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Since the 1950s, the impact on American and world culture of Elvis Presley - singer and music icon has been recognized.

According to Rolling Stone Magazine, "it was Elvis who made rock 'n' roll the international language of pop." A PBS documentary described Presley as "an American music giant of the 20th century who single-handedly changed the course of music and culture in the mid-1950s." 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.

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 Little Richard, Fats Domino, and Chuck Berry came to national prominence after Presley's acceptance among mass audiences of White American teenagers. Singers like Jerry Lee Lewis, the Everly Brothers, Buddy Holly, Johnny Cash, Roy Orbison and others immediately followed in his wake. John Lennon later observed, "Before Elvis, there was nothing."

First American idol

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 juggernaut 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 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.

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 youth market." Elvis even became very popular to British audiences as well.

African American music influence

In spite of the facts that Nat King Cole had the #2 song in 1950, and the #1 song in 1951, and Chuck Berry had a major hit with Maybellene in 1955, in the United States in the 1950s legal segregation and discrimination against African Americans was common. Presley would nevertheless publicly cite his debt to African American music, pointing to artists such as B. B. King, Arthur "Big Boy" Crudup, Jackie Wilson, Robert Johnson, Ivory Joe Hunter, and Fats Domino. The reporter who conducted Presley's first interview in New York City in 1956 noted that he named blues singers who "obviously meant a lot to him. I was very surprised to hear him talk about the black performers down there and about how he tried to carry on their music." Later that year in Charlotte, North Carolina, Presley was quoted as saying: "The colored folks been singing it and playing it just like I’m doin' now, man, for more years than I know. They played it like that in their shanties and in their juke joints and nobody paid it no mind 'til I goosed it up. I got it from them. Down in Tupelo, Mississippi, I used to hear old Arthur Crudup bang his box the way I do now and I said if I ever got to a place I could feel all old Arthur felt, I’d be a music man like nobody ever saw." Little Richard said of Presley: "He was an integrator. Elvis was a blessing. They wouldn’t let black music through. He opened the door for black music." B. B. King said he began to respect Presley after he did Arthur "Big Boy" Crudup material and that after he met him, he thought the singer really was something else and was someone whose music was growing all the time right up to his death.

Up to the mid 1950s black artists had sold minuscule amounts of their recorded music relative to the national market potential. Black songwriters had mostly limited horizons and could only eke out a living. But after Presley purchased the music of African American Otis Blackwell and had his "Gladys Music" company hire talented black songwriter Claude Demetrius, the industry underwent a dramatic change. In the spring of 1957 Presley invited African American performer Ivory Joe Hunter to visit Graceland and the two spent the day together, singing "I Almost Lost My Mind" and other songs. Of Presley, Hunter commented, "He showed me every courtesy, and I think he's one of the greatest."

However, certain elements in American society, including many black people, have dismissed Presley as no more than a racist Southerner who stole black music. However, black R&B artist Jackie Wilson said, "A lot of people have accused Elvis of stealing the black man's music, when in fact, almost every black solo entertainer copied his stage mannerisms from Elvis."

"Racists attacked rock and roll because of the mingling of black and white people it implied and achieved, and because of what they saw as black music's power to corrupt through vulgar and animalistic rhythms. ... The popularity of Elvis Presley was similarly founded on his transgressive position with respect to racial and sexual boundaries. ... White cover versions of hits by black musicians ... often outsold the originals; it seems that many Americans wanted black music without the black people in it," and Elvis had undoubtedly "derived his style from the Negro rhythm-and-blues performers of the late 1940s."

The Elvis stole black music theme is an enduring one with arguments for and against published in books (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.

A southern background combined with a performing style largely associated with African Americans had led to "bitter criticism by those who feel he stole a good thing," as Tan magazine surmised. No wonder that Elvis became "a symbol of all that was oppressive to the black experience in the Western Hemisphere". What is more, Presley was widely believed to have said, "The only thing black people can do for me is shine my shoes and buy my records." It was claimed that the alleged comment was made either in Boston or on Edward R. Murrow's Person to Person. However, no recording of this episode has been produced. A black southerner in the late 1980s even captured that sentiment: "To talk to Presley about blacks was like talking to Adolf Hitler about the Jews."

In his scholarly work Race, Rock, and Elvis, Tennessee State University professor Michael T. Bertrand examined the relationship between popular culture and social change in America and these allegations against Presley. Professor Bertrand postulated that Presley's rock and roll music brought an unprecedented access to African American culture that challenged the 1950s segregated generation to reassess ingrained segregationist stereotypes. The American Historical Review wrote that the author "convincingly argues that the black-and-white character of the sound, as well as Presley's own persona, helped to relax the rigid color line and thereby fed the fires of the civil rights movement." The U.S. government report stated: "Presley has been accused of "stealing" black rhythm and blues, but such accusations indicate little knowledge of his many musical influences." "However much Elvis may have 'borrowed' from black blues performers (e.g., 'Big Boy' Crudup, 'Big Mama' Thornton), he borrowed no less from white country stars (e.g., Ernest Tubb, Bill Monroe) and white pop singers (e.g., Mario Lanza, Dean Martin)," and most of his borrowings came from the church; its gospel music was his primary musical influence and foundation."

Whether or not it was justified, the fact remains that distrust of Presley was common amongst the general African-American population after the accusations of racism were made public. According to George Plasketes, several songs came out after the singer's death which are a part of a "démystification process as they portray Elvis as a racist." In his book, Colored White: Transcending the Racial Past, David Roediger considers contemporary "wiggers" (white kids "acting Black") in light of the tensions in racial impersonation embodied by Elvis Presley. Marlon Brando, Chuck D, Eminem and others have all publicly condemned Presley for "stealing" black music.

