Elvis still has not left the building 📝: Stephanie Zacharek (szacharek)
You would think that by now older people would be tired of talking about Elvis, and that younger people don’t care about him at all, but the truth isn’t so easy to parse. Now that Elvis is back in the spotlight, some have taken to TikTok and Twitter to build angry but precarious cases against him for his treatment of Priscilla, who became his wife in 1967, defining her as a victim of abuse even though she has not claimed that status for herself.
Elsewhere on TikTok, 26-year-old Elvis Roberts, an uncanny Australian Elvis look-alike, holds sway over 865,000 followers with his swoony bedroom eyes and cultivated half-sneer. If older Elvis impersonators tend to favor the jumpsuit-era Elvis as they age—the costume is forgiving of expanding girth—the dream of the young Elvis, as embodied by people like Roberts, coexists with the tragic, beautiful wreck he became.
Strangely, or maybe not, rather than falling victim to our fragmented attention spans, Elvis has proved to be the perfect foil for them, surfing a million waves simultaneously. And every seemingly easy conclusion made about Elvis—the claim, for instance, that he stole from Black artists—has a counterweight that clouds facile certainty. One unequivocal truth is that although he drew from all musical sources—including country and pop—he both loved and was deeply influenced by Black musicians.
But Elvis didn’t steal the song from Thornton. Cover versions are part of pop music’s vernacular, and it’s the songwriters who earn the big royalties anyway. And even if being white and male gave Elvis certain advantages over Thornton, especially in the world of music contracts, his white-man status wasn’t as huge an advantage as you might think.
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