"DEBUNKING LAS VEGAS LEGENDS: Elvis Was a Blatant Racist" - Mary J. Blige, Quincy Jones, and Chuck D Discuss a Long-standing Dispute
In the year 2002, well-known hip-hop artist Mary J. Blige sang the classic song "Blue Suede Shoes" by Carl Perkins during the "Divas Live" special on television network VH1. Previously, she told the Atlanta Journal-Constitution, "I prayed about it because I know Elvis was a racist. But that was just a song VH1 asked me to sing. It didn't mean anything to me. I didn't wear an Elvis flag. I didn't represent Elvis that day."
In 2021, legendary record producer Quincy Jones shared with the Hollywood Reporter that he would never work with Elvis Presley. When questioned why, the then-88-year-old reminisced about his days working for orchestra leader Tommy Dorsey in the 1950s. Jones recalled, "Elvis came in, and Tommy said, 'I don't want to play with him.' He was a racist." The producer then stated, "I'm going to shut up now," before adding after a pause, "But every time I saw Elvis, he was being coached by Otis Blackwell, telling him how to sing."
The Hollywood Reporter pointed out that Blackwell told David Letterman in 1987 that he had never met Elvis.
Elvis Presley, who would've turned 88 on January 8, appears to have been a problematic figure for Ray Charles in a 1994 interview with NBC's Bob Costas. Charles asked, "To say that Elvis was so great and so outstanding... the king...of what?"
In 1989, Public Enemy released a song called "Fight the Power," which they used as the soundtrack for the racial Elvis protest march. The song reaches its peak with Chuck D's aggressive lyrics: "Elvis was a hero to most, but he never meant s**t to me, straight-up racist, the sucker was, simple and plain."
Blue Suede Shoes & Racial Appropriation
Elvis' appropriation of Black rhythm and blues is viewed by many as an act of racism.
Presley, who shares Las Vegas patron sainthood with the Rat Pack, raided Black singers while benefiting from a luxury he could never achieve: white privilege.
This privilege allowed Elvis to achieve the fame and wealth of singing Black music denied to Black singers, such as Arthur 'Big Boy' Crudup, writer and original singer of Elvis' first hit, "That's All Right, Mama."
Crudup was credited as the composer for Elvis' 1954 Sun Records single, but only received $60,000 in back royalties for the song that made Elvis famous in the 1960s.
While Elvis didn't imply that he sounded and moved like a Black singer for monetary gain—that's just how he sounded and moved—he understood it provided him with a clear path to success. A white boy performing what was considered "race music" made it easier for white teenagers to consume the music without receiving any backlash. And that's why Elvis became the king of rock 'n' roll.
But was Elvis a racist in a more malicious sense?
Segregated Vegas Residency
It is highly probable that Elvis played to all-white audiences during his Las Vegas debut at the New Frontier from April 23 to May 9, 1956. Although this claim can't be conclusively verified, no account of this engagement mentions anything other than all-white crowds.
According to Claytee White, director of the Oral History Research Center at UNLV Libraries, if Elvis hadn't put integration into his contract like Josephine Baker did, it's likely that he played to segregated crowds. White states, "It wasn't until March 1960 that casino bosses, during a meeting with the NAACP and city and state leaders at the closed Moulin Rouge casino hotel, reluctantly agreed to allow African-Americans to patronize their establishments. The NAACP threatened a march on the Strip, which would've been deeply embarrassing for Las Vegas."
During the 1950s, all-white audiences, including those entertained by Nat King Cole, Ella Fitzgerald, and Harry Bellafonte, were the norm on the Vegas Strip. Black performers couldn't even enter the resorts while they were performing, and even black headliners had to leave once their sets were over.
We can't be sure why Elvis didn't push for integration in his contract, but he was still an up-and-coming figure in the industry and had minimal power to negotiate. He wasn't even the main headliner, only a "special guest" who sang four songs at the end of each show. Standing up for equality at this point in his career might've killed his career.
The notion of Elvis Presley's racial slur is a moot point, considering his boss, Colonel Tom Parker, handled all the negotiations and would never approve a risky endeavor.
In 1957, black magazine 'Sepia' accused Elvis of using a racial slur, sparking outrage. However, this claim had no verifiable source.
The Black editor of the black-owned magazine 'JET' tried to find the truth behind this allegation. He spoke with various individuals but could not locate a solid proof to support it. Some claimed Elvis made the statement in Boston, where he hadn't visited yet, while others said he said it on Edward R. Murrow's show, where he'd never been.
The editor of 'JET' interviewed Elvis in his dressing room on the set of 'Jailhouse Rock' and asked him about the accusation. Elvis denied making such a statement, saying, "I never said anything like that." Others who knew Elvis also claimed he wouldn't say such a thing.
