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Introduction
The accusation that Elvis Presley “stole” music from Black artists is a long-standing and complex debate, central to discussions of cultural appropriation in American music. Here’s a breakdown of the key points:
The Core of the “Theft” Allegation:
- Covering Black Artists’ Songs: Many of Elvis’s early hits, like “Hound Dog” and “That’s All Right,” were covers of songs originally performed by Black rhythm and blues artists (Big Mama Thornton, Arthur “Big Boy” Crudup, respectively). While covering songs was common practice at the time, the issue arises because white artists like Elvis often achieved far greater commercial success and recognition with these songs than the original Black creators.
- Lack of Recognition and Compensation: Black artists often received little to no credit or adequate financial compensation for their original works when covered by white artists. This was a systemic issue in the segregated music industry, where white performers were favored and Black artists were frequently sidelined.
- Adoption of Black Performance Styles: Elvis’s energetic stage presence, “provocative” hip movements, and vocal inflections were undeniably influenced by Black performers. Critics argue that he repackaged and “sanitized” these elements for a mainstream white audience that was not yet ready to embrace Black artists directly.
Arguments Against the “Theft” Accusation / Nuances:
- Publicly Credited Influences: Elvis himself publicly acknowledged his debt to African American music and cited artists like B.B. King, Arthur “Big Boy” Crudup, Ivory Joe Hunter, and Fats Domino as influences. He often spoke of his admiration for Black musicians and the music he grew up hearing in Black churches and neighborhoods in Tupelo, Mississippi.
- Opened Doors for Black Music: Some argue that Elvis, by bringing Black-influenced music to a wider white audience, inadvertently opened doors for Black artists to gain more mainstream acceptance. Artists like Little Richard and B.B. King, while acknowledging the disparities, have also expressed that Elvis was an “integrator” and a “blessing” who helped Black music break through.
- Systemic Racism, Not Individual Malice: Many scholars and commentators argue that the issue was less about Elvis personally “stealing” and more about a deeply ingrained system of racial segregation and discrimination in the music industry. Elvis benefited from this system, but he didn’t create it. His manager, Colonel Tom Parker, was known for making demands for songwriting credits for Elvis, even when Elvis didn’t write the songs.
- Common Practice of the Era: The practice of white artists covering Black artists’ songs and achieving greater success was widespread in the 1950s. Pat Boone, for example, frequently released sanitized versions of Black R&B hits.
Controversial Aspects and Rumors:
- “Shine My Shoes” Rumor: A persistent rumor alleged that Elvis once said, “The only thing Negro people can do for me is to buy my records and shine my shoes.” This quote has been widely debunked. Jet magazine, a prominent African-American publication, investigated the claim in 1957 and found no basis for it, concluding that Elvis judged people “regardless of race, color or creed.”
Conclusion:
The debate over Elvis Presley and cultural appropriation is complex. While he undoubtedly benefited immensely from a system that privileged white artists and often marginalized Black innovators, it’s also true that he expressed admiration for his Black influences and helped introduce Black-inspired music to a global audience. The “theft” accusation often stems from the understandable frustration and resentment over the historical injustices and economic disparities faced by Black artists in the mid-20th century music industry. Elvis became a symbol of this larger issue, even if his personal intentions were rooted in genuine appreciation for the music.
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