. Elvis was a blessing. They wouldn't sound, as well as Presley’s own persona, helped to relax let black music through. He opened the door for black the rigid color line and thereby fed the fires of the civil music.”[8] B. B. King said he began to respect Presley af- rights movement". The U.S. government report stated: ter he did Arthur “Big Boy” Crudup material and that af- “Presley has been accused of “stealing” black rhythm and ter he met him, he thought the singer really was something blues, but such accusations indicate little knowledge of else and was someone whose music was growing all the his many musical influences.” “However much Elvis may have 'borrowed' from black blues performers (e.g., 'Big time right up to his death.[9] Boy' Crudup, 'Big Mama' Thornton), he borrowed no less Up to the mid-1950s black artists had sold minuscule from white country stars (e.g., Ernest Tubb, Bill Monroe) amounts of their recorded music relative to the national and white pop singers,” and most of his borrowings came market potential. Black songwriters had mostly limited from the church; its gospel music was his primary musical horizons and could only eke out a living. But after Presley influence and foundation.” purchased the music of African American Otis Blackwell and had his “Gladys Music” company hire talented black Whether or not it was justified, the fact remains that songwriter Claude Demetrius, the industry underwent a distrust of Presley was common amongst the general dramatic change. In the spring of 1957 Presley invited African-American population after the accusations of African American performer Ivory Joe Hunter to visit racism were made public.[18] According to George PlasGraceland and the two spent the day together, singing ketes, several songs by other performers came out after “I Almost Lost My Mind” and other songs. Of Presley, the singer’s death which are a part of a “demystification Hunter commented, “He showed me every courtesy, and process as they portray Elvis as a racist”.[20] In his book, Colored White: Transcending the Racial Past, David I think he’s one of the greatest.”[10] Roediger considers contemporary “wiggers” (white kids Certain elements in American society have dismissed “acting Black”) in light of the tensions in racial impersonPresley as no more than a racist Southerner who stole ation embodied by Elvis Presley.[21] Chuck D and others black music.[11] have at one point or another publicly condemned Presley “Racists attacked rock and roll because of the mingling of for “stealing” black music. However, in 2002, Chuck D, black and white people it implied and achieved, and be- in an interview with the Associated Press in connection cause of what they saw as black music’s power to corrupt with the 25th Anniversary of Presley’s death, explained through vulgar and animalistic rhythms. ... The popular-

3 how his feelings for Elvis’ legacy were no longer those as originally suggested by the lyrics in “Fight The Power”, a song which he had written 12 years earlier. When broadcast as a part of the NBC-produced documentary “Elvis Lives”, Chuck D had the following to say about Presley. “Elvis was a brilliant artist. As a musicologist—and I consider myself one—there was always a great deal of respect for Elvis, especially during his Sun sessions. As a black person, we all knew that. (In fact), Eminem is the new Elvis because, number one, he had the respect for black music that Elvis had”.

