God damn The New York Times is strapping today: A long overdue front-page article on the failures in Afghanistan; a major editorial on America's inadequate health care system; a titillating NYT Magazine cover story "Can This Marriage Be Saved? A Year in the life of a couples-therapy group"; a lead book review on Harry Potter by Christopher Hitchens?!; and the Arts&Leisure section kicks off with an essay on my favorite movie ever Bonnie & Clyde.
However, it's actually an article from yesterday's New York Times that got clipped out and put on my fridge. Rock and Roll historian Peter Guralnick weighs in with: "How Did Elvis Ever Get Turned Into a Racist?"
I'm a big fan of the Rock & Roll era—late 40s "Race Records" right up through Gene Vincent and Buddy Holly—but man, I've never dug Elvis. Mostly because he seemed schmaltzy and pre-fab and mainstream. And yes, because I associated Elvis Presley with cultural thievery. I think I've relayed this story on Slog before, but back when I was a super odd-ball, I used to write the word 'racist' on those Elvis stamps that came out in the early 90s (?) before mailing letters.
Anyway, I liked being set straight by yesterday's editorial which was published in honor of the 30th anniversary of Elvis's death (this Thursday, August 16.)
Here's some of Guralnick's piece:
It was what he believed, it was what his music had stood for from the start: the breakdown of barriers, both musical and racial. This is not, unfortunately, how it is always perceived 30 years after his death, the anniversary of which is on Thursday. When the singer Mary J. Blige expressed her reservations about performing one of his signature songs, she only gave voice to a view common in the African-American community. “I prayed about it,” she said, “because I know Elvis was a racist.”
And yet, as the legendary Billboard editor Paul Ackerman, a devotee of English Romantic poetry as well as rock ’n’ roll, never tired of pointing out, the music represented not just an amalgam of America’s folk traditions (blues, gospel, country) but a bold restatement of an egalitarian ideal. “In one aspect of America’s cultural life,” Ackerman wrote in 1958, “integration has already taken place.”
It was due to rock ’n’ roll, he emphasized, that groundbreaking artists like Big Joe Turner, Ray Charles, Chuck Berry and Little Richard, who would only recently have been confined to the “race” market, had acquired a broad-based pop following, while the music itself blossomed neither as a regional nor a racial phenomenon but as a joyful new synthesis “rich with Negro and hillbilly lore.”
No one could have embraced Paul Ackerman’s formulation more forcefully (or more fully) than Elvis Presley.
Asked to characterize his singing style when he first presented himself for an audition at the Sun recording studio in Memphis, Elvis said that he sang all kinds of music — “I don’t sound like nobody.” This, as it turned out, was far more than the bravado of an 18-year-old who had never sung in public before. It was in fact as succinct a definition as one might get of the democratic vision that fueled his music, a vision that denied distinctions of race, of class, of category, that embraced every kind of music equally, from the highest up to the lowest down.
It was, of course, in his embrace of black music that Elvis came in for his fiercest criticism. On one day alone, Ackerman wrote, he received calls from two Nashville music executives demanding in the strongest possible terms that Billboard stop listing Elvis’s records on the best-selling country chart because he played black music. He was simply seen as too low class, or perhaps just too no-class, in his refusal to deny recognition to a segment of society that had been rendered invisible by the cultural mainstream.
“Down in Tupelo, Mississippi,” Elvis told a white reporter for The Charlotte Observer in 1956, he used to listen to Arthur Crudup, the blues singer who originated “That’s All Right,” Elvis’s first record. Crudup, he said, used to “bang his box the way I do now, and I said if I ever got to the place where I could feel all old Arthur felt, I’d be a music man like nobody ever saw.”
It was statements like these that caused Elvis to be seen as something of a hero in the black community in those early years. In Memphis the two African-American newspapers, The Memphis World and The Tri-State Defender, hailed him as a “race man” — not just for his music but also for his indifference to the usual social distinctions. In the summer of 1956, The World reported, “the rock ’n’ roll phenomenon cracked Memphis’s segregation laws” by attending the Memphis Fairgrounds amusement park “during what is designated as ‘colored night.’”
An Elvis footnote from Seattle also came to light this week.