I think I missed the “Elvis is a racist” memo.
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. â€œI prayed about it,â€ she said, â€œbecause I know Elvis was a racist.â€
And yet, as the legendary Billboard editor Paul Ackerman, a devotee of English Romantic poetry as well as rock â€™nâ€™ roll, never tired of pointing out, the music represented not just an amalgam of Americaâ€™s folk traditions (blues, gospel, country) but a bold restatement of an egalitarian ideal. â€œIn one aspect of Americaâ€™s cultural life,â€ Ackerman wrote in 1958, â€œintegration has already taken place.â€
It was due to rock â€™nâ€™ 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 â€œraceâ€ 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 â€œrich with Negro and hillbilly lore.â€
No one could have embraced Paul Ackermanâ€™s formulation more forcefully (or more fully) than Elvis Presley.