early concerts. Scotty Moore recalled: “He’d start out, 'You ain’t nothin’ but a Hound Dog,' and they’d just go to pieces. They’d always react the same way. There’d be a riot every time.”[28] Bob Neal wrote: “It was almost frightening, the reaction... from teenage boys. So many of them, through some sort of jealousy, would practically hate him.” In Lubbock, Texas, a teenage gang firebombed Presley’s car.[29] Some performers became resentful (or resigned to the fact) that Presley going on stage before them would “kill” their own act; he thus rose quickly to top billing.[29] At the two concerts he perAs one writer stated on the controversy, “Music is a uni- formed at the 1956 Mississippi-Alabama Fair and Dairy Show, one hundred National Guardsmen were on hand to versal language, like mathematics and money. It knows [30] few borders. Jazz began in the return of black bands prevent crowd trouble. from graveyard interments in New Orleans. But the bands Presley was considered by some to be a threat to the moral played white hymns out to the above-ground graves.”[22] well-being of young women, because “Elvis Presley didn’t just represent a new type of music; he represented sexual liberation.”[31] “Unlike Bill Haley, who was somewhat overweight and looked like everyone’s 'older brother,'" 2 Danger to American culture Presley generated an “anti-parent outlook” and was the “personification of evil.” To many adults, the singer was Sam Phillips had anticipated problems promoting Pres“the first rock symbol of teenage rebellion. ... they did not ley’s Sun singles. He recalled; like him, and condemned him as depraved. Anti-Negro prejudice doubtless figured in adult antagonism. Regard“The white disc-jockeys wouldn't touch... less of whether parents were aware of the Negro sexNegroes’ music and the Negro disc-jockeys ual origins of the phrase 'rock 'n' roll', Presley impressed didn't want anything to do with a record made them as the visual and aural embodiment of sex.”[32] In [23] by a white man.” 1956, a critic for the New York Daily News wrote that popular music “has reached its lowest depths in the 'grunt Ironically, hillbilly singer Mississippi Slim, one of Pres- and groin' antics of one Elvis Presley” and the Jesuits de[33] Time ley’s heroes, was one of the singer’s fiercest critics.[24] nounced him in its weekly magazine, America. Phillips felt Dewey Phillips—a white DJ who did play magazine of June 11, 1956, mockingly referred to the 'black' music—would promote the new material, but singer as “dreamboat Groaner Elvis ('Hi luh-huh-huhmany of the hundreds of listeners who ed the sta- huv-huv yew-hew') Presley.” Even Frank Sinatra opined: tion when “That’s All Right” was played were sure Presley “His kind of music is deplorable, a rancid smelling aphromust be black. The singer was interviewed several times disiac. It fosters almost totally negative and destructive [34] on air by the DJ and was pointedly asked which school he reactions in young people.” [25] had attended, to convince listeners that he was white. Presley was even seen as a “definite danger to the security Regarding Presley’s hybrid style of music, others have ob- of the United States.” His actions and motions were called “a strip-tease with clothes on” or “sexual self-gratification served: on stage.” They were compared with "masturbation or riding a microphone.” Some saw the singer as a sexual “Racists attacked rock and roll because of pervert, and psychologists feared that teenage girls and the mingling of black and white people it imboys could easily be “aroused to sexual indulgence and plied and achieved, and because of what they perversion by certain types of motions and hysteria,—the saw as black music’s power to corrupt through type that was exhibited at the Presley show.”[35] In August vulgar and animalistic rhythms... The popular1956 in Jacksonville, Florida a local Juvenile Court judge ity of Elvis Presley was similarly founded on called Presley a "savage" and threatened to arrest him his transgressive position with respect to racial if he shook his body while performing at Jacksonville’s and sexual boundaries... White cover versions Florida Theatre, justifying the restrictions by saying his of hits by black musicians ... often outsold music was undermining the youth of America. Throughthe originals; it seems that many Americans out the performance, Presley stood still as ordered but wanted black music without the black people poked fun at the judge by wiggling a finger. Similar at[26] in it.” tempts to stop his “sinful gyrations” continued for more than a year and included his often-noted January 6, 1957 By the spring of 1956, Presley was fast becoming a na- appearance on The Ed Sullivan Show (during which he tional phenomenon[27] and teenagers came to his concerts performed the spiritual number “Peace in the Valley”), in unprecedented numbers. There were many riots at his

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DANGER TO AMERICAN CULTURE

ically increased his economic capital, his cultural capital never expanded enough for him to transcend the stigma of his background as a truck driver from the rural South... 'No matter how successful Elvis became... he remained fundamentally disreputable in the minds of many Americans... He was the sharecropper’s son in the big house, and it always showed.'"[39][40]

Presley seemed bemused by all the criticism. On another of the many occasions he was challenged to justify the furor surrounding him, he said: “I don't see how they think [my act] can contribute to juvenile delinquency. If there’s anything I've tried to do, I've tried to live a straight, clean life and not set any kind of a bad example. You cannot please everyone.” In an interview with PBS television, social historian Eric In 1957, Presley had to defend himself from claims of Lott said, “all the citizens’ councils in the South called being a racist: he was alleged to have said: “The only Elvis 'nigger music' and were terribly afraid that Elvis, thing Negro people can do for me is to buy my records and white as he was, being ambiguously raced just by bewas going to corrupt the youth of shine my shoes.” The singer always denied saying, or ever ing working-class, [41] America.” Robert Kaiser says he was the first who wanting to say, such a racist remark. Jet magazine, run by gave the people “a music that hit them where they lived, and for African-Americans, subsequently investigated the deep in their emotions, yes, even below their belts. Other story and found no basis to the claim. However, the Jet singers had been doing this for generations, but they journalist did find plenty of testimony that Presley judged [42] were black.” Therefore, his performance style was fre[36] people “regardless of race, color or creed.” quently criticized. Social guardians blasted anyone reHis parents moved home in Memphis, but the singer lived sponsible for exposing impressionable teenagers to his there briefly. With increased concerns over privacy and “gyrating figure and suggestive gestures.” The Louisville security, Graceland was bought in 1957, a mansion with chief of police, for instance, called for a no-wiggle several acres of land. This was Presley’s primary resi- rule, so as to halt “any lewd, lascivious contortions that dence until his death. would excite the crowd.”[42] Even Priscilla Presley confirms that “his performances were labeled obscene. My mother stated emphatically that he was 'a bad influence for teenage girls. He arouses things in them that shouldn't be aroused.'"[43]