A danger to American culture?

By the spring of 1956, Presley was fast becoming a national phenomenon and teenagers came to his concerts in unprecedented numbers. There were many riots at his early concerts. Scotty Moore says, "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." When he performed at the Mississippi-Alabama Fair in 1956, 100 National Guardsmen surrounded the stage to control crowds of excited fans. The singer was considered to represent a threat to the moral well-being of young American women, because "Elvis Presley didn’t just represent a new type of music; he represented sexual liberation." In 1956, a critic for the New York Daily News wrote that popular music "has reached its lowest depths in the 'grunt and groin' antics of one Elvis Presley." The Roman Catholic Church denounced him in its weekly magazine, America , in an article headlined "Beware Elvis Presley."

In an interview with PBS television, social historian Eric Lott said, "all the citizens' councils in the South called Elvis 'nigger music' and were terribly afraid that Elvis, white as he was, being ambiguously raced just by being working-class, was going to corrupt the youth of America." Robert Kaiser says he was the first who gave the people "a music that hit them where they lived, deep in their emotions, yes, even below their belts. Other singers had been doing this for generations, but they were black." Therefore, his performance style was frequently criticized. Social guardians blasted anyone responsible for exposing impressionable teenagers to his "gyrating figure and suggestive gestures." The Louisville chief of police, for instance, called for a no-wiggle rule, so as to halt "any lewd, lascivious contortions that would excite the crowd." 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.'"

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." Presley complained bitterly in a June 27, 1956, interview about being singled out as “obscene”. Due to 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.

In August, 1956 in Jacksonville, Florida a local Juvenile Court judge called Presley a "savage" and threatened to arrest him if he shook his body while performing at Jacksonville's Florida Theatre, justifying the restrictions by saying his music was undermining the youth of America. Throughout the performance, Presley stood still as ordered but poked fun at the judge by wiggling a finger. Similar attempts to stop his "sinful gyrations" continued for more than a year and included his often-noted January 6, 1957 appearance on The Ed Sullivan Show (during which he performed the spiritual number "Peace in the Valley"), when he was filmed only from the waist up.

See also

• Elvis Presley
• Elvis impersonator
• Elvis sightings
• Elvis Presley's relationships
• Elvis Presley's political beliefs
• Elvis Presley's phenomenon
• Memphis Mafia
• Elvis Presley Enterprises
• Priscilla Presley
• Lisa Marie Presley
• Alphabetical list of all of Elvis Presley's songs
• Sun Records
• List of Elvis Presley films
• List of actors who have played Elvis Presley
• List of songs about or referencing Elvis Presley
• Cultural depictions of Elvis Presley
• Best-selling artist of all-time
• List of artists by total number of USA number one singles
• List of best-selling music artists
• 24 Hour Church of Elvis
• Elvis-A-Rama Museum
• "Tagish" Elvis Presley
• Elvis Herselvis

Notes

1. "Elvis Presley": a page at pbs.org with a single paragraph, attributed to palmpictures.com.
2. 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."
3. 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", 17 May 2001.
4. "Elvis Rocks. But He's Not the First" by Christopher John Farley, TIME, July 6, 2004, retrieved October 22, 2006
5. United States Department of the Interior re Graceland National Historic Landmark Nomination reports prepared by Jody Cook, Architectural Historian with detailed references:
6. PBS television interview
7. Peter Guralnick, Last Train to Memphis: The Rise of Elvis Presley, p.426.
8. For more details, see Michael T. Bertrand, Race, Rock, and Elvis (University of Illinois Press, 2000).
9. Robert Walser, "The rock and roll era", in The Cambridge History of American Music (Cambridge University Press, 1998), p.358.
10. Martha Bayles (ed.), Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music (University of Chicago Press, 1996), p.22.
11. http://www.elvisinfonet.com/spotlight.html
12. Michael T. Bertrand, Race, Rock, and Elvis (University of Illinois Press, 2000), p.222.
13. Bertrand, p.27.
14. A variant: "I've only two uses for niggers – they can buy my records and they can shine my shoes." Quoted in Alexander Cockburn, The Golden Age Is in Us: Journeys and Encounters, 1987-1994, p.17.
15. Bertrand, p.221.
16. 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."
17. See University of Illinois Press website.
18. Bertrand, Race, Rock, and Elvis, p.200.
19. George Plasketes, Images of Elvis Presley in American Culture, 1977-1997: The Mystery Terrain, p.53.
20. David Roediger, Colored White: Transcending the Racial Past (University of California Press, 2003), p.26.
22. Scotty Moore, That’s Alright, Elvis: The Untold Story of Elvis’s First Guitarist and Manager, Scotty Moore, p.175.
23. Peter Harry Brown and Pat H. Broeske, Down at the End of Lonely Street: The Life and Death of Elvis Presley (1998), p.55.
26. Quoted in Michael T. Bertrand, Race, Rock, and Elvis (University of Illinois Press, 2000), p.223.
27. Bertrand, p.223.
28. Priscilla Presley, Elvis and Me, p.8.
29. Quoted in Bertrand, p.223
30. Roger Beebe, Denise Fulbrook, Ben Saunders, Rock Over the Edge (Duke University Press, 2002), p.100.

External links

• Official site (Elvis Presley Enterprises)
• Elvis Presley at IMDb
• ElvisPedia - Elvis's own wiki
• Rockhall
• Complete Elvis Bio and Discography at Music.com
• Elvis Gospel Service
• Elvis Information Network

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• Elvis Presley