The investigation confirmed that Elvis was innocent of using the slur. Despite this, the rumor has persisted through the years as an urban legend.
In the 1950s, many whites, including celebrities, used anti-Black language. It was easy for people to believe that Presley, born in a segregated area, could have made the comment.
However, there is no evidence supporting the claim. In fact, Elvis is known to have donated to civil rights organizations, praised black musicians, and respectfully interacted with African-Americans.
Growing up in the segregated South, Elvis had lots of black friends from childhood, and learned his gospel inflections and rhythm from attending 'sanctified meetings' at black churches.
In Memphis, where Elvis lived, the two African-American newspapers celebrated him for breaking segregation rules. They reported that during 'colored night' at the Memphis Fairgrounds, Elvis visited and was curious, even though it was uncommon for whites to be there at that time.
The 'Tri-State Defender' stated that Elvis became so famous that he visited WDIA, Memphis's black radio station in 1956. There he attended a charity event and heard B.B. King, a popular black singer, praise Presley. King said, "What most people don't know [...] is that this boy is serious about what he's doing. He's carried away by it," praising his support for the black community.
Elvis' '68 Comeback Special was another strong proof of his positive interactions with African-Americans. The planners wanted him to sing a Christmas standard, but Elvis suggested 'Hungry Heart' by Johnny Cash. It was a hit, and weeks later, he was invited to perform on Johnny's TV show. Elvis ended this performance by saying, "Thank you guitar, thank you bass, thank you drums, and thank you Brother Cash." This apparent sentimentality and gratitude showcase that he respected the Black community.
Pilgrim further claims there was no evidence to support the allegations that Elvis said the racist slur. He notes, "Elvis ultimately broke color barriers. [...] People need to consider all the evidence and not just these rumors." So, while the story of Elvis and the racial slur may still linger as an urban legend, the truth strongly suggests otherwise.
However, Elvis wasn't completely satisfied with that. With Robert F. Kennedy and Martin Luther King being assassinated not long ago, the world seemed to be falling apart. He believed he should end the special with a speech promoting unity and brotherhood. It was the first time in his career that he stood up to Parker for something he felt so passionately about.
Elvis, who wasn't a writer, struggled to come up with the right words. Fortunately, the show's director, Steve Binder, had a better idea. Instead of talking about brotherhood, Elvis should sing about it. And it had to be more than just a song; it needed to be a heartfelt declaration of racial equality.
Binder shared his idea with the show's vocal arranger, Earl Brown, who had co-written "In the Shadow of the Moon" for Frank Sinatra. Brown went home and stayed up all night, composing at his piano. By 7 a.m., he had written what is arguably one of Elvis's best recordings, "If I Can Dream."
"If I Can Dream" imagines Dr. King's vision where "all my brothers walk hand in hand," and then questions, "why can't my dream come true...right now?"
Elvis channeled his inner Mississippi revivalist preacher, singing loudly and dramatically, like he was leading a sermon. The song took several takes to perfect, though it wasn't because Elvis was off. The band and the all-Black backing singers, including Darlene Love, got emotional during his passionate performance.
Chuck D - The Escalation
In 2002, during an interview with Newsday, Public Enemy frontman Chuck D, when asked to support his claim that Elvis was a "straight-up racist," seemed more nuanced than in his lyrics.
"As a musicologist, and I consider myself one, there was always a great deal of respect for Elvis," Chuck said. "That's especially during his Sun sessions. My whole thing was the one-sidedness, like Elvis's icon status in America made it like no one else counted."
Chuck continued, "My heroes came from somewhere else. My heroes were probably his heroes. As far as Elvis being The King, I couldn't buy that."
Interestingly, Elvis would have agreed as well. In 1969, during a press conference following his opening night in Las Vegas at the International Hotel, Elvis rejected the title of "king of rock n' roll."
Instead, he drew attention to his friend Fats Domino, whom he considered the rightful holder of the title.
The Final Judgment
It's likely that Elvis played to segregated crowds during his early days in Las Vegas when segregated crowds were the only ones available. And he certainly profited from black music to achieve his fame and wealth. But so did the Rolling Stones. Mick Jagger modeled his vocals after Muddy Waters and Howlin' Wolf while incorporating dance moves taught to him by Tina Turner.
The Rolling Stones are rarely, if ever, accused of racism. So why is Elvis?
In his book "Vegas Myths Busted," Pilgrim wrote, "Presley took the swinging jump and the playful (sometimes mischievous) sexuality of rhythm and blues music into mainstream American living rooms. While talented black entertainers labored in smaller venues, sometimes in relative obscurity, Presley became a wealthy and famous international star. So, some blacks resented his success (and him)."
Does Elvis deserve to be considered a racist simply because he allowed a racist system to make him a star when it was the only system available to him?
There are many ways to answer that, depending on your viewpoint. But a straightforward "yes" seems hard to justify.
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