Presley in a promotional photo for Jailhouse Rock released by MGM on November 8, 1957.

Presley’s record sales grew quickly throughout the late 1950s, with hits like "All Shook Up" and "(Let me Be Your) Teddy Bear.” Jailhouse Rock, Loving You (both 1957) and King Creole (1958) were released and are regarded as the best of his early films.[37] However, critics were not impressed—very few authoritative voices were complimentary.[38] In response, it has been claimed that while “Elvis’s success as a singer and movie star dramat-

According to rhythm and blues artist Hank Ballard, “In white society, the movement of the butt, the shaking of the leg, all that was considered obscene. Now here’s this white boy that’s grinding and rolling his belly and shaking that notorious leg. I hadn't even seen the black dudes doing that.”[42] Presley complained bitterly in a June 27, 1956, interview about being singled out as “obscene”.[44] Because of his controversial style of song and stage performances, municipal politicians began denying permits for Presley appearances. This caused teens to pile into cars and travel elsewhere to see him perform. Adult programmers announced they would not play Presley’s music on their radio stations due to religious convictions that his music was “devil music” and to racist beliefs that it was “nigger music.” Many of Presley’s records were condemned as wicked by Pentecostal preachers, warning congregations to keep heathen rock and roll music out of their homes and away from their children’s ears (especially the music of “that backslidden Pentecostal pup.”) However, the economic power of Presley’s fans became evident when they tuned in alternative radio stations playing his records. In an era when radio stations were shifting to an all-music format, in reaction to competition from television, profit-conscious radio station owners learned quickly when sponsors bought more advertising time on new all “rock and roll” stations, some of which reached enormous markets at night with clear channel signals from AM broadcasts.

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See also

elvisin-

• Cultural depictions of Elvis Presley

[16] Bertrand, p. 222.

• Sun Records

[17] Bertrand, p. 27.

• List of best-selling music artists • List of songs about or referencing Elvis Presley

[18] Bertrand, p. 200. The author adds, “One journalist wrote upon the singer’s death that African Americans refused to participate in the numerous eulogies dedicated to him.”

• 24 Hour Church of Elvis

[19] Race, Rock, and Elvis. University of Illinois.

• Elvis Herselvis

[20] George Plasketes (1997) Images of Elvis Presley in American Culture, 1977–1997: The Mystery Terrain, Haworth Press, p. 53, ISBN 1560249102.

• Elvis sightings

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[15] Welcome to the Elvis Information Network. fonet.com

References

[1] "Elvis Presley": a page at pbs.org with a single paragraph, attributed to palmpictures.com. [2] The Greatest Voices Of All Time - Stereogum. [3] “Sinatra is voice of the century”, BBC News, April 18, 2001, retrieved October 22, 2006. [4] Rich Gordon, "How Transistor Radios and Web (and Newspapers and Hi-Fi radio) are Alike", “Reprinted, with permission, from The Cole Papers, June 22, 2005.” [5] Ian Brailsford, "History repeating itself: Were postwar American teenagers ripe for harvest?" (NB Microsoft Word format): transcript of a paper delivered at "Youth Marketing Reaches Forty", May 17, 2001. [6] Peter Guralnick (2008) Last Train to Memphis: The Rise of Elvis Presley, Paw Prints, p. 248, ISBN 1439508623. [7] Christopher John Farley (July 6, 2004). “Elvis Rocks. But He’s Not the First”, TIME, retrieved October 22, 2006 [8] Jody Cook (2004). Graceland National Historic Landmark Nomination, United States Department of the Interior, p. 35. [9] Oral Histories. PBS television interview. [10] Peter Guralnick (2008) Last Train to Memphis: The Rise of Elvis Presley, Paw Prints, p. 426, ISBN 1439508623. [11] Bertrand [12] Robert Walser (1998) “The rock and roll era”, in The Cambridge History of American Music, Cambridge University Press, p. 358, ISBN 0521454298.

[21] David Roediger (2003) Colored White: Transcending the Racial Past, University of California Press, p. 26, ISBN 0520233417. [22] Gary North. No Rhythm, No Blues: Must White Guys Always Finish Last? lewrockwell.com [23] Carr and Farren, p. 16 [24] Elaine Dundy (2004). Elvis and Gladys (2nd ed.). University Press of Mississippi. p. 288. ISBN 1-57806-634-4. [25] Carr and Farren, pp. 11, 16 [26] Walser and Nicholls, p.358 [27] Culture Shock: Flashpoints: Music and Dance: Elvis Presley. pbs.org [28] Scotty Moore and James Dickerson. That’s Alright, Elvis. Schirmer Books; 1997. ISBN 0-02-864599-5. p. 175. [29] Carr and Farren, p. 12 [30] "Elvis Rock 'n' Roll History". showbuzz.CBSnews.com (August 10, 2007). Retrieved October 14, 2007. [31] Peter Harry Brown; Pat H. Broeske (1997). Down at the End of Lonely Street: The Life and Death of Elvis Presley. Signet. p. 55. ISBN 0-451-19094-7. [32] Billboard writer Arnold Shaw, cited in R. Serge Denisoff (1975). Solid Gold: The Popular Record Industry. Transaction Books. p. 22. ISBN 0-87855-586-2. [33] "Elvis Presley – 1956". PBS. Retrieved on October 14, 2007. [34] Simran Khurana. "Quotes About Elvis Presley". about.com. Retrieved on October 14, 2007. [35] Thomas Fensch (2001). The FBI Files on Elvis Presley. New Century Books. pp. 15–17. ISBN 0-930751-03-5.

[13] Martha Bayles (ed.) (1996) Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music, University of Chicago Press, p. 22, ISBN 0226039595.

[36] Natalie Davis (August 17, 2003). "The 'King' Has Left the Building". GratefulDread.net. Retrieved on October 14, 2007.

[14] (see: “Dispelling The Myths An analysis of American Attitudes and Prejudices”, Todd Rheingold, Believe In The Dream Publications, USA, 1992, LOCC:93-090296, and on Elvis websites and popular music messageboards. Several arguments are presented on the Elvis Information Network website in its Spotlight On The King section.

[37] "Actor Review: Elvis Presley". movies.toptenreviews.com. Retrieved on October 14, 2007. [38] Jody Cook (2004). Graceland National Historic Landmark Nomination, United States Department of the Interior, p. 24.

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[39] Pratt, pp.43, 45 [40] Gilbert B. Rodman (1996). Elvis After Elvis, The Posthumous Career of a Living Legend. Routledge. p. 78. ISBN 0-415-11002-5. [41] American Experience | Stephen Foster | Special Features [42] Bertrand, p. 223. [43] Priscilla Presley (1985). Elvis and Me. G.P. Putnam’s Sons. p. 8. ISBN 0-399-12984-7. [44] Roger Beebe, Denise Fulbrook, Ben Saunders (2002) Rock Over the Edge, Duke University Press, p. 100, ISBN 0822383373.

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Bibliography • Bertrand, M. T. (2009). Race, Rock, and Elvis. University of Illinois Press. ISBN 0252025865. • Carr, Roy; Farren, Mick (1989). Elvis Presley: The Complete Illustrated Record. Plexus Publishing Ltd. ISBN 0906008549.

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External links • Official site (Elvis Presley Enterprises) • Elvis Presley at the Internet Movie Database • Elvis Video and Audio Interviews Elvis Presley Music • ElvisPedia – Elvis’s own wiki • Rockhall • Complete Elvis Bio and Discography at Music.com • Elvis Gospel Service • Elvis News and Information Elvis Australia

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